El lenguaje de la estructura: Mies van der Rohe y la construcción con acero y hormigón

John Summerson, en El Lenguaje Clásico de la Arquitectura, defiende que los órdenes clásicos que empleaban los arquitectos romanos para decorar sus edificios, no tienen una función estructural pero hacen expresivos a los edificios. Les hacen hablar. Arthur Schopenhauer afirma que “el destino de la Bella Arquitectura es poner de manifiesto la lucha entre el peso y la rigidez de los elementos estructurales”. Y Auguste Perret define la Arquitectura como “el arte de hacer cantar al punto de apoyo”. El objetivo de esta Tesis Doctoral es profundizar en la capacidad de expresión de la estructura. A trav��s del estudio de las estructuras históricas, que se realiza en la primera parte de la Tesis, podemos concluir que existen tres categorías, tres maneras de expresión de la Estructura. Estructuras Vistas, que hablan, Estructuras Ocultas, que se esconden y Estructuras Ilusorias, que fingen. El Partenón y la Sainte Chapelle de París se estudian en el apartado de Estructuras Vistas. El Panteón, el Palacio de Carlos V, la Catedral de San Pablo en Londres, y otras arquitecturas renacentistas y romanas, en el apartado de Estructuras Ocultas. Y como Estructuras Ilusorias, la Alhambra (Dos Hermanas, Comares, el Patio de los Leones), Santa Sofía, y otras arquitecturas del barroco italiano. En la segunda parte de la Tesis se analiza la obra completa de Mies van der Rohe desde el punto de vista de esas tres categorías. Lo visto, lo oculto y lo ilusorio en las estructuras de Mies. Se estudia la evolución en la estructura de la casa, desde las primeras casas con Estructura Oculta de muro de ladrillo, hasta las últimas casas con Estructura Vista y columnas adelantadas, pasando por una etapa intermedia de casas con estructura mixta de muro de ladrillo en la que el acero comienza a hacer su aparición. Se analizan también seis soluciones estructurales en los Bloques y en las Torres: Estructura Vista reverberante, expresiva o inexpresiva vs Estructura Oculta con vestido horizontal, vestido reticular o vestido vertical. Y por último, se estudian las tres soluciones de Estructura Ilusoria que emplea Mies en sus Pabellones. La metodología de trabajo que se ha empleado se divide en cuatro apartados: El análisis bibliográfico; el análisis in situ de los edificios, que nos permite comprobar, por ejemplo, los efectos lumínicos de la columna acanalada del Partenón, o el efecto reverberante de las columnas de la Weissenhofsiedlung; el análisis crítico de planos y detalles constructivos, que nos lleva a concluir que la disposición de pantallas del Pabellón de Barcelona anula la lectura de la crujía estructural, y que la columna del restaurante Cantor se dispone con su alma perpendicular a la cercha, y no paralela, como cabría suponer si se quisiera aprovechar toda la capacidad portante del perfil en H; y por último, el análisis numérico y estructural, que nos lleva a confirmar el sobredimensionado de la Estructura del Patio de los Leones de la Alhambra o el sobredimensionado de la Estructura de la Casa Farnsworth. Lo que se confirma con esta Tesis Doctoral es que la Estructura es algo más, mucho más, que sólo transmisión de las cargas. ABSTRACT John Summerson, in The Classic Language of Architecture, argues that the classic orders used by Roman architects in the decoration of their buildings did not have a structural function, but made buildings expressive. They make them speak. Arthur Schopenhauer affirms that “the goal of Great Architecture is to highlight the struggle between the gravity and rigidity of structural elements”. And Auguste Perret defines Architecture as “the art of making the points of support sing”. The objective of this Doctoral Thesis is to examine the expressive capacity of structure. Following a study of historic structures in the first part of the thesis, we conclude that three categories exist, three ways of expressing Structure. Visible Structures that speak, Concealed Structures that are hidden and Illusory Structures that pretend. The Parthenon and the Sainte Chapelle in Paris are studied in the section on Visible Structures. The Pantheon, the Palace of Charles V, Saint Paul’s Cathedral in London, and other Renaissance and Roman architectures are dealt with in the Concealed Structures section. And, as examples of Illusory Structures, we focus on the Alhambra (The Hall of the Two Sisters, the Comares and the Court of the Lions), Saint Sophia, and other Italian Baroque architectures. In the second part of the Thesis the complete work of Mies van der Rohe is analysed from the perspective of these three categories. The visible, the concealed and the illusory, in the structures of Mies. We study how the structure of the house evolves, from the first houses with the Hidden Structure of the brick wall, to the later houses with Visible Structures and columns, via an intermediate phase of mixed-structure houses with brick walls, where steel first began to make its appearance. We also analyse six structural solutions in the Blocks and Towers: reverberant, expressive or inexpressive Visible Structure vs Concealed Structure with horizontal cladding, reticular cladding or vertical cladding. And finally, we look at the three Illusory Structure solutions that Mies employs in his Pavilions. The methodology employed is divided into four sections: a bibliographic analysis; an analysis in situ of the buildings, which allows us to test, for example, the lighting effects of the fluted column in the Parthenon, or the reverberant effect of the Weissenhofsiedlung columns; a critical analysis of plans and constructive details, which leads us to conclude that the arrangement of panels in the Barcelona Pavilion cancels out the structural centreline, and that the column in the Cantor restaurant is placed with its web perpendicular to the truss, and not parallel to it, as one might expect if one wanted to avail of all the load-bearing capacity of the H beam; and lastly, a numeric and structural analysis, which confirms the oversizing of the Court of the Lions structure in the Alhambra or the oversized structure of Farnsworth House. All of which confirms in this Doctoral Thesis that structure is something more, much more, than a mere conveyor of loads.

El fragmento y la abstracción

El tema objeto de esta Tesis, el Fragmento y la Abstracción, es una propuesta de análisis sobre el diálogo entre el fragmento como object trouv�� y la abstracción, como un modo de proceder por parte del autor en el proyecto de arquitectura. En un principio, tal vez la creación artística nació como un intento por comprender la complejidad del mundo en que el ser humano viv��a. Y se dedica a establecer un diálogo con el fragmento, a veces buscando su significado como parte de una historia desconocida, otras como parte de su propia historia pero también como referencia a una etapa mítica, convirtiéndose en símbolo de un paraíso perdido. El fragmento ha dado lugar al diálogo entre obra y autor tanto en música como en literatura o pintura. Esta tesis intenta analizar dicho diálogo en la arquitectura. Esta investigación comienza interrogándose sobre el sentido del fragmento y la abstracción como el modo de pensamiento leve, en definición de Italo Calvino, que nos permite conectar las ideas más alejadas. Para ello, se propusieron cinco modelos para explorar dicha relación. Los edificios elegidos fueron 1.- Villa Adriana 2.- Palacio de Carlos V en la Alhambra 3.- La casa- museo de Sir John Soane 4.- El Carmen de Rodríguez-Acosta 5.- Castelvecchio Dos de ellos residencies imperiales (1 y 2) Dos fortalezas (2 y5) Dos casas-estudio (3 y 4) Las cinco tienen relación con jardines De sus autores no todos son conocidos Tres de ellos se dedicaron a la docencia en arquitectura. Los cinco tienen carácter museográfico. P.D. Durante la investigación, para relacionar a unos y otros, se introdujo a Gian Battista Piranesi como importante nexo de unión entre antigüedad y modernidad. ABSTRACT The subject of this Thesis “Fragment and Abstraction, is a purpose of analysis about the dialogue between fragment as object trouv�� and abstraction, as a way to do by the author in the architectural project. At first, we suppose historically that artistic creation is born as a way to understand the complexity of the world where the human beings lives. They tried to stablish a dialogue with the fragment, looking for its meaning, sometimes as the part of an unknown story, sometimes as part of their own history, but sometimes as reference of mythic times, becoming a symbol of a lost paradise. In arts, fragment is at beginning of many dialogues between craft and the author, as we know in music, literature or painting. This thesis try to analyze this dialogue in architecture. This investigation began asking for the meaning of fragment as something what was broken out from something we do not know, and abstraction as an immaterial way of thinking which let us connecting the most far ideas. Therefore, five architectural model were proposed, in order to explain that relationship. The chosen buildings were: 1- Villa Adriana 2- Charles V Imperator’s Palace at la Alhambra 3- Sir John Soane House -Museum 4- Rodríguez –Acostas’s Carmen 5- Castelvecchio by Carlo Scarpa There are: Two Imperial palaces (the 1st and 2nd), Two fortresses (the 2nd and 5th) Two House-Artist Studio (the 3rd and 4th) Five types of relationship with gardens. The authors, from them, we do not know some of them Three of the architects used to teach architecture All of them went to Rome Now the five buildings have become museum institution.During the investigation, in order to explain the relationship between them, I introduced Giambattista Piranesi as an important nexus to understand the transition from the antiquity to the modernity.

Widespread expression and estrogen regulation of PPEIA-3′ nuclear RNA in the rat brain

We previously identified a novel nuclear RNA species derived from the preproenkephalin (PPE) gene. This transcript, which we have named PPEIA-3′ RNA, hybridizes with probes directed at a region of PPE intron A downstream of an alternative germ-cell transcription start site, but does not contain PPE protein coding sequences. We now report that estrogen treatment of ovariectomized rats increases the expression of conventional PPE heteronuclear RNA, and also induces the expression of PPEIA-3′ RNA, apparently in separate cell populations within the ventromedial nucleus of the hypothalamus. Further, we show that cells expressing PPEIA-3′ are found in several neuronal groups in the rat forebrain and brainstem, with a distinct topographical distribution. High densities of PPEIA-3′ containing cells are found in the reticular thalamic nucleus, the basal forebrain, the vestibular complex, the deep cerebellar nuclei, and the trapezoid body, a pattern that parallels the distribution of atypical nuclear RNAs described by other groups. These results suggest that this diverse neuronal population shares a common set of nuclear factors responsible for the expression and retention of this atypical RNA transcript. The implication of these results for cell-specific gene transcription and regulation in the brain and the possible relationship of PPEIA-3′ RNA and other atypical nuclear RNAs is discussed.

Induction and repression of DAN1 and the family of anaerobic mannoprotein genes in Saccharomyces cerevisiae occurs through a complex array of regulatory sites

The DAN/TIR mannoprotein genes of Saccharomyces cerevisiae (DAN1, DAN2, DAN3, DAN4, TIR1, TIR2, TIR3 and TIR4) are expressed in anaerobic cells while the predominant cell wall proteins Cwp1 and Cwp2 are down-regulated. Elements involved in activation and repression of the DAN/TIR genes were defined in this study, using the DAN1 promoter as a model. Nested deletions in a DAN1/lacZ reporter pinpointed regions carrying activation and repression elements. Inspection revealed two consensus sequences subsequently shown to be independent anaerobic response elements (AR1, consensus TCGTTYAG; AR2, consensus AAAAATTGTTGA). AR1 is found in all of the DAN/TIR promoters; AR2 is found in DAN1, DAN2 and DAN3. A 120 bp segment carrying two copies of AR1 preferentially activated transcription of lacZ under anaerobic conditions. A fusion of three synthetic copies of AR1 to MEL1 was also expressed anaerobically. Mutations in either AR1 site within the 120 bp segment caused a drastic loss of expression, indicating that both are necessary for activation and implying cooperativity between adjacent transcriptional activation complexes. A single AR2 site carried on a 46 bp fragment from the DAN1 promoter activated lacZ transcription under anaerobic conditions, as did a 26 bp synthetic AR2 fragment fused to MEL1. Nucleotide substitutions within the AR2 sequence eliminated the activity of the 46 bp segment. Ablation of the AR2 sequences in the full promoter caused a partial reduction of expression. The presence of the ATTGTT core (recognized by HMG proteins) in the AR2 sequence suggests that an HMG protein may activate through AR2. One region was implicated in aerobic repression of DAN1. It contains sites for the heme-induced Mot3 and Rox1 repressors.

Paris, France, 1367-1383 (Time Series Map 5 of 8) (Raster Image)

This layer is a georeferenced raster image from the historic paper map series entitled: Lutece ... plan de la ville de Paris ..., par M.L.C.D.L.M. ; A. Coquart, delineavit et sculp. It was published by Jean & Pierre Cot in 1705. Scale [ca. 1:10,000]. This image is of map 5 entitled: Cinquiême plan de la ville de Paris son accroissement et sa quatriême clôture commancée sous Charles V. l'an 1367 et finie sous Charles VI. l'an 1383: tiré des devis et marchez faits avec le ouvriers, des procez verbaux de toisez et receptions des ouvrages des comptes rendus par ceux qui en eurent la conduite, de la chronique m.s. de St. Denis et d'autres titres et manuscrits qui sont conservez en la Chambre des Comptes et dans Biblioteques. The map represents Paris, 1367 to 1383. Map in French.The image inside the map neatline is georeferenced to the surface of the earth and fit to the European Datum 1950, Universal Transverse Mercator (UTM) Zone 31N projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, towns and villages, roads, built-up areas and selected buildings, fortification, ground cover, and more. Relief shown by hachures. Includes index, text, and notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

Die galvanoplastik für künstler, gewerbtreibende und freunde der numismatik ... Nebst ergänzenden zusätzen des uebersetzers.

Errors in paging.

Cost-effectiveness of countermeasures for utility pole accidents. Final report.

Federal Highway Administration, Office of Research and Development, Washington, D.C.

Traffic operations control for older drivers. Final report.

Federal Highway Administration, Office of Safety and Traffic Operations Research and Development, McLean, Va.

Chroniques de J. Froissart,

Vol. 8, pt. II, to vol. 11, edited by Gaston Raynaud; vol. 12- by Léon Mirot.

Safety effects of cross-section design for two-lane roads. Volume I - final report.

Federal Highway Administration, Safety Design Division, McLean, Va.

Safety cost-effectiveness of incremental changes in cross-section design - information guide.

Turner-Fairbank Highway Research Center, McLean, Va.

The operation of larger trucks on roads with restrictive geometry. Volume I. Final report.

Federal Highway Administration, Office of Safety and Traffic Operations Research and Development, McLean, Va.

Selection of cost-effective countermeasures for utility pole accidents - user's manual.

Federal Highway Administration, Office of Implementation, McLean, Va.

PEDSAFE : pedestrian safety guide and countermeasure selection system /

"September 2004."