Regulation and innovation: Rethinking 'inclusive' housing design

The Lifetime Homes (LTH) concept initiated in 1989 by the Helen Hamlyn Trust, and subsequently promoted by the Joseph Rowntree Foundation, emerged at a point when there was growing awareness of the decline of both private and public sector housing quality, especially in relation to floorspace standards (Karn & Sheridan, 1994). LTH were intended to offset the concerns of first, the house buying public of the appearance and affordability of homes suitable for successive generations, second, the private house building industry of the cost and marketability of incorporating 'inclusive' design features, and third, Registered Social Landlords (RSLs), who had to balance cost constraints with addressing the needs of a growing number of households with older and/or disabled people. Approved Document Part M of the building regulations was extended in 1999, from public buildings to private dwellings, and currently requires that all new housing meet minimal 'visitability' criteria. Indeed, although the signs are that Part M will be incrementally extended to comprise LTH principles, the paper argues that in their existing form they are insufficient to act as a key component of the government's 'new agenda for British housing'. This paper therefore explores how they might usefully be expanded from an approach, largely based on compromise, to one that inspires innovative, flexible and inclusive house forms, which also challenge design conventions.

Generating virtual environments to allow increased access to the built environment

The problems encountered by individuals with disabilities when accessing large public buildings is described and a solution based on the generation of virtual models of the built environment is proposed. These models are superimposed on a control network infrastructure, currently utilised in intelligent building applications such as lighting, heating and access control. The use of control network architectures facilitates the creation of distributed models that closely mirror both the physical and control properties of the environment. The model of the environment is kept local to the installation which allows the virtual representation of a large building to be decomposed into an interconnecting series of smaller models. This paper describes two methods of interacting with the virtual model, firstly a two dimensional aural representation that can be used as the basis of a portable navigational device. Secondly an augmented reality called DAMOCLES that overlays additional information on a user’s normal field of view. The provision of virtual environments offers new possibilities in the man-machine interface so that intuitive access to network based services and control functions can be given to a user.

Video surveillance : past, present, and now the future

Video surveillance is a part of our daily life, even though we may not necessarily realize it. We might be monitored on the street, on highways, at ATMs, in public transportation vehicles, inside private and public buildings, in the elevators, in front of our television screens, next to our baby?s cribs, and any spot one can set a camera.

The interaction between the physical environments and people

Buildings affect people in various ways. They can help us to work more effectively; they also present a wide range of stimuli for our senses to react to. Intelligent buildings are designed to be aesthetic in sensory terms not just visually appealing but ones in which occupants experience delight, freshness, airiness, daylight, views out and social ambience. All these factors contribute to a general aesthetic which gives pleasure and affects one’s mood. If there is to be a common vision, it is essential for architects, engineers and clients to work closely together throughout the planning, design, construction and operational stages which represent the conception, birth and life of the building. There has to be an understanding of how patterns of work are best suited to a particular building form served by appropriate environmental systems. A host of technologies are emerging that help these processes, but in the end it is how we think about achieving responsive buildings that matters. Intelligent buildings should cope with social and technological changes and also be adaptable to short-term and long-term human needs. We live through our senses. They rely on stimulation from the tasks we are focused on; people around us but also the physical environment. We breathe air and its quality affects the olfactory system; temperature is felt by thermoreceptors in the skin; sound enters our ears; the visual scene is beheld by our eyes. All these stimuli are transmitted along the sensory nervous system to the brain for processing from which physiological and psychological reactions and judgments are formed depending on perception, expectancies and past experiences. It is clear that the environmental setting plays a role in this sensory process. This is the essence of sensory design. Space plays its part as well. The flow of communication is partly electronic but also largely by people meeting face to face. Our sense of space wants different things at different times. Sometimes privacy but other times social needs have to be satisfied besides the organizational requirement to have effective human communications throughout the building. In general if the senses are satisfied people feel better and work better.

Eficientização energética em prédios públicos: um desafio aos gestores municipais frente aos requisitos de governança e sustentabilidade

Este artigo ressalta a importância da eficientização energética em prédios públicos como uma política pública a ser adotada pelos gestores municipais, tanto pelo seu efeito demonstrativo de modernidade e alinhamento aos princípios de sustentabilidade como pela indução do desenvolvimento socioambiental, tecnológico e do mercado. São apresentadas as razões e os desafios para enfrentamento dos problemas relacionados ao alto consumo de energia elétrica em prédios públicos municipais, além de um conjunto de propostas objetivas à adoção de uma nova abordagem para a gestão da demanda e do consumo nessas instalações, destacando-se o estudo e diagnóstico realizado para o governo do município de São Paulo e exemplos ou casos de sucesso, a serem explorados e seguidos.

Murais modernos de Newton Navarro e Dorian Gray

This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of Cândido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city

Análises de elementos arquitetônicos de proteção solar em edificações institucionais na cidade de Natal/RN Diretrizes projetuais

The present work concerns the use of shade elements as architectural elements to block sunlight in public buildings. In a city like Natal, (5o South) the incidence of sunrays in any type of design should be a constant concern for all the architects. Besides, this habit of avoiding insolation in the environment is not a common practice. Within this context, the present work has the objective to dig deep into the knowledge of solar control, studying some cases and verifying its function according to the orientation and the original design of the building, having in mind if the shade elements usually used in the region have achieved their purpose of providing protection against the incidence of direct sun rays. This study considers the position of the shade element (horizontal and vertical), the angle formed between them and the respective facades, and the local of the buildings in relation to their orientation during the summer, winter and equinox solstice. As supporting instruments the solar map of the city and the protractor, for measuring shade angles, were used. It was concluded that in all the cases studied, it was not possible to obtain the maximum use of the elements. It was verified that the best type of shade element (more efficient) for the city of Natal is the mixed type (horizontal and vertical) and that the vertical shade elements are more efficient in the early mornings and late afternoon. The horizontal shade elements are used more effective at midday. We intend to present the results of this study to the architects in the region in order to show them the correct ways of using the shade elements according to the possible orientation on the facade, as a supporting tool at the time of designing a project as well as a subsidy for further discussions on the elaboration of the new urban standards for the city of Natal/RN

Developed and studies on technical and economical viability of an environmental efficient urinal

This work introduces an innovative urinal for public convenience, that promotes at the same time water reuse and personal higiene, in a safe and economical way . Furthermore it demonstrates the latest technology and its technical and economical viabillity of utilization in new and already existing buildings facilities. This new model of personal higiene equipment offers as main benefits the improved economy with subsequent decrease in drinkable water consumption, sanitary safety, low cost and easy installation due to its simplicity and to the fact that it can be installed in already existing facilities. The proposal is constituted by a higienic, ecological and smart system for flushing of public urinals. It is a conjugated system of lavatory and urinal that reuses hands higienization water from the lavatory for flushing purpose. The proposed urinal can be operated manually or automatically by means of a presential sensor. The system promotes drinkable water economy by a rational utilization by avoiding the use of waste water from hand washing in place of clean water for flushing. The proposed equipment increases the economy of clean water in a simple and economical way and it can be installed in any type of public lavatory facilitie such as schools, public buildings, hospitals, commercial buildings, bus terminals, airports, stadiums, parking buildings and shopping centers. Additional benefits of the proposed system is the suggestion of hands washing before and after the use of the urinal without contamination risks from focet handling.and render more attractive the installation for a rational use of clean water in commercial and industrial buildings. Pay-back has shown to be very attractive for a number of internal return rates and also very attractive from the point of view of environmental protection.

Are we building competitive and liveable cities?: Guidelines for developing eco-efficient and socially inclusive infrastructure

This guideline jointly published by The UN Economic and Social Commission for Asia and the Pacific (ESCAP), the UN Economic Commission for Latin America and the Caribbean (ECLAC), and the UN Human Settlements Programme (UN-HABITAT), in partnership with the Urban Design Lab of the Earth Institute, Columbia University, provides practical tools for city planners and decision makers to reform urban planning and infrastructure design according to the principles of eco-efficiency and social inclusiveness. It includes case studies from the Republic of Korea, the Philippines, Japan and Sri Lanka.

Cogeração de energia com motores de combustão interna

The tertiary sector is largely responsible for the growth of electricity consumption in Brazil. The large commercial and public buildings, hypermarkets and shopping centers stand out as major consumers of electricity for lighting, power and thermal energy. Brazil presents significant potential for the deployment of small cogeneration plants, especially in the tertiary sector. Allied to this, the possibility of natural gas supply and the growing demands in favor of maintaining and preserving the environment favor the implementation of cogeneration plants. In this context, this paper presents a technical and economic analysis of installing a cogeneration plant using internal combustion engine with natural gas in a mall

La ricostruzione dell'assetto topografico della VI regio augustea di Roma dal periodo repubblicano all'età tardoantica

La VI regio augustea di Roma rappresenta uno dei settori urbani maggiormente investiti dalle modifiche radicali compiute dall’uomo nel processo di urbanizzazione della città che ne hanno modificato profondamente la situazione altimetrica e la conformazione originaria. Questi notevoli cambiamenti ebbero origine sin dall’età antica, ma si intensificarono profondamente soprattutto nel periodo rinascimentale quando a partire da Pio IV e soprattutto con Sisto V, attivo in tante altre zone della città, si svilupparono numerose opere di rinnovamento urbanistico che incisero notevolmente sul volto e sulle caratteristiche della zona in esame. A partire dal Rinascimento fino ad arrivare ai grandi scavi della fine del 1800 tutto il quartiere incominciò a “popolarsi” di numerosi edifici di grande mole che andarono ad intaccare completamente le vestigia del periodo antico: la costruzione del Palazzo del Quirinale e dei vari palazzi nobiliari ma soprattutto la costruzione dei numerosi ministeri e della prima stazione Termini alla fine dell’800 comportarono numerosi sventramenti senza la produzione di una adeguata documentazione delle indagini di scavo. Questa ricerca intende ricostruire, in un’ottica diacronica, la topografia di uno dei quartieri centrali della Roma antica attraverso l’analisi dei principali fenomeni che contraddistinguono l’evoluzione del tessuto urbano sia per quanto riguarda le strutture pubbliche che in particolar modo quelle private. Infatti, il dato principale che emerge da questa ricerca è che questa regio si configura, a partire già dal periodo tardo-repubblicano, come un quartiere a vocazione prevalentemente residenziale, abitato soprattutto dall’alta aristocrazia appartenente alle più alte cariche dello Stato romano; oltre a domus ed insulae, sul Quirinale, vennero costruiti lungo il corso di tutta l’età repubblicana alcuni tra i più antichi templi della città che con la loro mole occuparono parte dello spazio collinare fino all’età tardoantica, rappresentando così una macroscopica e costante presenza nell’ingombro dello spazio edificato.

Teoria e pratica dell'architettura solare - Morfologia, rendimento, strategia progettuale

La recente Direttiva 31/2010 dell’Unione Europea impone agli stati membri di riorganizzare il quadro legislativo nazionale in materia di prestazione energetica degli edifici, affinchè tutte le nuove costruzioni presentino dal 1° gennaio 2021 un bilancio energetico tendente allo zero; termine peraltro anticipato al 1° gennaio 2019 per gli edifici pubblici. La concezione di edifici a energia “quasi” zero (nZEB) parte dal presupposto di un involucro energeticamente di standard passivo per arrivare a compensare, attraverso la produzione preferibilmente in sito di energia da fonti rinnovabili, gli esigui consumi richiesti su base annuale. In quest’ottica la riconsiderazione delle potenzialità dell’architettura solare individua degli strumenti concreti e delle valide metodologie per supportare la progettazione di involucri sempre più performanti che sfruttino pienamente una risorsa inesauribile, diffusa e alla portata di tutti come quella solare. Tutto ciò in considerazione anche della non più procrastinabile necessità di ridurre il carico energetico imputabile agli edifici, responsabili come noto di oltre il 40% dei consumi mondiali e del 24% delle emissioni di gas climalteranti. Secondo queste premesse la ricerca pone come centrale il tema dell’integrazione dei sistemi di guadagno termico, cosiddetti passivi, e di produzione energetica, cosiddetti attivi, da fonte solare nell’involucro architettonico. Il percorso sia analitico che operativo effettuato si è posto la finalità di fornire degli strumenti metodologici e pratici al progetto dell’architettura, bisognoso di un nuovo approccio integrato mirato al raggiungimento degli obiettivi di risparmio energetico. Attraverso una ricognizione generale del concetto di architettura solare e dei presupposti teorici e terminologici che stanno alla base della stessa, la ricerca ha prefigurato tre tipologie di esito finale: una codificazione delle morfologie ricorrenti nelle realizzazioni solari, un’analisi comparata del rendimento solare nelle principali aggregazioni tipologiche edilizie e una parte importante di verifica progettuale dove sono stati applicati gli assunti delle categorie precedenti

Juan Martínez Gutiérrez y la modernización de la arquitectura chilena

La presente tesis para optar al grado de Doctor en la Escuela Técnica Superior de Arquitectura de la Universidad Politécnica de Madrid, aborda la obra del arquitecto de origen español Juan Martínez Gutiérrez, reconocido por la crítica especializada como uno de los precursores de la arquitectura moderna en Chile. A pesar de la relevancia de su obra, en la actualidad se carece de un estudio sistematizado y preciso que, de manera global, expongan los factores de modernidad de sus principales edificios, aun cuando han aparecido en los últimos años dos publicaciones referentes al arquitecto y parcialmente a su obra. Formado tanto en arquitectura como en pintura, la labor profesional de Juan Martínez Gutiérrez se inscribió en un contexto de modernización de la sociedad chilena entre la década del 20 y del 50, adjudicándose mediante concurso público, el diseño de cinco edificios institucionales y de carácter público, los que conforman en la actualidad bienes de carácter patrimonial estando dos de ellos declarados Monumento Histórico. Se desenvolvió también en el ámbito de la docencia siendo profesor de la Facultad de Arquitectura y Urbanismo de la Universidad de Chile por más de 35 años y Decano de la misma institución. Participó asimismo de la vida gremial de la profesión, recibiendo en el año 1969 el primer premio nacional de arquitectura. Sus edificios públicos, se han mantenido en uso siendo hitos urbanos y en el ámbito disciplinar reconocidas obras ejemplares. Sin embargo, al comenzar el siglo XXI, cuando la modernidad se nos presenta desde la historicidad, surge la pregunta por los valores que sustenta la arquitectura de Juan Martínez, en relación a su tiempo y a la actualidad. En este ámbito reflexivo se plantea la puesta en tesis de la presente investigación, donde las principales obras del arquitecto se analizan inquiriendo su condición de modernidad a la luz de un contexto local cuyas problemáticas sociales son aunadas por el proyecto desarrollista estatal de la primera mitad del siglo XX; interpelando algunos aspectos del estado técnico del país durante el periodo; las tendencias estéticas imperantes de la época y el entorno urbano en el que se emplazan. Al mismo tiempo, el desarrollo de la tesis examina un tópico referencial de la modernidad latinoamericana, que es el influjo europeo en el punto de inflexión que va desde el fin del modelo academicista y la incorporación de los preceptos de un funcionalismo y racionalismo arquitectónico, todo ello mediado por los condicionantes locales. ABSTRACT The following thesis, to achieve the Doctor´s degree at the Superior Technical School of Architecture of the Polytechnic University of Madrid aboard the work of the chilean architect of spanish origin Juan Martinez Gutierrez, recognized by specialized critic as one of the forefathers of modern architecture in Chile. Although the relevance of his work, currently there is no systematic and precise study of it. A study that in a global view exposes the factors of modernity in his foremost buildings. The absence of such study is, despite the appearance in the last two years of two publications about the architect and –partially- his work. Formed as much in architecture as in painting, the professional labor of Juan Martinez Gutierrez was inscribed in the context of Chilean society modernization, between the decades of the 20´s and 30´s. Awarding himself, by means of architectural contests, the design of institutional buildings of public use, witch conform current cultural goods, two of them having been declared National Monuments; a category of cultural heritage officially protected by the state. He also developed an important academic work, being for more than 35 years, professor at the Faculty of Architecture and Urbanism at the University of Chile and in his time, Faculty Dean. He also participated, actively, in guild life, being awarded in 1969 the first ever, National Prize of Architecture. His public buildings, still in use, are urban landmarks and exemplar works in a disciplinary dimension. Never the less, at the begins of the XXI century, when the modern movement is presented to us from an historical viewpoint, even from historicity, questions surge about the values that sustain Juan Martinez´s architecture in relation to his time and ours. It is in this reflexive field, that is planted the thesis of the present research, where the principal works of the architect are analyzed inquiring their modern condition, at the light of a local context who´s social problems join the chilean social development state the “Estado Desarrolista” of the first half of the XX century, a situation that interpellants several dimensions: the technical status of the country during the period, the aesthetic tendencies prevailing, and the urban context were they place themselves. At the same time, in its development, the thesis examines a referential topic, that is the Latin American modern movement, or the European influx in that inflexion point that goes from the end of academicism Beaux – Art model and the incorporation of functional and rationalist precepts, all mediated by local conditions.

La silla de la discordia : la pequeña escala como campo de experimentación en la modernidad : Breuer, Mies y Stam

El siglo XIX fue un siglo dedicado a los grandes edificios públicos. Los teatros, las academias, los museos. Sin embargo la arquitectura durante el siglo XX se dedicará al estudio de la casa. Todos los usos y tipologías se verán fuertemente revisados pero el núcleo de todos los esfuerzos y verdadero inicio de la arquitectura moderna será la vivienda. A partir de ella todos los preceptos modernos se irán aplicando a los distintos programas. Nikolaus Pevsner señala a William Morris como el primer arquitecto moderno porque precisamente entendió que un arte verdaderamente social, en consonancia con su tiempo y la sociedad a la que sirve, ha de ocuparse de aquello que preocupe a la gente. Con la nueva situación de la vivienda en el centro de las motivaciones disciplinares el mueble adopta un nuevo protagonismo. En un momento avanzado de su carrera Marcel Breuer observa entre curioso e irónico cómo el mueble moderno había sido promocionado paradójicamente no por los diseñadores de muebles sino por los arquitectos1. La respuesta la da Le Corbusier en una de sus conferencias de 1931 recogida en Precisiones 2 cuando señala la reformulación del mobiliario como el "nudo gordiano" de cuya resolución pendía la renovación de la planta moderna. El Movimiento Moderno se había visto obligado a atacar este tema para poder avanzar en sus propuestas domésticas. El Movimiento Moderno se propuso solucionar los problemas de la vivienda y de una Europa en reconstrucción pero se exigía además ser capaz de aportar una visión propositiva de la vida moderna. No se trataba únicamente de resolver los problemas ya existentes sino que además había la necesidad autoimpuesta de anticipar la domesticidad del futuro. Para ello sus viviendas al completo, mueble e inmueble, debían de presentarse bajo esa nueva imagen. El manifiesto fundacional de la Deustcher Werkbund extendía el radio de acción del nuevo arquitecto desde la construcción de las ciudades a los cojines del sofá. Este mobiliario tenía la compleja misión de condensar sintéticamente todos esos ideales que la modernidad había traído consigo: abstracción, higiene, fascinación maquínica, confianza positivista en la ciencia o la expresión material optimizada. Objetos de la vida moderna, en palabras de Le Corbusier, susceptibles de suscitar un estado de vida moderno. Pocas sillas en la historia del diseño habrán acarreado tanta polémica y tanta disputa por su autoría como la sillas voladas de tubo de acero en sus diferentes versiones. Para entenderlo situémonos en el año 1927 a las puertas de la exposición "Die Wohnung" ("La vivienda") organizada por los maestros de la Bauhaus y dirigida por Mies van der Rohe en la ladera Weissenhof de Stuttgart. Muchos nombres célebres de la arquitectura mostraron en esa ocasión su personal propuesta para la vivienda moderna y los objetos que la habitan. Entre ellos los muebles con tubo de acero fueron una presencia constante en la exposición pero hubo una pieza que destacó sobre todas las demás por su novedad y audacia. La pieza en cuestión era el modelo de silla volada, esto es, sin apoyos posteriores y cuya rigidez estaba conferida al esfuerzo solidario de la estructura continua de tubo de acero y que terminaría por convertirse en el cruce de caminos de tres figuras de la disciplina arquitectónica: Marcel Breuer, Mies van der Rohe y Mart Stam. Cada uno de ellos desarrolló su propio modelo de silla volada en sus versiones MR por parte de Mies, L&C Arnold de Stam y el posterior modelo BR 33 de Marcel Breuer. Los tres, en algún momento de su vida reclamaron de uno u otro modo su autoría como objetos que les pertenecían intelectualmente. Estas sillas se convirtieron en la expresión máxima de uno de los ansiados anhelos de la modernidad, la propia materialidad del acero, en su versión optimizada, era la que había derivado en una forma completamente nueva de un objeto cotidiano y cuyo tipo estaba ya totalmente asumido. Los nuevos materiales y las nuevas formas de hacer habían irrumpido hasta en los utensilios domésticos, y habían sido capaces de reformularlos. El punto de partida para esta investigación es precisamente esa coincidencia de tres figuras de la arquitectura moderna, los tres de formación artesanal, en un mismo modelo de silla y en una misma fecha. Tres arquitectos que se habían encargado de asegurar que el movimiento moderno no reconocía problemas formales sino solamente de construcción, iban a coincidir en el mismo tiempo y lugar, precisamente en una misma forma, como si tal coincidencia hubiera sido producto de una voluntad de época. Sin embargo el interés de este estudio no radica en una indagación sobre la autoría sino sobre cómo un mismo objeto resulta ser propositivo e interesante en campos muy diversos y la forma en que cada uno lo hace suyo incorporándolo a su propia investigación proyectual. La silla, más allá de ser un objeto de diseño exclusivamente, trasciende su propia escala para situarse inmersa en un proceso de búsqueda y exploración a nivel conceptual, formal, constructivo y estructural en la arquitectura cada uno de ellos. En un momento en que el oficio del arquitecto está siendo intensamente redefinido considero especialmente pertinente esta investigación, que en definitiva versa sobre la forma distintiva en que el pensamiento arquitectónico es capaz de proyectarse sobre cualquier disciplina para reformularla. ABSTRACT The nineteenth century was a century dedicated to the great public buildings; theaters, schools or museums. However the architecture in the twentieth century was devoted to the study of housing. All uses and typologies were heavily revised but the focus of all efforts and true beginning of modern architecture was housing. From these beginnings all modern precepts were applied to the various programs. Nikolaus Pevsner points to William Morris as the first modern architect precisely because he understood that a truly social art in line with its time and the society it serves must deal with social concerns at that time. With the new housing situation at the center of disciplinary concerns furniture took on a new prominence. At an advanced stage of his career Marcel Breuer observed partly with curiosity, partly with irony how modern furniture had been promoted not by furniture designers but by architects. The answer is given by Le Corbusier in one of his lectures of 1931 collected in Precisions when he pointed the reformulation of furniture as the "Gordian knot" for the renewal of modern plan resolution. Modernism had been forced to confront this issue in order to advance their domestic approaches. Modernism not only put forward a solution to the problems of housing and a Europe under reconstruction but is also needed to be able to contribute to an exciting vision of modern life. Not only did solve existing problems but also it had the self-imposed necessity of anticipating future domesticity and to do their houses full, movable and immovable, they should be submitted under this new image. The founding manifesto of the Deutsche Werkbund extended the scope of the new architect from building cities to the couch cushions. This furniture had the complex mission of synthetically condensing all the ideals of modernity had brought with it: abstraction, hygiene, mechanization, positivist confidence in science or material expression. Objects of modern life, in words of Le Corbusier, were likely to give rise a state of modern life. Few chairs in design history have resulted in so much controversy and so much dispute over their invention as the various versions of cantilevered tubular steel chairs. To understand this let us place ourselves in 1927 at the gates of the exhibition "Die Wohnung" ("Housing") organized by the teachers of the Bauhaus and directed by Mies van der Rohe in Stuttgart Weissenhoflung. Many famous names in architecture at that time showed their personal proposals for modern housing and the objects that inhabit them. Amongst these objects, the steel tube furniture was a constant presence at the exhibition but there was a piece so audacious that it stood out from all the others. This piece in question was the cantilever model chair, that is, which had no further rear support and whose rigidity was attributed to the solidity of its continues structure of steel tube. This piece would eventually become the crossroads of three very different personalities: Mart Stam, Marcel Breuer and Mies van der Rohe. Each of them developed their own model of cantilevered chair in different versions; The MR model developed by Mies van der Rohe, the L&C by Arnold Stam and a later model BR 33 by Marcel Breuer, and the three, at some point in their lives demanded the authorship of its invention as objects that belonged to them intellectually. These chairs epitomized one of the coveted objects of modernity, steel material in its optimized version, was what had led to a completely new form of an everyday object whose this type was fully adopted on board in design. New materials and production methods had burst into world of household objects, and had been able to reformulate their design. The bold design then became a dark object of controversy. The starting point for this doctoral thesis is the concurrent invention of the same model of chair by three different figures of modern architecture. These three architects, who were responsible for ensuring that the modern movement considered construction rather than form as the main design consideration, were working in the same place and at the same point in time. It was almost as if these three architects were shaped by the culture of the time (Zeitgeist). However the focus of this study lies not in an investigation of responsibility of ownership but in the investigation fo how the same object can turn out to be purposeful and interesting in many different fields and the way in which each researcher makes it his own by developing his own project research. 1927, the year of their meeting, was a initiatory year in the career of our players. The chair, beyond being only a design object transcended its own scale and became immersed in a process of research and development on a conceptual, formal, structural and constructive level in the architectural approach of each of the architects. At a time when the role of the architect is being redefined intensely I consider this research, which ultimately concerns the distinctive way the architectural thought can be projected onto and reformulate any discipline, to be particularly relevant.