Using plant functional traits and phylogenies to understand patterns of plant community assembly in a seasonal tropical forest in Lao PDR

Plant functional traits reflect different evolutionary responses to environmental variation, and among extant species determine the outcomes of interactions between plants and their environment, including other plant species. Thus, combining phylogenetic and trait-based information can be a powerful approach for understanding community assembly processes across a range of spatial scales. We used this approach to investigate tree community composition at Phou Khao Khouay National Park (18°14’-18°32’N; 102°38’- 102°59’E), Laos, where several distinct forest types occur in close proximity. The aim of our study was to examine patterns of plant community assembly across the strong environmental gradients evident at our site. We hypothesized that differences in tree community composition were being driven by an underlying gradient in soil conditions. Thus, we predicted that environmental filtering would predominate at the site and that the filtering would be strongest on sandier soil with low pH, as these are the conditions least favorable to plant growth. We surveyed eleven 0.25 ha (50x50 m) plots for all trees above 10 cm dbh (1221 individual trees, including 47 families, 70 genera and 123 species) and sampled soils in each plot. For each species in the community, we measured 11 commonly studied plant functional traits covering both the leaf and wood economic spectrum traits and we reconstructed a phylogenetic tree for 115 of the species in the community using rbcL and matK sequences downloaded from Genebank (other species were not available). Finally we compared the distribution of trait values and species at two scales (among plots and 10x10m subplots) to examine trait and phylogenetic community structures. Although there was strong evidence that an underlying soil gradient was determining patterns of species composition at the site, our results did not support the hypothesis that the environmental filtering dominated community assembly processes. For the measured plant functional traits there was no consistent pattern of trait dispersion across the site, either when traits were considered individually or when combined in a multivariate analysis. However, there was a significant correlation between the degree of phylogenetic dispersion and the first principle component axis (PCA1) for the soil parameters.Moreover, the more phylogenetically clustered plots were on sandier soils with lower pH. Hence, we suggest that the community assembly processes across our sitemay reflect the influence ofmore conserved traits that we did not measure. Nevertheless, our results are equivocal and other interpretations are possible. Our study illustrates some difficulties in combining trait and phylogenetic approaches that may result from the complexities of integrating spatial and evolutionary processes that vary at different scales.

Genetic consequences of habitat fragmentation during a range expansion

We investigate the effect of habitat fragmentation on the genetic diversity of a species experiencing a range expansion. These two evolutionary processes have not been studied yet, at the same time, owing to the difficulties of deriving analytic results for non-equilibrium models. Here we provide a description of their interaction by using extensive spatial and temporal coalescent simulations and we suggest guidelines for a proper genetic sampling to detect fragmentation. To model habitat fragmentation, we simulated a two-dimensional lattice of demes partitioned into groups (patches) by adding barriers to dispersal. After letting a population expand on this grid, we sampled lineages from the lattice at several scales and studied their coalescent history. We find that in order to detect fragmentation, one needs to extensively sample at a local level rather than at a landscape level. This is because the gene genealogy of a scattered sample is less sensitive to the presence of genetic barriers. Considering the effect of temporal changes of fragmentation intensities, we find that at least 10, but often >100, generations are needed to affect local genetic diversity and population structure. This result explains why recent habitat fragmentation does not always lead to detectable signatures in the genetic structure of populations. Finally, as expected, long-distance dispersal increases local genetic diversity and decreases levels of population differentiation, efficiently counteracting the effects of fragmentation.

The scaling of genetic diversity in a changing and fragmented world

Most species do not live in a constant environment over space or time. Their environment is often heterogeneous with a huge variability in resource availability and exposure to pathogens or predators, which may affect the local densities of the species. Moreover, the habitat might be fragmented, preventing free and isotropic migrations between local sub-populations (demes) of a species, making some demes more isolated than others. For example, during the last ice age populations of many species migrated towards refuge areas from which re-colonization originated when conditions improved. However, populations that could not move fast enough or could not adapt to the new environmental conditions faced extinctions. Populations living in these types of dynamic environments are often referred to as metapopulations and modeled as an array of subdivisions (or demes) that exchange migrants with their neighbors. Several studies have focused on the description of their demography, probability of extinction and expected patterns of diversity at different scales. Importantly, all these evolutionary processes may affect genetic diversity, which can affect the chance of populations to persist. In this chapter we provide an overview on the consequences of fragmentation, long-distance dispersal, range contractions and range shifts on genetic diversity. In addition, we describe new methods to detect and quantify underlying evolutionary processes from sampled genetic data.

Host and Environmental Influences on Development of Disease

While many myxozoan parasites produce asymptomatic infections in fish hosts, several species cause diseases whose patterns of prevalence and pathogenicity are highly dependent on host and environmental factors. This chapter reviews how these factors influence pathogenicity and disease prevalence. Influential host factors include age, size and nutritional state. There is also strong evidence for host strains that vary in resistance to infection and that there is a genetic basis for resistance. A lack of co-evolutionary processes appears to generally underly the devastating impacts of diseases caused by myxozoans when introduced fish are exposed to novel parasites (e.g. PKD in rainbow trout in Europe) or when native fish are exposed to an introduced parasite (e.g. whirling disease in North America). Most available information on abiotic factors relates to water temperature, which has been shown to play a crucial role in several host parasite systems (e.g. whirling disease, PKD) and is therefore of concern in view of global warming, fish health and food sustainability. Eutrophication may also influence disease development. Abiotic factors may also drive fish disease via their impact on parasite development in invertebrate hosts.

A Word. Palaver and Its Transferal Residues

The word 'palaver' is colloquially associated with useless verbiage and the nuisance of a tediously long, aimless and superfluous debate. At the same time, it insinuates an uncivilized culture of discourse beyond reason. Thus it appears to be of vaguely exotic origin but still firmly set in the European lexicon. Yet behind this contemporary meaning there lies a long history of linguistic and cultural transfers which is encased in a context of different usages of language and their intersections. By tracing the usage and semantics of 'palaver' in various encyclopaedias, glossaries and dictionaries of English, French, German, Portuguese and Spanish, the following article explores the rich history of this word. Moreover, it also regards the travelling semantics of the term 'palaver' as a process of cultural transfer that can be likened to the microcellular workings of a (retro)virus. Viral reproduction and evolution work through processes of transfer that enable the alteration of the host to adjust it to the replication and reproduction of the virus. In some cases, these processes also allow for the mutation or modification of the virus, making it suitable for transfer from one host to another. The virus is thus offered here as a vital model for cultural transfer: It not only encompasses the necessary adoption and adaption of contents or objects of cultural transfer in different contexts. It contributes to a conceptual understanding of the transferal residue that the transferred content is endowed with by its diversifying contexts. This model thereby surpasses an understanding of cultural transfer as literal translation or transmission: it conceptualizes cultural transfer as an agent of evolutionary processes, allowing for mutational effects of transfer as endowment.

Mechanisms and evolution of plant resistance to aphids

Aphids are important herbivores of both wild and cultivated plants. Plants rely on unique mechanisms of recognition, signalling and defence to cope with the specialized mode of phloem feeding by aphids. Aspects of the molecular mechanisms underlying aphid-plant interactions are beginning to be understood. Recent advances include the identification of aphid salivary proteins involved in host plant manipulation, and plant receptors involved in aphid recognition. However, a complete picture of aphid-plant interactions requires consideration of the ecological outcome of these mechanisms in nature, and the evolutionary processes that shaped them. Here we identify general patterns of resistance, with a special focus on recognition, phytohormonal signalling, secondary metabolites and induction of plant resistance. We discuss how host specialization can enable aphids to co-opt both the phytohormonal responses and defensive compounds of plants for their own benefit at a local scale. In response, systemically induced resistance in plants is common and often involves targeted responses to specific aphid species or even genotypes. As co-evolutionary adaptation between plants and aphids is ongoing, the stealthy nature of aphid feeding makes both the mechanisms and outcomes of these interactions highly distinct from those of other herbivore-plant interactions. © 2016 Macmillan Publishers Limited.

Targeted Deletion Of Functionally Validated Enhancers Defines Their Role in Mouse Limb Development

Transcriptional enhancers are genomic DNA sequences that contain clustered transcription factor (TF) binding sites. When combinations of TFs bind to enhancer sequences they act together with basal transcriptional machinery to regulate the timing, location and quantity of gene transcription. Elucidating the genetic mechanisms responsible for differential gene expression, including the role of enhancers, during embryological and postnatal development is essential to an understanding of evolutionary processes and disease etiology. Numerous methods are in use to identify and characterize enhancers. Several high-throughput methods generate large datasets of enhancer sequences with putative roles in embryonic development. However, few enhancers have been deleted from the genome to determine their roles in the development of specific structures, such as the limb. Manipulation of enhancers at their endogenous loci, such as the deletion of such elements, leads to a better understanding of the regulatory interactions, rules and complexities that contribute to faithful and variant gene transcription – the molecular genetic substrate of evolution and disease. To understand the endogenous roles of two distinct enhancers known to be active in the mouse embryo limb bud we deleted them from the mouse genome. I hypothesized that deletion of these enhancers would lead to aberrant limb development. The enhancers were selected because of their association with p300, a protein associated with active transcription, and because the human enhancer sequences drive distinct lacZ expression patterns in limb buds of embryonic day (E) 11.5 transgenic mice. To confirm that the orthologous mouse enhancers, mouse 280 and 1442 (M280 and M1442, respectively), regulate expression in the developing limb we generated stable transgenic lines, and examined lacZ expression. In M280-lacZ mice, expression was detected in E11.5 fore- and hindlimbs in a region that corresponds to digits II-IV. M1442-lacZ mice exhibited lacZ expression in posterior and anterior margins of the fore- and hindlimbs that overlapped with digits I and V and several wrist bones. We generated mice lacking the M280 and M1442 enhancers by gene targeting. Intercrosses between M280 -/+ and M1442 -/+, respectively, generated M280 and M1442 null mice, which are born at expected Mendelian ratios and manifest no gross limb malformations. Quantitative real-time PCR of mutant E11.5 limb buds indicated that significant changes in transcriptional output of enhancer-proximal genes accompanied the deletion of both M280 and M1442. In neonatal null mice we observed that all limb bones are present in their expected positions, an observation also confirmed by histology of E18.5 distal limbs. Fine-scale measurement of E18.5 digit bone lengths found no differences between mutant and control embryos. Furthermore, when the developmental progression of cartilaginous elements was analyzed in M280 and M1442 embryos from E13.5-E15.5, transient development defects were not detected. These results demonstrate that M280 and M1442 are not required for mouse limb development. Though M280 is not required for embryonic limb development it is required for the development and/or maintenance of body size – adult M280 mice are significantly smaller than control littermates. These studies highlight the importance of experiments that manipulate enhancers in situ to understand their contribution to development.

Evolution of cis-regulatory elements in a repetitive sequence adjacent to a sea urchin aboral ectoderm -specific gene

The creation, preservation, and degeneration of cis-regulatory elements controlling developmental gene expression are fundamental genome-level evolutionary processes about which little is known. In this study, critical differences in cis-regulatory elements controlling the expression of the sea urchin aboral ectoderm-specific spec genes were identified and explored. In genomes of species within the Strongylocentrotidae family, multiple copies of a repetitive sequence element termed RSR were present, but RSRs were not detected in genomes of species outside Strongylocentrotidae. RSRs are invariably associated with spec genes, and in Strongylocentrotus purpuratus, the spec2a RSR functioned as a transcriptional enhancer displaying greater activity than RSRs from the spec1 or spec2c paralogs. Single base-pair differences at two cis-regulatory elements within the spec2a RSR greatly increased the binding affinities of four transcription factors: SpCCAAT-binding factor at one element and SpOtx, SpGoosecoid, and SpGATA-E at another. The cis-regulatory elements to which SpCCAAT-binding factor, SpOtx, SpGoosecoid, and SpGATA-E bound were recent evolutionary acquisitions that could act either to activate or repress transcription, depending on the cell type. These elements were found in the spec2a RSR ortholog in Strongylocentrotus pallidus but not in the RSR orthologs of Strongylocentrotus droebachiensis or Hemicentrotus pulcherrimus. These results indicate that spec genes exhibit a dynamic pattern of cis-regulatory element evolution while stabilizing selection preserves their aboral ectoderm expression domain. ^

Planificación en territorios rurales

La planificación del territorio no puede transcurrir disociado de las actuales estrategias marco del desarrollo rural. Actualmente, el término “territorial" está presente (explícita o implícitamente) en la mayoría de las publicaciones que abordan el tema del desarrollo. Se está dando una revalorización, un resurgimiento del concepto de territorio, no sólo como soporte físico, sino como un “agente" fundamental de desarrollo. En la bibliografía especializada, se afirma que la visión territorial del desarrollo permite superar la mirada sectorial, favoreciendo una interpretación ampliada de lo rural, incorporando elementos de otras actividades no agrícolas y de la economía de los recursos naturales. En tal contexto y dada la revalorización del “territorio" entendido ahora como un factor estratégico en el desarrollo de las zonas rurales, es justamente que las premisas de ordenamiento territorial toman un lugar destacado en los procesos de desarrollo rural. El presente artículo tiene por finalidad comparar brevemente los procesos evolutivos de los conceptos de desarrollo rural y ordenamiento territorial, como así también resaltar la estrecha vinculación entre ambos. Para ello se analizan, en primer lugar, las principales características de las estrategias de Desarrollo Rural aplicadas en América Latina, hasta llegar a las actuales implicancias del modelo territorial de desarrollo. Luego, se avanza sobre las concepciones del ordenamiento territorial para terminar posteriormente, reafirmando las vinculaciones que existen entre ambos conceptos.

Experiment: Adaptation of a globally important coccolithophore to ocean warming and acidification

Although oceanwarming and acidification are recognized as two major anthropogenic perturbations of today's oceanswe know very little about how marine phytoplankton may respond via evolutionary change.We tested for adaptation to ocean warming in combination with ocean acidification in the globally important phytoplankton species Emiliania huxleyi. Temperature adaptation occurred independently of ocean acidifcation levels. Exponential growth rates were were up to 16% higher in populations adapted for one year to warming when assayed at their upper thermal tolerance limit. Particulate inorganic (PIC) and organic (POC) carbon production was restored to values under present-day ocean conditions, owing to adaptive evolution, and were 101% and 55% higher under combined warming and acidification, respectively, than in non-adapted controls. Cells also evolved to a smaller size while they recovered their initial PIC:POC ratio even under elevated CO2. The observed changes in coccolithophore growth, calcite and biomass production, cell size and elemental composition demonstrate the importance of evolutionary processes for phytoplankton performance in a future ocean. At the end of a 1-yr temperature selection phase, we conducted a reciprocal assay experiment in which temperature-adapted asexual populations were compared to the respective non-adapted control populations under high temperature, and vice versa (1. Assay Data, Dataset #835336). Mean exponential growth rates ? in treatments subjected to high temperature increased rapidly under all high temperature-CO2 treatment combinations during the temperature selection phase (2. time series, Dataset #835339).

Hacia un análisis cuantitativo de la Ciudad Informal: una aproximación desde la Habitabilidad Básica y la experiencia en Makeni (Sierra Leona)

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.

Trans arquitectura : imaginación, invención e individuación del objeto técnico arquitectónico : transferencia tecnológica desde la industria del transporte al proyecto arquitectónico (1900-1973)

Se presenta la tesis doctoral, titulada ‘TRANS Arquitectura. Imaginación, Invención e individuación del objeto tecnico arquitectónico. Transferencia tecnológica desde la Industria del Transporte al Proyecto de Arquitectura [1900-1973]'’, que aborda la relación entre la Arquitectura y el Objeto Técnico durante la Modernidad.1 La temática de la tesis gravita en torno a la cultura técnica, la cultura material y la historia de la Tecnología del siglo XX. Hipótesis Se sostiene aquí la existencia de unas arquitecturas que se definen como Objetos Técnicos. Para demostrarlo se estudia si éstas comparten las mismas propiedades ontológicas de los objetos técnicos. Industria y Arquitectura La historia de la Arquitectura Moderna es la historia de la Industria Moderna y sus instalaciones industriales, sus productos y artefactos o sus procedimientos y procesos productivos. Fábricas, talleres, acerías, astilleros, minas, refinerías, laboratorios, automóviles, veleros, aviones, dirigibles, transbordadores, estaciones espaciales, electrodomésticos, ordenadores personales, teléfonos móviles, motores, baterías, turbinas, aparejos, cascos, chassis, carrocerías, fuselajes, composites, materiales sintéticos, la cadena de montaje, la fabricación modular, la cadena de suministros, la ingeniería de procesos, la obsolescencia programada… Todos estos objetos técnicos evolucionan constantemente gracias al inconformismo de la imaginación humana, y como intermediarios que son, cambian nuestra manera de relacionarnos con el mundo. La Arquitectura, al igual que otros objetos técnicos, media entre el hombre y el mundo. Con el objetivo de reducir el ámbito tan vasto de la investigación, éste se ha filtrado a partir de varios parámetros y cualidades de la Industria, estableciendo un marco temporal, vinculado con un determinado modo de hacer, basado en la ciencia. El inicio del desarrollo industrial basado en el conocimiento científico se da desde la Segunda Revolución Industrial, por consenso en el último tercio del siglo XIX. Este marco centra el foco de la tesis en el proceso de industrialización experimentado por la Arquitectura desde entonces, y durante aproximadamente un siglo, recorriendo la Modernidad durante los 75 primeros años del siglo XX. Durante este tiempo, los arquitectos han realizado transferencias de imágenes, técnicas, procesos y materiales desde la Industria, que ha servido como fuente de conocimiento para la Arquitectura, y ha evolucionado como disciplina. Para poder abordar más razonablemente un periodo tan amplio, se ha elegido el sector industrial del transporte, que históricamente ha sido, no sólo fuente de inspiración para los Arquitectos, sino también fuente de transferencia tecnológica para la Arquitectura. Conjuntos técnicos como los astilleros, fábricas de automóviles o hangares de aviones, individuos técnicos como barcos, coches o aviones, y elementos técnicos como las estructuras que les dan forma y soporte, son todos ellos objetos técnicos que comparten propiedades con las arquitecturas que aquí se presentan. La puesta en marcha de la cadena móvil de montaje en 1913, se toma instrumentalmente como primer foco temporal desde el que relatar la evolución de numerosos objetos técnicos en la Primera Era de la Máquina; un segundo foco se sitúa en 19582, año de la creación de la Agencia Espacial norteamericana (NASA), que sirve de referencia para situar la Segunda Era de la Máquina. La mayoría de los objetos técnicos arquitectónicos utilizados para probar la hipótesis planteada, gravitan en torno a estas fechas, con un rango de más menos 25 años, con una clara intención de sincronizar el tiempo de la acción y el tiempo del pensamiento. Arquitectura y objeto técnico Los objetos técnicos han estado siempre relacionados con la Arquitectura. En el pasado, el mismo técnico que proyectaba y supervisaba una estructura, se ocupaba de inventar los ingenios y máquinas para llevarlas a cabo. Los maestros de obra, eran verdaderos ‘agentes de transferencia tecnológica’ de la Industria y su conocimiento relacionaba técnicas de fabricación de diferentes objetos técnicos. Brunelleschi inventó varia grúas para construir la cúpula de Santa Maria dei Fiori (ca.1461), seguramente inspirado por la reedición del tratado de Vitruvio, De Architectura (15 A.C.), cuyo último capítulo estaba dedicado a las máquinas de la arquitectura clásica romana, y citaba a inventores como Archimedes. El arquitecto florentino fue el primero en patentar un invento en 1421: una embarcación anfibia que serviría para transportar mármol de Carrara por el río Arno, para su obra en Florencia. J. Paxton. Crystal Palace. London 1851. Viga-columna. Robert McCormick. Cosechadora 1831. 2ª patente, 1845. La Segunda Revolución Industrial nos dejó un primitivo ejemplo moderno de la relación entre la Arquitectura y el objeto técnico. El mayor edificio industrializado hasta la fecha, el Crystal Palace de Londres, obra de Joseph Paxton, fue montado en Londres con motivo de la Gran Exposición sobre la Industria Mundial de 1851, y siempre estará asociado a la cosechadora McCormick, merecedora del Gran Premio del Jurado. De ambos objetos técnicos, podrían destacarse características similares, como su origen industrial, y ser el complejo resultado de un ensamblaje simple de elementos técnicos. Desde la entonces, el desarrollo tecnológico ha experimentado una aceleración continuada, dando lugar a una creciente especialización y separación del conocimiento sobre las técnicas antes naturalmente unidas. Este proceso se ha dado a expensas del conocimiento integrador y en detrimento de la promiscuidad entre la Industria y la Arquitectura. Este es, sin lugar a dudas, un signo consustancial a nuestro tiempo, que provoca un natural interés de los arquitectos y otros tecnólogos, por las transferencias, trans e inter-disciplinareidades que tratan de re-establecer los canales de relación entre los diferentes campos del conocimiento. La emergencia de objetos técnicos como los vehículos modernos a principios del siglo XX (el automóvil, el trasatlántico, el dirigible o el aeroplano) está relacionada directamente con la Arquitectura de la Primera Era de la Máquina. La fascinación de los arquitectos modernos por aquellas nuevas estructuras habitables, se ha mantenido durante más de un siglo, con diferente intensidad y prestando atención a unos objetos técnicos u otros, oscilando entre el dominio del valor simbólico de los vehículos como objetosimágenes, durante el periodo heroico de la Primera Era de la Máquina, y la mirada más inquisitiva durante la Segunda, que perseguía un conocimiento más profundo de la organización de los mismos y del sistema técnico en el que estaban incluidos. La relación homóloga que existe entre arquitecturas y vehículos, por su condición de estructuras habitables, es algo de sobra conocido desde que Le Corbusier utilizara aquellas imágenes de barcos, coches y aviones para ilustrar su manifiesto Vers une architecture, de 1923. Los vehículos modernos han sido los medios con los que transmitir los conceptos que ansiaban transformar las propiedades tradicionales de la Arquitectura, relativas a su factura, su habitabilidad, su duración, su funcionalidad o su estética. Destaca particularmente el caso del automóvil en las décadas de los años 30 y 50, y los vehículos del programa espacial en las décadas de los 60 y 70. El conocimiento y la documentación previa de estos hechos, fueron un buen indicio para identificar y confirmar que el sector industrial del transporte, era un especialmente trascendente y fértil proveedor de casos de transferencia tecnológica para la Arquitectura. La tradición Moderna inaugurada por Le Corbusier en los años 20, ha sido mantenida y defendida por una multitud de arquitectos modernos como Albert Frey, Richard Neutra, Ralph Soriano, Charles Eames o Craig Ellwood, cuyo trabajo, animado por el legado de anteriores tecnólogos como Bucky Fuller o Jean Prouvé, fue fundamental y referencia obligada para la siguiente generación de arquitectos como Cedric Price, Archigram, Norman Foster, Richard Rogers, Renzo Piano, Jean Kaplicky o Richard Horden, entre otros. Todos ellos han contribuido a engrosar el imaginario del objeto técnico, aportando sus obras arquitectónicas. Estos arquitectos que aparecen repetidamente en el discurrir de la tesis, pertenecen a un mismo linaje, y son agrupados según una estructura ‘genealógica’, que se ha denominado ‘Estirpe Técnica’. Unidos por intereses comunes y similares enfoques o actitudes ante el proyecto de arquitectura, entendida como objeto Técnico, han operado mediante la práctica de la transferencia tecnológica, sin limitarse a las técnicas compositivas propias de la disciplina arquitectónica. Durante la investigación, se ha recopilado una selección de menciones explícitas -hechas por arquitectos- sobre otros objetos técnicos para referirse a la Arquitectura, mostrando las constantes y las variaciones de sus intereses a lo largo del siglo, lo que nos ha llevado a conclusiones como por ejemplo, que los conjuntos técnicos (fábricas de zepelines, aviones, automóviles o trasatlánticos) eran tomados por los arquitectos de la primera Modernidad, como un modelo imaginario, formal y compositivo, mientras que los de la Segunda Era de la Máquina los tomaban como modelo espacial y organizativo para la arquitectura. La mencionada estirpe de tecnólogos incluye líneas de descendencia conocidas, como: EiffelSuchovBehrens GropiusMiesLeCorbusierLodsProuve, en la Europa continental, o una rama británica como: LoudonPaxtonWilliamsStirlingGowan SmithsonsPriceArchigramFosterRogersPiano KaplickyHorden. También podemos encontrar conexiones intercontinentales como Fuller EamesRudolphFosterRogers, o ramificaciones menos previsibles como: LeRicolaisKahn PianoKaplicky, o LeCorbusierFreyLacaton Vassal… Seguramente muchos más merecerían incluirse en esta lista, y de hecho, la tesis asume la imposibilidad de incluirlo todo (por motivos prácticos) aunque contempla la posibilidad de ser ampliada en un futuro. Con lo aquí incluido, se pretende mostrar la continuidad en los enfoques, planteamientos y técnicas de proyectos aplicadas, de los que podemos deducir algunas conclusiones, como por ejemplo, que en los periodos inmediatamente posteriores a las dos Guerras Mundiales, aumentó la intensidad de aportaciones de nuevas imágenes de vehículos, al imaginario del objeto técnico utilizado por los arquitectos, a través de publicaciones y exposiciones. Hoy, cien años después de que Ford pusiera en marcha la cadena móvil de montaje, aún encontramos viva esta tradición en las palabras de un arquitecto, Richard Horden, cuyo trabajo porta consigo –como la información embebida en los elementos técnicos- toda una cultura técnica de una tradición moderna. Horden representa uno de los exponentes de la que he denominado estirpe de tecnólogos. Es por ello que he querido concluir la tesis con una entrevista, realizada en Mayo de 2015, en su estudio de Berkeley Square en Londres (ver Apéndices). Guías Para el desarrollo de la presente tesis, se ha tomado, como principal obra de referencia, otra tesis, titulada El modo de existencia de los objetos técnicos, leída y publicada en 1958 por el filósofo francés Gilbert Simondon [1924-89], dedicada a la ontología del objeto técnico. Esta obra enmarca el enfoque intelectual de la tesis, que entronca con la fenomenología, para movilizar una visión particular de la Arquitectura, a la que sirve como modelo de análisis ontológico para estudiar sus procesos de génesis, invención e individuación. Para el desarrollo de éstos, se ha utilizado como complemento bibliográfico, otra obra del mismo autor, titulada Imaginación e invención 1965-66. En cuanto a las fuentes historiográficas disciplinares, se ha elegido utilizar a Reyner P. Banham [1922-1988] y a Martin E. Pawley [1938-2008] como guías a través de la arquitectura del siglo XX. Sus crónicas sobre la Primera y Segunda Era de la Máquina3 y su obra crítica, han servido como índices desde los que reconstruir el imaginario del objeto técnico moderno, y del que aprovisionarse de proyectos y obras de Arquitectura como casos de estudio para la tesis. Estas obras han servido además como índices de otra bibliografía, que ha sido complementaria a la de éstos. Objetivos de la Tesis El principal objetivo de la tesis es demostrar la hipótesis: si una obra de arquitectura puede ser considerada un objeto técnico y bajo qué condiciones, construyendo un criterio que permita reconocer cuándo una obra de Arquitectura responde a la definición de objeto técnico. Otro objetivo es demostrar la importancia y potencia de la Transferencia tecnológica en el proceso evolutivo de la Arquitectura, y para ello se presentan ejemplos de una metodología de proyecto por ensamblaje, que Martin Pawley denominaba ‘Design by Assembly’. También es un objetivo el de reconstruir un Atlas del Imaginario del objeto técnico moderno, con el fin de conocer mejor las causas, razones y finalidades que llevaron a los arquitectos modernos a perseguir una arquitectura como objeto técnico. Este Atlas permite relacionar panópticamente los distintos objetos técnicos entre sí, revelando la verdadera importancia y trascendencia de aquéllos y las arquitecturas con las que se relacionan. En él, las arquitecturas vuelven a situarse en el contexto más extenso y complejo de la industria y la historia de la tecnología, al que siempre pertenecieron. De este modo, éstas son capaces de desvelar todo el conocimiento -en forma de información- que portan en su propio código ‘genético’, desplegando capítulos completos de cultura tecnológica, tan antigua como la Humanidad y en constante y creciente evolución. Estructura de la tesis Tras una Introducción en la que se presentan algunos de los conceptos principales que se instrumentalizan en la tesis sobre la ontología Simondoniana del objeto técnico y sobre la transferencia tecnológica aplicada al proyecto de Arquitectura, el texto principal de la tesis consta de tres partes: La primera se dedica a la Imaginación, una segunda parte a la Invención y una tercera a Individuación o evolución del objeto técnico. Se termina con una Discusión de la tesis y un apartado de Conclusiones. En la Introducción al objeto técnico, éste se define ontológicamente y se distinguen sus diferentes categorías (conjuntos técnicos, individuos técnicos y elementos técnicos). Se explica el proceso de génesis del objeto técnico y sus fases de imaginación, invención e individuación. También se presentan los conceptos de transducción, tecnicidad y sistema técnico, fundamentales para entender el concepto de transferencia tecnológica que se desarrollará después. La concretización, explica el modo particular de individuación y evolución de los objetos técnicos, un proceso por el que las diferentes partes de un objeto técnico, se integran y tienden hacia la propia convergencia. Aquí se comprueba la efectividad del concepto simondoniano de Transducción, como señal o información transmitida y transformada, y se relaciona con la Transferencia Tecnológica - un proceso sinergético, por el que un sector industrial se beneficia del desarrollo de otro sector- a la que se han referido explícitamente arquitectos e historiadores para explicar sus obras, durante la Segunda Era de la Máquina, y que es determinante para el desarrollo de la Industria. La transferencia tecnológica sería la transmisión del conjunto de conocimientos sobre la técnica, que incluyen su esfera fáctica, pero también la esfera sensible de la experiencia. En su aplicación a la arquitectura, las transferencias se han clasificado según tres tipos: Eidéticas, Tectónicas, Orgánicas. En la primera parte dedicada a la Imaginación del objeto técnico arquitectónico se realiza una reconstrucción ‘arqueológica’ –y parcial- del imaginario del objeto técnico moderno, con la intención de conocer mejor su génesis y la relación con otros objetos técnicos. Las fuentes de ese imaginario se buscan en las instalaciones de la Industria de principios de siglo XX, en particular en las fábricas de vehículos, con la finalidad de comprobar hasta qué punto, esos objetos técnicos fueron importantes para imaginar la Arquitectura moderna. La reconstrucción se continúa hasta la Segunda Era de la Máquina, cuando una nueva mirada más inquisitiva y precisa, se dirige a otras fábricas, vehículos y componentes, interesándose por sus cualidades materiales y organizativas. Transferencias Eidéticas, que operan desde un conocimiento intuitivo y son útiles para transmitir información sobre la esencia de un objeto técnico que sirve de fuente. Conceptos abstractos se transmiten por medio de las imágenes—objeto, para producir una transformación en su equivalente arquitectónico. Fruto de la investigación, se han detectado un grupo de conceptos que han sido objeto de transferencias tecnológicas de naturaleza eidética, provenientes del imaginario del objeto técnico moderno: FABRICADO, HABITABLE, FUNCIONAL, EFICIENTE, OBSOLESCENTE y BELLO. En la segunda parte dedicada a la Invención del objeto técnico arquitectónico, las transferencias también pueden ser Tectónicas, cuando lo que se transmite es una técnica constructiva o estructural aplicada mediante MATERIALES artificiales (como los metales, los composites como el ferrocemento, y el plywood, o las aleaciones como el aluminio) o mediante el ensamblaje de ESTRUCTURAS o partes componentes de otro objeto técnico, (como cascos, fuselajes, carrocerías o aparejos) y tiene como resultado la invención de un nuevo objeto técnico arquitectónico. En la tercera parte dedicada a la individuación, se abordan las transferencias ORGÁNICAS, lo que se transfiere es una técnica organizativa, aplicada a través de PROCEDIMIENTOS que definen la actividad del arquitecto como tecnólogo e inventor de objetos técnicos. Estos procedimientos tienen un efecto transformador en tres instituciones tradicionales para la Arquitectura: la Escuela, el Estudio y la Obra, y sus resultados se resumen en nuevos modelos de organización de la Educación de la Arquitectura, con la aparición de los Talleres de proyectos; nuevos modelos de organización del ejercicio de arquitecto: la Oficina técnica; nuevos modelos de organización del espacio, basados en la organización espacial de la Industria, que da lugar a patrones o Matrices espaciales; un nuevo modelo de organización del proyecto, que utiliza las herramientas gráficas de la industria y el ensamblaje como metodología; y un nuevo modelo de producción arquitectónica, basado en la Industrialización. Tras explicar los conceptos y la génesis del ensamblaje y el montaje, se presenta el proyecto por ensamblaje (Design by assembly) como un método que promueve la invención arquitectónica. Se demuestra utilizando algunos casos analizados en la tesis, en los que se ha realizado alguna transferencia conceptual, constructiva u organizativa. Tras analizar las arquitecturas estudiadas en la tesis, se ha utilizado el método genético propuesto por Simondon para comprender cada evolución particular, reconstruyendo las líneas genealógicas hasta sus ancestros, e identificando una serie de linajes genéticos, que corresponderían con los conjuntos técnicos estudiados en la tesis: el astillero, la fábrica de coches, y la fábrica de aeronaves: los Ancestros de la Modernidad. Los sistemas de organización espacial de estos conjuntos técnicos, están directamente relacionados con el objeto técnico que se produce en él. A partir de ellos se definen una serie de matrices operativas (MILL, SHOP, SHED), que sirven para hacer una taxonomía del objeto técnico arquitectónico. Esto se ejemplifica con algunos proyectos de Norman Foster, Richard Rogers, Renzo Piano, Nicholas Grimshaw, Jean Kaplicky y Richard Horden. Tesis: Comprobación de la hipótesis Simondon definía ontológicamente el Objeto técnico como aquello de lo que existe génesis y que desarrolla una tendencia hacia la solidaridad y unidad. Para que una Arquitectura pueda ser reconocida como un Objeto técnico, se deben dar una serie de condiciones, en las sucesivas fases que intervienen en su modo de existencia: Imaginación. Estas arquitecturas remiten a un imaginario protagonizado por imágenes-objeto de otros objetos técnicos (conjuntos técnicos, individuos técnicos y elementos técnicos). Esas imágenes-objeto vehiculizan una transferencia eidética de los objetos técnicos que simbolizan. Invención. Estas arquitecturas son el resultado de transferencias tectónicas, que se producen durante el proceso de proyecto, mediante el ensamblaje de materiales, componentes o procedimientos, utilizados en la industria para la producción de otros objetos técnicos. Individuación. Estas arquitecturas evolucionan y se individualizan por concretización, un proceso por el que los objetos técnicos se organizan para seguir su tendencia hacia la integración de sus partes, con el fin de alcanzar la convergencia de funciones en una única estructura. Esta integración tiende hacia la naturalización del objeto técnico, mediante la inclusión simbiótica de sus medios naturales asociados. En este caso, veremos cómo se ha producido transferencias orgánicas, o lo que es lo mismo, cómo los objetos técnicos –en el nivel de los conjuntos técnicos- se han tomado como modelo de organización por la arquitectura. Tras comprobar que de ellas existe una génesis, que evoluciona por las fases de imaginación e invención y concretización, se analiza su imaginario, su materialidad, sus estructuras y su organización, con el fin de detectar patrones y principios organizativos comunes a otros objetos técnicos. Interés de la tesis Desde el comienzo del nuevo siglo, diversos autores han demostrado un renovado interés por definir qué es el proyecto, qué lo constituye para qué sirve. Las aproximaciones al tema provienen de la filosofía analítica (Galle, 2008) o de la filosofía de la tecnología (Verbeek, 2005; Vermaas, 2009) y a menudo versan sobre la relación entre diseño y la cultura material (Dorschel 2003, Boradkar 2010 o Preston 2012). Es importante indicar el reciente y también creciente interés suscitado por la obra del filósofo francés, Gilbert Simondon [1924-1989], reconocida por su importante contribución a la filosofía de la técnica y la fenomenología, y por la influencia en el pensamiento de filósofos como Gilles Deleuze, autor presente en multitud de tesis doctorales e investigaciones teóricas llevadas a cabo en las principales escuelas de Arquitectura de todo el mundo desde los años 90 hasta el presente. La reedición y traducción de la obra de Simondon (ing. 1980, esp. 2008) ha recibido la atención de filósofos actuales como Paolo Virno, Bruno Latour o Bernard Stiegler, que siguen recurriendo a su estudio y análisis para avanzar en su pensamiento, estando por tanto presente en el debate contemporáneo sobre la técnica. Tras su reciente traducción al español, el pensamiento de Simondon ha despertado un gran interés en América Latina, como demuestra la organización de varios congresos y simposios, así como la proliferación de publicaciones en torno a su obra y pensamiento. Las futuras traducciones del resto de sus principales obras, asegurarán una introducción cada vez mayor en la comunidad académica. Se ha procurado presentar una mirada alternativa de la Historia de la Arquitectura Moderna, utilizando como guía a un cronista como Reyner Banham. La Era de la Máquina se ha cruzado con la Mecanología y el “vitalismo técnico” de Simondon, obteniendo como resultado una interpretación fresca, renovada y optimista de algunas de las más importantes obras de Arquitectura del siglo XX, que seguro contribuirán al desarrollo de la del siglo XXI, inmerso ya en el cambio de paradigma hacia la sostenibilidad y la ecología. ABSTRACT 'TRANS architecture. Imagination, invention and technical individuation of the architectural technical object. Technology transfer from the Transport Industry to Architectural Design [1900- 1973]' is a thesis dealing with the relationship between Architecture and the Technical Object during Modernity5. The theme of the thesis revolves around the technical culture, material culture and the history of twentieth-century technology. Hypothesis Held here is the existence of some architectures defined as technical objects. A study has been developed to prove if those architectures share the ontological properties of a technical object. Industry and Architecture The history of Modern Architecture is also the history of modern industry and its facilities, its products and devices, its procedures and production processes. Factories, workshops, steel mills, shipyards, mines, refineries, laboratories, cars, yachts, airplanes, airships, shuttles, space stations, home appliances, personal computers, mobile phones, motors, batteries, turbines, rigs, hulls, chassis, bodies, fuselages , composites and synthetic materials, the assembly line, modular manufacturing, the supply chain, process engineering, the planned obsolescence ... All these technical objects are constantly evolving thanks to the inconsistency of the human imagination and, as our intermediates, keep changing our way of relating and being in the world. Architecture, alike other technical objects, mediates between man and the World. In order to frame the vast field of the research, it has been filtered according to various parameters and qualities of Industry, establishing also a time frame which is related to a particular science-based way of making. The start of an industrial development, based on scientific knowledge is given from the Second Industrial Revolution -by consensus on the last third of the nineteenth century. This frame puts the focus of the thesis in the process of industrialization experienced by the Architecture of at least one century, and tours through Modernity during the first 75 years of the twenieth century. During this time, architects have made transfers of images, techniques, processes and materials from Industry, serving as a source of knowledge and thus allowing Architecture to evolve as a discipline. To reasonably address the enormous scope of the thesis, the industrial sector of transportation has ben chosen. It is not only a historical source of inspiration for architects, but also a traditional source of technology transfer for Modern Architecture. Technical sets such as shipyards, automobile factories or aircraft hangars, technical individuals as boats, cars or planes, and technical elements like the structures shaping and supporting them, are all technical objects which share properties with the architectures here presented. The launch of the moving assembly line in 1913, is instrumentally taken as a first time focus, from which to describe the evolution of many technical objects in the First Machine Age; a second focus could be found in 19586, year of the creation of the North American Space Agency (NASA), serving as a reference to the Second Machine Age. Most architectural technical objects used to test the hypothesis, gravitate around this second focus, in a range of plus or minus 25 years, with a clear intention to synchronize the time for action and time of thought. Architecture and Technical Object Technical objects have always been related to Architecture. In the past, the same technician who planned and oversaw a building structure, invented the devices and machines to carry them out. The foremen were the true 'technology transfer agents' from Industry. Their knowledge naturally related different manufacturing techniques to make diverse technical objects. Brunelleschi invented various cranes to build the dome of Santa Maria dei Fiori in Florence (ca.1461). Probably inspired by the reedition of Vitruvius’ treaty De Architectura (15 BC), whose last chapter was dedicated to the machines of classical Roman architecture and quoted inventors as Archimedes, the florentine architect was the first to patent an invention in 1421: an amphibious craft serving as a means of transportation for Carrara marble along the Arno river. At the daw of the Second Industrial Revolution, whose development was based on the scientific knowledge, we find a primitive modern example of the relationship between Architecture and a Technical Object: The Crystal Palace, built in London for the Great Exhibition of 1851 World Industry and designed by Joseph Paxton, was the largest to date industrialized building, and it will be always associated with the McCormick Reaper, worthy of the Grand Jury’s Prize. Similar characteristics could be emphasized of both technical objects, such as their industrial origin and for being be the complex result of a simple assembly of technical elements. Since then, technological development has experienced a continued acceleration, resulting in an increasing specialization and separation of knowledge about techniques which were naturally attached in the past. This process has happened at the expense of an integrative knowledge and against promiscuity between Industry and Architecture. This is, undoubtedly, an inherent sign of our time, which causes the natural and interest of architects and other technicians about transfers, trans-disciplinarity and inter-disciplinarity, as a reaction to reestablish channels of relationships between these different fields of knowledge. The emergence of technical objects as modern vehicles in the early twentieth century (the car, the Ocean liner, the airship or the airplane) is directly related to the Architecture of the First Machine Age. Modern architects’ fascination for those new ‘inhabitable’ structures has been maintained for over a century, with different intensity and paying attention to one and other technical objets, ranging from the domain of the symbolic value of the vehicles as objectsimages, during heroic period of the First Machine Age, to the more inquisitive glance characterizing the Second Machine Age, which sought a deeper understanding of the organization of such objects and the technical system to which they belonged. The periods immediately following both World Wars, showed a concentrated effort to bring new images of vehicles to the imaginary of architects, by means of publications and exhibitions. The homologous relationship between architectures and vehicles, in their capacity as living structures, is something well known since Le Corbusier used the images of cars, boats and airplanes to illustrate his manifesto, Towards an architecture in 1923. Modern vehicles have been the means by which to convey the concepts eager to transform the traditional attributes of Architecture: those relating to its manufacture, habitability, duration, functionality or aesthetics. The automobile stands out during the 30s and 50s, and the new vehicles of the Space Program satnd in the 60s and 70s. The prior knowledge and documentation of these events were a good indication to identify the industrial sector of Transportation as one of especial importance and as a fertile provider of technology transfer cases for Architecture. The Modern tradition, inaugurated by Le Corbusier in the 20s, has been maintained and defended by a host of modern architects like Albert Frey, Richard Neutra, Ralph Soriano, Charles Eames and Craig Ellwood, whose work - inspired by the legacy of previous technologists as Bucky Fuller or Jean Prouvé- was fundamental and a mandatory reference for the next generation of architects like Cedric Price, Archigram, Norman Foster, Richard Rogers, Renzo Piano, Jean and Richard Horden Kaplicky, among others. They have all contributed to increase the imaginary of the technical object, adding to it their architectural works. In the passage of the thesis, we repeatedly find a number of architects, who have been grouped according to a 'genealogical' structure, which has been called 'Technical Lineage'. Gathered by common interests and similar views or attitudes to the architectural design, understood as a technical object, they have operated through the practice of technology transfer, without limiting itself to specific compositional techniques of the architectural discipline. During the investigation, a selection of explicit references made by those architects, about other technical objects referring to their Architecture, has been compiled, showing constants and variations in their interests throughout the century, which has led to conclusions such as, having technicians sets (zeppelins factories, airships factories, car factories and shipyards) been taken by the architects of the first Modernity, as their main formal, compositional and imaginary models, while the Second Machine Age had taken them as a spatial and organizational model for their architecture. The above mentioned lineage of technologists includes weel-known ‘seed lines’ as: Eiffel- Suchov-Behrens, Gropius-Mies-LeCorbusier- Lods-Prouve, in continental Europe; British branches as Loudon-Paxton-Williams-Stirling- Gowan-Smithsons-Price-Archigram-Foster- Rogers-Piano-Kaplicky-Horden. And we could also find intercontinental connections as Fuller- Eames-Rudolph-Foster-Rogers, or other less predictable ramifications as LeRicolais-Kahn Piano-Kaplicky, or LeCorbusier-Frey-Lacaton & Vassal... Many more would surely deserve to be included in this list, and indeed, the thesis assumes the impossibility of including them all (for practical reasons) and even contemplates possible future extensions. The material included herein is to demonstrate the continuity in the approaches, statements and in the applied architectural design techniques, from which we can draw some conclusions. Today, one hundred years after Ford put up the moving assembly line, we still find this tradition alive in the words of the architect Richard Horden, whose work carries with it –as with the information embedded in every technical element- the whole techncial culture of a modern tradition. Horden is represented here as one of the exponents of what I have called the lineage of technologists. That is why I wanted to conclude the thesis with an interview to Richard Horden, held in May 2015 in his studio in London's Berkeley Square (see Appendices). Guides For the development of this thesis, another thesis, entitled: The mode of existence of technical objects, is taken as the main reference work. Read and published in 1958 by the French philosopher Gilbert Simondon [1924- 1989], it was dedicated to the ontology of the technical object. This work frames the intellectual approach of the thesis, which connects with phenomenology to mobilize a particular vision of Architecture. It is used as a model of ontological analysis to study its genesis, invention and evolutionary processes. To develop these, another work by the same author, titled Imagination and Invention (1965- 1966) has been used as a bibliographical complement. As for the disciplinary historical sources, Reyner P. Banham [1922-1988] and Martin E. Pawley [1938-2008] have been chosen as guides through the modern Architecture of the twentieth century. Their cronical reports on the First and Second Machine Age and their critical works have served as an index from which to reconstruct the imaginary of the modern technical object in the Machine Age7, and to stock up on projects and works of architecture, used as case studies for the thesis. These works have also been used as triggers for other literatures, which has been complementary to the former. Objectives of the Thesis The main objective of the thesis is to prove its hypothesis: if a work of architecture can be considered a technical object and under what conditions, building then a criterion for recognizing when a work of architecture meets the definition of a technical object. Another aim is to demonstrate the importance and power of Technology Transfer in the evolutionary process of Architecture, and to do it, some examples of a methodology for architectural design that Martin Pawley called 'Design by Assembly' are presented. It is also an objective to reconstruct an Atlas of the imaginary of the modern technical object, in order to better understand the causes, reasons and purposes that led modern architects to pursue architecture as a technical object. This Atlas allows to panoptically relate the various technical objects, revealing the true importance and significance of those and the architecture with whom they interact. Architectures are again at the largest and most complex industrial context and the history of technology, which always belonged. Thus, they are able to reveal all the knowledge-in the shape of information-carried in their own 'genetic' code, displaying full chapters of technological culture as old as mankind and constantly growing and evolving. Thesis: Proving the Hypothesis Simondon ontologically defined the technical object as ‘that of which genesis exists’ and that develops ‘a tendency towards solidarity and unity’. For an architecture to be recognized as a technical object, a number of conditions should be given, in the successive phases involved in their mode of existence: Imagination. These architectures refer to an imaginary featuring images-object other technical objects (technical sets, technical individuals and technical elements). These images are the means to an eidetic transfer of the technical objects which they symbolize. Invention. These architectures are the result of tectonic transfers, which occur during the architectural design process, by assembling materials, components or procedures used in industry for the production of other technical objects. Individuation. These architectures evolve and are individualized by ‘concretization’, a process leading to the full integration of its parts and aiming the full convergence of its functions into a single structure. This integration tends towards the naturalization of the technical object, by means of a symbiotic incorporation of their associated milieus. After checking if there is a genesis of them, which evolves through the phases of imagination and invention and concretization, their imaginary, materiality, structure and organization are analyzed in order to detect patterns and common organizational principles to other technical objects counterparts. Structure The main text of the thesis consists of three parts. Before there is an Introduction to the main concepts that are exploited in the thesis on ontology Simondonian technical object, and technology transfer applied to Architecture. Then a first part covers the Imaginary of the modern technical object, a second part is dedicated to the Invention and a third part to the individuation process The thesis ends with a section for the Discussion and the Conclusions. The Introduction to the technical object, this is ontologically defined and its different categories are distinguished. The process of genesis of the technical object and the phases of imagination, invention and indivuation are explained. Concepts as Transduction, Technicality and Technical system are presented for being fundamental to understand the concept of Technology Transfer that will take place later. The concretization is explained as the particular mode of individuation and evolution of technical objects, a process by which the different parts of a technical object, are integrated and begin a tendency towards a convergence in itself. The first part, dedicated to the Imagination of the architectural technical object presents a parcial "archaeological" reconstruction the imaginary of the modern technical object, intended to better understand its genesis and the relationship with other technical objects. The imaginary sources are searched in the premises of the Industry of the early twentieth century, and particularly in the factories of modern vehicles, in order to see, to what extent these technical objects were important to imagine modern architecture. The reconstruction is continued until the Second Machine Age, when a new, more inquisitive and precise gaze turns to other factories, other vehicles and other components and materials, inquiring now about their organizational qualities. The second part is devoted to the Invention of the architectural technical object. The effectiveness of the simondonian concept of Transduction is checked: a transmitted and transformed sign or information, which relates to Technology Transfer, a synergetic process by which an industrial sector benefits from the development of another sector, to which some architects and historians have explicitly referred to explain their works during Machine Age, and which is crucial for the development of the industry. Technology transfer would be the transmission of a set of information or knowledge about technique, including the factual sphere of technique, but also the sensitive sphere of experience. In their application to Architecture, these transfers have been classified according to three types: Eidetic, Tectonic and Organic. Eidetic Transfers operate from an intuitive knowledge and are useful for transmitting information about the essence of the technical object serving as a source. Abstract concepts are transmitted through the object-images to produce an equivalent transformation in Architecture. A group of concepts that have been the subject of technology transfers of eidetic nature, and have been originated in the imaginary of the modern technical object, have been detected as a result of the research: FABRICATED, INHABITABLE, FUNCTIONAL, EFFICIENT, OBSOLESCENT, and BEAUTIFUL. The transfers can also be Tectonic when, that which is transferred is a constructive or structural technique, applied through artificial MATERIALS such as metals, composites as the ferrocement, or plywood, or alloys such as aluminum; or by means of the assembly of STRUCTURES or parts of other technical objects such as hulls, fuselages, car bodies or rigs, resulting in the invention of a new architectural technical object. In the case of ORGANIC transfers, what is transferred is an organizational technique, applied by means of a set of PROCEDURES defining the activity of the architect as a technologist and inventor of technical objects. These procedures have a transformative effect on three traditional institutions for Architecture: the School, the Atelier and the Work, and the results are summarized in new models of organization of the Education of Architecture, with the onset of the Architectural Design Studios or workshops; new models of organization of the practice of architect: the technical office; and new models of space organization, based on the spatial organization of the industry, resulting in spatial patterns or spatial matrices; a new model of organization of the project, which uses graphical tools and industrail protocols as the assembly as a methodology; a new model of architectural production based on the industrialization. After explaining the concepts and the genesis of assembly and montage, Design by assembly is presented as a method that promotes architectural invention, and is shown using some case studies analyzed in the thesis, in which there has been made some conceptual, constructive or organizational transfer. After analyzing the architectures studied in the thesis, genetic method proposed by Simondon was used to understand every particular evolution, reconstructing their genealogical lines up to their ancestors, identifying a series of genetic lineages, which correspond to the technical sets studied in the thesis : the shipyard, the car factory, and aircraft factory. The real ancestors of Modernity. The spatial organization systems of these technical sets are directly related to the technical object that is fabricated within them. From that point, a number of operational matrices are defined (MILL, SHOP, SHED) and used to make a taxonomy of the architectural technical object. This is exemplified by some projects by architects as Norman Foster, Richard Rogers, Renzo Piano, Nicholas Grimshaw, Jean and Richard Horden Kaplicky. Interest of the thesis Since the beginning of the new century, several authors have shown a renewed interest in defining what a project is, how it is constituted and what it is for. The approaches to the subject are brought from analytic philosophy (Galle, 2008) or from the philosophy of technology (Verbeek, 2005; Vermaas, 2009) and they often speak about the relationship between design and material culture (Dorschel 2003, 2010 or Preston Boradkar 2012). It is also important to note the recent and growing interest in the work of French philosopher Gilbert Simondon [1924-1989], mainly known for its important contribution to the philosophy of technology and phenomenology of the technical object, and the influence on the thinking of contemporary philosophers as Paolo Virno, Bruno Latour or Gilles Deleuze, being the latter a author present in many doctoral theses and theoretical research conducted at major architecture schools around the world since the 90s to the present. The republication and translation of the work of Simondon (eng. 1980, spn. 2008) has received the attention from current philosophers such as Bernard Stiegler who continues to use its study and analysis to advance his thinking, thus being present in the contemporary debate about the technique. After its recent translation into Spanish, the thought of Simondon has aroused great interest in Latin America, as evidenced by the organization of various conferences and symposia, as well as the proliferation of publications about his work and thought8. Future translations of the rest of his major works, will ensure increased introduction in the academic community. Efforts have been made to present an alternative view of the History of Modern Architecture, using a reporter as Reyner P.Banham as a guide. The Machine Age intersects Simondon’s mechanology and his "technical vitalism", resulting in a fresh, renewed and optimistic interpretation of some of the most important works of Architecture of the twentieth century, which will surely contribute to the development of this century’s Architecture, already immersed in the paradigm shift towards sustainability and ecology.

Evolution of microbial diversity during prolonged starvation

Models of evolutionary processes postulate that new alleles appear in populations through random spontaneous mutation. Alleles that confer a competitive advantage in particular environments are selected and populations can be taken over by individuals expressing these advantageous mutations. We have studied the evolutionary process by using Escherichia coli cultures incubated for prolonged periods of time in stationary phase. The populations of surviving cells were shown to be highly dynamic, even after many months of incubation. Evolution proceeded along different paths even when the initial conditions were identical. As cultures aged, the takeovers by fitter mutants were incomplete, resulting in the coexistence of multiple mutant forms and increased microbial diversity. Thus, the study of bacterial populations in stationary phase provides a model system for understanding the evolution of diversity in natural populations.

The delayed resurgence of equatorial forests after the Permian–Triassic ecologic crisis

In conjunction with the Permian–Triassic ecologic crisis ≈250 million years ago, massive dieback of coniferous vegetation resulted in a degradation of terrestrial ecosystems in Europe. A 4- to 5-million-year period of lycopsid dominance followed, and renewed proliferation of conifers did not occur before the transition between Early and Middle Triassic. We document this delayed re-establishment of equatorial forests on the basis of palynological data. The reconstructed pattern of vegetational change suggests that habitat restoration, migration, and evolutionary processes acted synergistically, setting the stage for successional replacement of lycopsid dominants by conifers within a period of ≈0.5 million years.

A simple explanation for taxon abundance patterns

For taxonomic levels higher than species, the abundance distributions of the number of subtaxa per taxon tend to approximate power laws but often show strong deviations from such laws. Previously, these deviations were attributed to finite-time effects in a continuous-time branching process at the generic level. Instead, we describe herein a simple discrete branching process that generates the observed distributions and find that the distribution's deviation from power law form is not caused by disequilibration, but rather that it is time independent and determined by the evolutionary properties of the taxa of interest. Our model predicts—with no free parameters—the rank-frequency distribution of the number of families in fossil marine animal orders obtained from the fossil record. We find that near power law distributions are statistically almost inevitable for taxa higher than species. The branching model also sheds light on species-abundance patterns, as well as on links between evolutionary processes, self-organized criticality, and fractals.