Suchergebnisse

Il numero 7 di AGATHÓN raccoglie saggi, studi, ricerche e progetti sul tema dal titolo 'Dal Mega al Nano: la Complessità del Progetto Multiscalare', tema indissolubilmente legato alla sempre maggiore richiesta di trans e multidisplinarietà del progetto. La capacità di effettuare 'salti di scala', di agire su scale diverse e di costruirne di nuove o di mutare il senso di quelle comunemente accettate è una pratica comune dell'approccio al progetto, e riguarda da sempre gli architetti, gli ingegneri, i designer e gli artisti, nei molteplici significati simbolici e reali della misura di un territorio, di una città, di un'architettura e di un oggetto. I concetti di scala e di misura sono indispensabili per correlare, in un'ottica sistemica, il particolare con il generale, il dettaglio con l'insieme, per interpretare e rappresentare, per discretizzare e ricomporre elementi e parti tra loro in un rapporto di gerarchia o di interconnessione, per indagare il fisico e il sociale, per delinearne criticità e potenzialità, ma soprattutto per stabilire l'importanza degli aspetti relazionali fra l'insieme e le sue parti come chiave di lettura della loro identità, della loro natura e organizzazione, dei principi di regolazione e del ruolo svolto nei diversi contesti, ovvero di quei fattori indispensabili per individuare forma e struttura di un territorio, di una città, di un'architettura e di un oggetto. La nozione di scala in Architettura regola la dimensione dello spazio antropico, ponendo sempre come riferimento la dimensione umana. La scelta della scala è inevitabilmente una selezione concettuale di ciò che in effetti il progetto vuole rappresentare. Quando invece si utilizza la rappresentazione multiscalare si cerca di esplicitare la complessità del reale servendosi di un maggior numero di criteri regolatori e di valutazioni specifiche, non solo descrivendone gli aspetti dimensionali e geometrici, ma soprattutto evidenziandone in maniera significativa gli aspetti qualitativi e quelli legati all'identità, alla cultura e alla storia. Ciò significa che non esiste una sola scala per la rappresentazione del territorio, della città, dell'architettura, di un oggetto o di un dettaglio; tuttavia, nella logica della necessaria multiscalarità il progetto seleziona di volta in volta la scala più adeguata allo svolgimento delle pratiche. La scala, quindi, ha un'interferenza logica sul progetto: grazie agli avanzamenti della tecnologia nell'ambito della progettazione a tutti i livelli, essa probabilmente è la componente del progetto su cui maggiormente il progettista agisce coordinando relazioni reali e virtuali in maniera simultanea; queste relazioni non terminano con la concretizzazione della forma, ma continuano nel tempo e modificano la gestione della complessità propria dell'oggetto. I saggi e le ricerche pubblicati dimostrano che, se misurare usando la scala come strumento significa prendere possesso delle cose del mondo stabilendone le differenze, il fuori-misura può costituire la base per nuovi assunti teorici in cui l'infinitamente grande (il 'mega') e l'infinitamente piccolo (il 'nano') concorrono simultaneamente nella definizione di questioni centrali come la sostenibilità ambientale, sociale ed economica, la resilienza, il governo del territorio, la concezione dello spazio, l'estetica, l'uso, lo sviluppo di nuovi prodotti, servizi e materiali, ecc. L'approccio multiscalare può quindi essere considerato un importante strumento progettuale operativo che, in un'ottica sistemica, può favorire la proposizione di adeguate strategie d'azione e di pianificazione degli interventi sostenibili, sviluppando nuove metodiche, tecniche operative e metriche condivise, attraverso ragionate gerarchie di priorità necessarie a ottimizzare le scelte del progetto e a determinare credibili bilanci costi/benefici (soprattutto di natura ambientale). ; AGATHÓN issue number 7 is a collection of essays, studies, research and projects on the subject entitled 'From Mega to Nano: the Complexity of a Multiscalar Project', inextricably linked to the ever-increasing request of trans and multidisciplinarity of the project. The ability of 'change of scales', work on more different scales – multiscalarity – create new ones or change the meaning of the scales commonly accepted, it is common practice in the approach to the project and has always concerned architects, engineers, designers and artists for the multiple symbolic and real meanings of the size of a territory, a city, an architecture and an object. The concepts of scale and size are fundamental to link, in a systemic point of view, the detail with the big picture, the detail with the group, to interpret and represent, to discretize and recompose elements and parts that stand in a hierarchy or interconnection relation, to investigate the physical and social, to outline critical issues and potential, but especially to establish the importance of relational aspects between the group and its component as a way to understand their identity, their nature and organization, their regulation rules and the role played in different contexts, namely the fundamental elements to identify the form and structure of a territory, a city, an architecture and an object. The concept of scale in Architecture regulates the size of the anthropic space, always keeping human dimension as reference. The choice of the scale inevitably becomes a conceptual selection of what the project actually wants to represent. When using multiscalar representation, we try to show the complexity of reality, by using as many regulation criteria and specific evaluations as we can, not only by describing its size and geometric aspects but most of all by significantly highlighting its qualitative aspects and those related to identity, culture and history. This means that there is not just one scale to represent a territory, a city, architecture, an object or a detail; however, in terms of a necessary multiscalarity, the project chooses the most fitting scale to develop practices, on a case-by-case basis. Therefore, logically the scale influences the project: thanks to the progress of technology in the field of design at all levels, it is probably the component of the project on which the designer works the most, simultaneously coordinating real and virtual relations; these relations do not end when the form is created, but continue over time and modify the management of the object's complexity. The essays and research published show that if measuring, using the scale as a tool, means understanding the things in the world by establishing some differences, therefore 'off-size' can be the basis for new theoretical assumptions in which both the infinitely large (mega) and the infinitely small (nano) contribute to defining crucial topics, such as environmental, social and economic sustainability, resilience, territory government, the idea of space, aesthetics, use, development of new products, services and materials, etc. Therefore, the multiscalar approach can be considered as an important design working tool that, in a systemic point of view, can foster the proposal of adequate strategies for action and planning of sustainable actions, developing new methods, working techniques and shared measurements, through well-considered hierarchies of priorities necessary to optimize the choices of the project and to determine the reliable cost/benefit balances (especially of environmental nature).

Diese Forschungsarbeit beschäftigt sich damit, wie die Anpassung an die Folgen des Klimawandels in der kommunalen Stadtplanung angegangen und bewältigt werden kann. Dabei fokussiert sich diese Arbeit auf den Umgang mit zunehmenden Hitzebelastungen in den Städten. Der Weltklimarat geht davon aus, dass durch den Klimawandel in den nächsten Jahrzehnten extreme Wetterereignisse wie Hitzewellen, Dürren, Hochwasser und Starkregen zunehmen werden. Insbesondere in Städten verursachen Hochwasser- und Starkregenereignisse große wirtschaftliche Schäden. Hitzewellen stellen besonders in dicht bebauten Städten für Gesundheit, Wohlbefinden und Arbeitsleistung eine hohe Belastung dar. Deshalb ist es erforderlich, die Klimafolgen und ihre Anpassungsmöglichkeiten in Städten stärker in den Blick zu nehmen. Während der Klimaschutz seit geraumer Zeit ein wichtiger Bestandteil kommunaler Politik ist, stellt die Anpassung der städtischen Strukturen ein neues Aufgabenfeld dar. Der Gesetzgeber hat im Jahr 2011 mit der Novellierung des Baugesetzbuches deutlich gemacht, dass vorsorgende und schützende Maßnahmen zur Klimaanpassung im Rahmen der Stadtplanung umgesetzt werden sollen. Daraus wird deutlich, dass die Stadtplanung aufgrund ihrer Kernkompetenzen und Steuerungsinstrumente eine wichtige Rolle bei der Klimaanpassung einnehmen soll. Ziel dieser Arbeit ist es, aktuelle Erkenntnisse und Grundlagen aus Forschung und Praxis für die Klimaanpassung zusammenzutragen und auszuwerten, um abschließend Handlungsempfehlungen für die kommunale Planungspraxis abzuleiten. Es sind drei übergeordnete Themenfelder identifiziert worden, die im Rahmen dieser Arbeit betrachtet werden: Klimafolgen & Handlungsbedarf, Strategien & Maßnahmen und Umsetzung & Instrumente. Einleitend werden die Erkenntnisse zum Klimawandel und der Entwicklung der Hitzebelastung zusammengetragen und die kommunale Aufgabe der Klimaanpassung verdeutlicht. Zum anderen wird die Thematik der Betroffenheit in den Städten dargestellt. Außerdem wird untersucht, welche Hitzebelastungen zukünftig zu erwarten sind und welche Strategien und Maßnahmen geeignet sind, um den Hitzestress der Menschen zugunsten von Lebensqualität und Gesundheit in Städten zu minimieren. Außerdem wird betrachtet, wie Maßnahmen in der Planungspraxis umgesetzt werden können. Ergänzend werden die klimatischen Datengrundlagen und Werkzeuge betrachtet, die der Stadtplanung im Planungsprozess und für die Abwägung zur Verfügung stehen. Die Arbeit zeigt, dass die Stadtplanung einen maßgeblichen Beitrag zum Umgang mit Hitzestress in den Städten leisten kann. Im Rahmen der Betrachtungen wurde deutlich, dass wesentliche Grundlagen und Erkenntnisse zu möglichen Maßnahmen aus der Stadtklimatologie und Human-Biometeorologie bereits vorliegen, jedoch der Transfer dieser Erkenntnisse in die Stadtplanung weiter auszubauen ist. Wesentliche Handlungsansätze ergeben sich bei der Durchlüftung der Stadt sowie der Straßenraum-, Oberflächen- und Gebäudegestaltung. Mithin wird die Herausforderung darin bestehen, hitzeangepasste Städte und Quartiere zu entwickeln - also die Stadträume klimatisch weiter zu qualifizieren sowie klimatisch bedeutsame Flächen von weiterer Bebauung freizuhalten. Es wird empfohlen, die grüne und blaue Infrastruktur einer Stadt zu erhöhen und die Aufenthaltsqualität im öffentlichen Raum insbesondere durch Beschattung und Wasserangebote im Sommer zu verbessern. Ein noch weiter zu erforschendes Handlungsfeld ist der Einsatz hochreflektierender Materialien, um die Aufheizung der Stadtstrukturen zu reduzieren. Lokale Kaltluftflüsse können die nächtliche Auskühlung der Stadträume unterstützen. Untersuchungen zeigen, dass die verschiedenen Stadtquartiere aufgrund ihrer stadtstrukturellen Rahmenbedingungen unterschiedliche Anwendungspotenziale aufweisen. Außerdem ist im Einzelfall zu definieren, ob mit den angewandten Maßnahmen die Überwärmung der Stadt gemindert oder der lokale Klimakomfort des Menschen verbessert werden soll. Bei der Anwendung der Planungsinstrumente ist von Bedeutung, dass klimatische Aspekte frühzeitig und stärker in Planungsprozessen berücksichtigt werden und die verschiedenen Instrumente zielgerichtet eingesetzt werden. Für das Stadtklima bzw. Mikroklima gibt es kein Fachgesetz und damit keine Richt- oder Grenzwerte, so dass eine Umsetzung von Maßnahmen stark vom politischen Willen und von der Fachkompetenz der Fachverwaltung sowie beteiligten Büros abhängig ist. Außerdem lässt sich ableiten, dass die lokale Betroffenheit gegenüber Hitzebelastungen in den verschiedenen Regionen Deutschlands unterschiedlich ist, weshalb der individuelle Handlungsbedarf lokal zu bestimmen ist. Dafür eignet sich zum Beispiel die Entwicklung einer kommunalen Anpassungsstrategie mit einem breit angelegten Beteiligungsprozess unter Einbindung von Fachverwaltung, Politik und Öffentlichkeit. Fakt ist, dass die Integration der Klimaanpassung in die Planungspraxis erst begonnen hat und ein kontinuierlicher Erfahrungsaustausch sowie staatliche Förderprogramme weiterhin erforderlich sind. Wichtige weitere Forschungsthemen sind u. a. die mikroklimatischen Wirkungen von Maßnahmen auf Stadtquartiers- und Vorhabenebene, die Einbindung der Klimaanpassung in die Städtebauförderung und Bauleitplanung sowie die Weiterentwicklung von stadtklimatischen Analyse- und Bewertungstools für die städtebauliche und freiraumplanerische Entwurfsplanung. ; This research study investigates how climate adaption can be solved and integrated into urban planning. The Intergovernmental Panel on Climate Change (IPCC) predicts an enormous increase of extreme weather events like heat waves, droughts, floods and strong rain through global warming within the upcoming decades. Floods and strong rain cause severe economic damage particularly within city structures. Heat waves however lead to health risks and cause strain on well-being and performance at work of the population particularly within densely built cities. Therefore it has become necessary to focus on climate change on city scale and on its potentials for climate adaption. While climate protection is since a while part of municipal politics, climate adaptation is a relatively new task. Due to its core competences and instruments urban planning is bound to play a key role within climate adaption. In the year 2011 the German federal parliament has made precautionary und protective measurements to obligatory tasks in the development of cities and towns in the Federal Building Code. The aim of this study is a subject-related documentation of current knowledge and planning-relevant basics dealing with climate adaptation extracting final recommendations for urban planning. The focus is on solutions in dealing with growing heat stress in cities due to climate change. This research study takes a closer look at three overarching subject areas that have been determined: • Climate change impact & need for action • Strategies & measures • Implementation & managements instruments At first current knowledge on possible climate changes, heat weaves and urban heat is being summarized. Secondly the municipal task of climate adaptation is being illustrated. Further the issue of the cities specific vulnerability is analyzed. This research points out future urban heat problems and discusses potential strategies and measures in urban planning, designed to minimize the overheating in cities in order to improve health-related quality of life. Furthermore it is examined how measures can be implemented in daily planning action. Additionally a closer examination of basic climatic data and tools available for planning and decision-making processes is being done. This research study indicates that urban planning can contribute to dealing with heat stress in cities. However, the challenge is to develope heat-adapted cities and urban quarters which means to qualify urban structures for climate changes and to prevent climate-relevant open spaces from further building development. It is shown that substantial basics and knowledge towards measures are already explored in urban climatology and human biometeorology whereupon the transfer of this knowledge in urban planning has still to be improved. Important fields of action lie within city ventilation and the design of urban spaces, ground and building surfaces. It is recommended to enhance the green and blue infrastructure of the cities. Further the quality of open public space should be improved by means of shading and water elements. Local flows of cold air can help to cool down city structures during night time. A further field of action yet to be explored in Germany is the use of highly reflective materials, designed to reduce the heating of urban structures. Further it becomes apparent that different urban quarters require varying strategies and solutions in order to their urban structure. In addition one has to look at whether measures rather should help to reduce urban heating or enhance thermal comfort of humans. Within planning processes it has been shown that it is crucial to consider climatic aspects to an early stage and with more significance as well as to use the planning instruments in a more target-orientated way. Missing legal requirements and therefore bench marks and critical value lead to the point that the implementation of measurements is strongly dependant on the willingness of local politicians as well as of the knowledge of municipal departments and external practices. Furthermore it can be derived that the local vulnerability within different regions in Germany needs to be estimated in order to identify the required need for action at local scale. For this a broadly based participation, for instance in the context of a municipal adaptation strategy, is suited involving administration, politics and the public. It could be illustrated that implementation of climate adaption into the planning process has just begun. Thus a continuing exchange of experience is yet required in the cities as much as the release of federal and state funding programmes. Topics of interest in research and practice include the micro-climatic effects of measures on the level of urban quarters, the implementation of measurements within the different planning instruments and the enhancement of urban micro climate assessment tools and simulations for urban designers and landscape architects.

Includes bibliography (p. 439-461). ; Number of sources in the bibliography: 304 ; Thesis (Ph. D.) -- University of Cyprus, Faculty of Engineering, Department of Architecture, 2016. ; The University of Cyprus Library holds the printed form of the thesis. ; Η έννοια της συλλογικής νοημοσύνης χαράσσει νέες κατευθύνσεις ως προς τον τρόπο προσέγγισης πολλών σύγχρονων θεμάτων πολιτικής, οικονομικής, κοινωνικής και ηθικής φύσης, αποδίδοντας μεγάλη έμφαση στις δυναμικές σχέσεις που αναπτύσσονται μεταξύ των συμβαλλόμενων μερών. Κατ' επέκταση, ο συλλογικός χώρος που προκύπτει ως αποτέλεσμα αυτής της 'ανοικτής' διαδικασίας, μπορεί να αποτελέσει το πεδίο όπου διάφορες αβεβαιότητες αποκαλύπτονται, αλλά και να λειτουργήσει ως το πεδίο όπου οι αντιθέσεις, συγκρούσεις και αντιπαραθέσεις συνιστούν τα κύρια στοιχεία που ορίζουν την αρχιτεκτονική δημιουργία. Εξετάζοντας οποιαδήποτε χωρική προβληματική, καλούμαστε να ανταπεξέλθουμε σε έναν τεράστιο αριθμό παραμέτρων που αναδεικνύουν την ανεπάρκεια των διαθέσιμων μεθόδων σχεδιασμού για την αντιμετώπιση πολύπλοκων αστικών προβλημάτων. Σε άλλους επιστημονικούς κλάδους, όπως αυτόν της πληροφορικής, η διαχείριση της πολυπλοκότητας φαίνεται να επιτυγχάνεται από τους ίδιους τους χρήστες, με την υιοθέτηση διαφόρων μοντέλων συλλογικών διαδικασιών, όπως είναι ο ανοικτός κώδικας (open source), η ομότιμη δυναμική (p2p), ο πληθοπορισμός (crowdsourcing), κ.λπ. Εν αντιθέσει, στον κλάδο του αστικού σχεδιασμού οι εκφάνσεις συλλογικών πρακτικών σχετίζονται με την έννοια του συμμετοχικού σχεδιασμού, ο οποίος συχνά περιορίζεται στην εμπλοκή διαφόρων ενδιαφερομένων στη διαδικασία σχεδιασμού και στην απόδοση ευθυνών σχεδιασμού προς αυτούς, για την παραγωγή χώρων που θα αφορούν τις ανάγκες των πραγματικών χρηστών. Παρότι ο σχεδιασμός συνήθως επικεντρώνεται στο τελικό προϊόν σχεδιασμού, στην πραγματικότητα τα στάδια της διαδικασίας σχεδιασμού, τα οποία ξεκινούν με τον προσδιορισμό ενός αστικού προβλήματος και με στόχο την ανάπτυξη ενός τελικού προϊόντος, συνήθως παραμένουν στην αφάνεια, παρόλο που αποτελούν ουσιώδες μέρος της αρχιτεκτονικής πρακτικής. Για τους λόγους αυτούς, η παρούσα μελέτη αποσκοπεί στη διερεύνηση της έννοιας της συλλογικής νοημοσύνης, εστιάζοντας στο σχεδιασμό ως μια διαδικασία η οποία εκτείνεται πέρα από τα όρια κάθε έργου και η οποία δύναται να συμβάλλει στη διάδοση της γνώσης. Το τελευταίο κατέστη δυνατό μέσα από την επιλογή της πλατφόρμας αρχιτεκτονικών διαγωνισμών Europan, ως περιπτωσιολογικής μελέτης. Για το σκοπό αυτό χρησιμοποιήθηκαν αναλυτικές μέθοδοι προσέγγισης συγκεκριμένων έργων από το αρχείο του Europan, σε συνδυασμό με ένα αριθμό συνεντεύξεων των εμπλεκόμενων μερών για τα επιλεγμένα έργα, καθώς επίσης πραγματοποιήθηκε διεξοδική μελέτη του 28-χρόνου αρχείου του Europan. Η διατριβή κατέδειξε ότι οι συλλογικές πρακτικές που διενεργούνται μεταξύ των παραγόντων ενός έργου (πόλεις, αρχιτέκτονες, εμπειρογνώμονες, φορείς ανάπτυξης) και οι οποίες διαμορφώνουν σταδιακά το σχεδιασμό ενός έργου, επωφελούνται και ενισχύονται από τις πλατφόρμες επικοινωνίας που προσφέρονται από το θεσμό του Europan (χώροι δημόσιας συζήτησης (forum, debates), εργαστήρια, εκθέσεις, κλπ.). Ως εκ τούτου, διαπιστώθηκε ότι ένα έργο αστικού σχεδιασμού μπορεί να αποκτήσει υβριδικά χαρακτηριστικά, επηρεαζόμενο τόσο από την ιδιαιτερότητα του χωρικού πλαισίου αναφοράς όσο και από τη δυναμική των δικτύων των παραγόντων τα οποία εκτείνονται σε όλες τις ευρωπαϊκές πόλεις που εμπλέκονται στο θεσμό. Κατά συνέπεια, διαπιστώθηκε ότι η πλατφόρμα του θεσμού Europan αποτελεί όντως ένα πρακτικό πολυεπίπεδο μέσο, μια κοινή πλατφόρμα επικοινωνίας των διαφόρων παραγόντων, ένα μέσο για την παραγωγή και διάδοση της γνώσης, ένα εν εξελίξει ερευνητικό πεδίο καθώς και ένα ενεργό μέσο στη διαμόρφωση πολιτικής. Η καινοτομία της εργασίας έγκειται στο γεγονός ότι ο συγγραφέας πρότεινε την ανάπτυξη μιας προσαρμοστικής μεθοδολογίας για τη χαρτογράφηση της πορείας εξέλιξης μιας αστικής κατάστασης, από το στάδιο προσδιορισμού της προβληματικής μέχρι και την υλοποίηση ενός έργου και η οποία αξιοποιεί πλήρως τη συσσωρευμένη γνώση που διαθέτει σήμερα ο θεσμός του Europan. Η επιστημονική αξία της εργασίας έγκειται στο ότι η γενίκευση της μεθοδολογίας αυτής θα μπορούσε να οδηγήσει στην εφαρμογή της πέρα από τα καθορισμένα όρια του θεσμού του Europan και να συμβάλει στην εμφάνιση ή την περαιτέρω ενίσχυση της συλλογικής νοημοσύνης. ; The concept of collective intelligence opens up new avenues in the potential approaches to many contemporary issues of a political, economic, social and moral nature, by laying great emphasis on the dynamic relations which are developed among the contributing parties. In turn, the collective space that emerges as the outcome of this 'open' process can function as the field where uncertainties are revealed as well as where the confrontation with differences, contrasts, conflicts and controversies that define architecture on the making, takes place. Coming across any problematic urban situation, we are faced with a vast number of parameters that highlight the inadequacy of our planning methods to respond to complex urban problems. In other disciplines, such as in Information Technology, the management of complexity appears likely to be resolved by the users themselves, by embracing several models of collective processes, such as open source, p2p, crowdsourcing, etc. That said, in urban design such manifestations of collective practices are usually related to the 'traditional' form of participatory design, that is often limited to engaging stakeholders in the design process and to attributing design responsibilities to them in order to produce environments for the actual users. Despite the perseverance of a design process being mainly focused on the end-product of the design, the process that starts from identifying the urban problem towards an end-product usually remains invisible but at the same time is a very challenging part of the architectural practice. On these grounds, this study explores the concept of collective intelligence by focusing on design as a process that stretches beyond the specific project and contributes to the spread of knowledge. The latter was made possible with the employment of Europan architectural competitions' platform as a case study. Analytical approach methods of selective Europan projects including interviews of key actors for the selected projects and the study of Europan's 28 year course archive were employed. The dissertation demonstrated that the collective practices between project actors (cities, architects, experts, developers) formulate gradually the design project, profiting from the platforms offered by the Europan institution (forums, workshops, debates). Therefore, it was found that the making of an urban design project can obtain hybrid characteristics, depending both on the specificity of the actual context and the dynamics of networks of actors that span all European cities involved. Consequently, it was found that the Europan platform is indeed a practical multi-level medium, a shared platform for the communication of diverse actors, a means of production and spread of knowledge, a domain of research in progress and an active argument in the formation of politics. The novelty of this study lies in the fact that the author suggested the development of an adaptive methodology for mapping an urban situation's course of evolution into an implemented project that fully exploits Europan's accumulated knowledge. The significance attached to the latter is that the methodology's generalization could lead to its use over and above the Europan's context and contribute to the emergence or the enhancement of collective intelligence.

The Neo-colonial style in the Mexican architecture of the 20th century is a subject that has not been explored in depth, even though it has had a very singular development built through 3 phases: the post-revolutionary educational work, the houses of the post-revolutionary wealthy bourgeoisie in Mexico City and the architecture in California. This thesis focuses on the first examples of Neo-colonial architecture identified in buildings in the education sector built by the Constructions Department of the Secretariat of Public Education (SEP, its acronym in Spanish) between 1921 and 1924. The architecture that the SEP supported had a solid reasoning but complicated reading. It is understandable since it was communicating channel of that historic moment (Mexican Revolution), the non-conformist ideologies generated during the Porfiriato, the modern education and architecture theory, as well as the educational project which justified its existence. In addition to this, the Neo-colonial style became the ideological container for nationalism and the identity that it intended to conform to. Although, the need to look for an architecture that stands alone without following foreign models was a request given at the end of the 19th century, the perfect justification for this change came with the revolutionary movement, by the relevance of creating architecture that was more closely identified with the majority of the population; by this reason it can be considered a post-revolutionary architecture. José Vasconcelos is a key character for understanding the work that took place, as Public Education Secretary defended and dictated the requirement to build in a Neo-colonial style, understandable due to his involvement in the "Ateneo de la Juventud" (Youth Athenaeum). The SEP was organized into three new Directorates: Schools, Libraries and Fine Arts; and they had a Constructions Department that innovated the structure and the government granted permissions to the public servants in charge of the national education system, so they could provide appropriate spaces for schools. The Constructions Department faced to the difficult task of interfacing with the Neo-colonial style and the new theories around its architectural work with an architecture that was more social and inclusive, as well as to planning spaces that were consistent with the building's purposes, One of the challenges, was design scientifically for labs and workshops with machines and the activities carried out in those spaces required lighting and hygiene. At the same time, building in Neo-colonial style not only meant rethinking the models of space distribution and formal elements of the building constructed in the past three centuries when Mexico was a Spanish colony, but also to praise the more evident and identifiable architectonic aspects with the surroundings of the majority of the habitants of Mexican cities and in that way build an architectonic imaginary, a more "mexican" architecture and as ostensible revolutionary message the architecture was used as pedagogical element complemented with visual arts like muralism and sculpture. In sum, the national and the modern aspects are strategic goals and the other aspects become subordinated to them. Vasconcelos' contribution in the architecture field was to accept as a revolutionary ideal the arrival of architecture for the Mexican people that stands alone, carried out by local professionals, from wich later emerged a new generation of young architects that would change the course of the modern Mexican architecture ; El estilo Neocolonial en la arquitectura mexicana del siglo XX es un tema poco explorado, aunque ha tenido un singular devenir y transitó por tres momentos: la obra educativa posrevolucionaria, las casas habitación de la burguesía posrevolucionaria con alto poder adquisitivo en la Ciudad de México y la arquitectura realizada en California (de ahí que se le llamara estilo californiano). La presente tesis se aboca a los primeros ensayos de este estilo, identificados en edificios del sector educativo y materializados por el Departamento de Construcciones de la Secretaría de Educación Pública (SEP) entre 1921 y 1924. La arquitectura que auspició la SEP tuvo un discurso sólido pero de complicada lectura, al ser vaso comunicante del momento histórico (la Revolución Mexicana), las ideologías contestatarias generadas en el Porfirismo, las teorías modernas en materia de educación y arquitectura, así como el proyecto educativo el cual justificaba su existencia. Aunado a esto, el estilo Neocolonial se convirtió en el recipiente ideológico del nacionalismo y la identidad que se pretendía conformar. Aunque la necesidad de buscar una arquitectura propia sin seguir modelos extranjeros fue una demanda que a finales del siglo XIX se dio, el cambio se logró en el propio movimiento armado por la pertinencia de hacer arquitectura más identificada con la mayoría poblacional; por lo tanto se puede considerar una arquitectura posrevolucionaria. José Vasconcelos es un personaje clave para entender la obra realizada, ya que como Secretario de Educación Pública defendió y dictó el requisito de construir en estilo Neocolonial, comprensible por su participación juvenil en las filas del Ateneo de la Juventud. La SEP se fundamentó en tres nuevas Direcciones: Escolar, Bibliotecas y Bellas Artes a las que se les creó un Departamento de Construcciones, innovando los esquemas y atribuciones que el gobierno confería a los encargados de la educación nacional, con la función de proveer de espacios escolares adecuados. El Departamento de Construcciones se enfrentó a la difícil tarea de congeniar el estilo Neocolonial y las nuevas teorías alrededor de su quehacer arquitectónico con una arquitectura más social e incluyente, así como proyectar espacios coherentes con la actividad propia del edificio. Uno de los retos fue diseñar científicamente para laboratorios y talleres con máquinas en inmuebles ya erigidos, por lo que utilizaron nuevas técnicas constructivas para lograr espacios con buena iluminación e higiene. A su vez, construir en estilo Neocolonial no sólo significaba repensar los modelos de distribución espacial y elementos formales de los antiguos edificios construidos en los tres siglos de colonización española, sino exaltar los aspectos arquitectónicos más evidentes e identificables con el entorno de la mayoría de los habitantes de las ciudades de México y así construir un imaginario arquitectónico, una arquitectura más "mexicana". Así también, al ostentar un mensaje revolucionario, la arquitectura se orientó como un elemento pedagógico, complementado con artes plásticas como el muralismo y la escultura. En síntesis, lo nacional y lo moderno fungieron como metas estratégicas a cuyo tenor las demás adquirieron un sitio subordinado. La aportación de Vasconcelos en el ámbito de la arquitectura fue asumir como ideal revolucionario arribar a una arquitectura propia, realizada por profesionistas autóctonos, de los que emergieron jóvenes arquitectos que posteriormente cambiarían el rumbo de la arquitectura moderna mexicana. ; Postprint (published version)

The Neo-colonial style in the Mexican architecture of the 20th century is a subject that has not been explored in depth, even though it has had a very singular development built through 3 phases: the post-revolutionary educational work, the houses of the post-revolutionary wealthy bourgeoisie in Mexico City and the architecture in California. This thesis focuses on the first examples of Neo-colonial architecture identified in buildings in the education sector built by the Constructions Department of the Secretariat of Public Education (SEP, its acronym in Spanish) between 1921 and 1924. The architecture that the SEP supported had a solid reasoning but complicated reading. It is understandable since it was communicating channel of that historic moment (Mexican Revolution), the non-conformist ideologies generated during the Porfiriato, the modern education and architecture theory, as well as the educational project which justified its existence. In addition to this, the Neo-colonial style became the ideological container for nationalism and the identity that it intended to conform to. Although, the need to look for an architecture that stands alone without following foreign models was a request given at the end of the 19th century, the perfect justification for this change came with the revolutionary movement, by the relevance of creating architecture that was more closely identified with the majority of the population; by this reason it can be considered a post-revolutionary architecture. José Vasconcelos is a key character for understanding the work that took place, as Public Education Secretary defended and dictated the requirement to build in a Neo-colonial style, understandable due to his involvement in the "Ateneo de la Juventud" (Youth Athenaeum). The SEP was organized into three new Directorates: Schools, Libraries and Fine Arts; and they had a Constructions Department that innovated the structure and the government granted permissions to the public servants in charge of the national education system, so they could provide appropriate spaces for schools. The Constructions Department faced to the difficult task of interfacing with the Neo-colonial style and the new theories around its architectural work with an architecture that was more social and inclusive, as well as to planning spaces that were consistent with the building's purposes, One of the challenges, was design scientifically for labs and workshops with machines and the activities carried out in those spaces required lighting and hygiene. At the same time, building in Neo-colonial style not only meant rethinking the models of space distribution and formal elements of the building constructed in the past three centuries when Mexico was a Spanish colony, but also to praise the more evident and identifiable architectonic aspects with the surroundings of the majority of the habitants of Mexican cities and in that way build an architectonic imaginary, a more "mexican" architecture and as ostensible revolutionary message the architecture was used as pedagogical element complemented with visual arts like muralism and sculpture. In sum, the national and the modern aspects are strategic goals and the other aspects become subordinated to them. Vasconcelos' contribution in the architecture field was to accept as a revolutionary ideal the arrival of architecture for the Mexican people that stands alone, carried out by local professionals, from wich later emerged a new generation of young architects that would change the course of the modern Mexican architecture ; El estilo Neocolonial en la arquitectura mexicana del siglo XX es un tema poco explorado, aunque ha tenido un singular devenir y transitó por tres momentos: la obra educativa posrevolucionaria, las casas habitación de la burguesía posrevolucionaria con alto poder adquisitivo en la Ciudad de México y la arquitectura realizada en California (de ahí que se le llamara estilo californiano). La presente tesis se aboca a los primeros ensayos de este estilo, identificados en edificios del sector educativo y materializados por el Departamento de Construcciones de la Secretaría de Educación Pública (SEP) entre 1921 y 1924. La arquitectura que auspició la SEP tuvo un discurso sólido pero de complicada lectura, al ser vaso comunicante del momento histórico (la Revolución Mexicana), las ideologías contestatarias generadas en el Porfirismo, las teorías modernas en materia de educación y arquitectura, así como el proyecto educativo el cual justificaba su existencia. Aunado a esto, el estilo Neocolonial se convirtió en el recipiente ideológico del nacionalismo y la identidad que se pretendía conformar. Aunque la necesidad de buscar una arquitectura propia sin seguir modelos extranjeros fue una demanda que a finales del siglo XIX se dio, el cambio se logró en el propio movimiento armado por la pertinencia de hacer arquitectura más identificada con la mayoría poblacional; por lo tanto se puede considerar una arquitectura posrevolucionaria. José Vasconcelos es un personaje clave para entender la obra realizada, ya que como Secretario de Educación Pública defendió y dictó el requisito de construir en estilo Neocolonial, comprensible por su participación juvenil en las filas del Ateneo de la Juventud. La SEP se fundamentó en tres nuevas Direcciones: Escolar, Bibliotecas y Bellas Artes a las que se les creó un Departamento de Construcciones, innovando los esquemas y atribuciones que el gobierno confería a los encargados de la educación nacional, con la función de proveer de espacios escolares adecuados. El Departamento de Construcciones se enfrentó a la difícil tarea de congeniar el estilo Neocolonial y las nuevas teorías alrededor de su quehacer arquitectónico con una arquitectura más social e incluyente, así como proyectar espacios coherentes con la actividad propia del edificio. Uno de los retos fue diseñar científicamente para laboratorios y talleres con máquinas en inmuebles ya erigidos, por lo que utilizaron nuevas técnicas constructivas para lograr espacios con buena iluminación e higiene. A su vez, construir en estilo Neocolonial no sólo significaba repensar los modelos de distribución espacial y elementos formales de los antiguos edificios construidos en los tres siglos de colonización española, sino exaltar los aspectos arquitectónicos más evidentes e identificables con el entorno de la mayoría de los habitantes de las ciudades de México y así construir un imaginario arquitectónico, una arquitectura más "mexicana". Así también, al ostentar un mensaje revolucionario, la arquitectura se orientó como un elemento pedagógico, complementado con artes plásticas como el muralismo y la escultura. En síntesis, lo nacional y lo moderno fungieron como metas estratégicas a cuyo tenor las demás adquirieron un sitio subordinado. La aportación de Vasconcelos en el ámbito de la arquitectura fue asumir como ideal revolucionario arribar a una arquitectura propia, realizada por profesionistas autóctonos, de los que emergieron jóvenes arquitectos que posteriormente cambiarían el rumbo de la arquitectura moderna mexicana. ; Postprint (published version)

Aan de rij biografieën gewijd aan Nederlandse hoofdrolspelers in de Indonesische dekolonisatiekwestie is dan eindelijk ook die over Van Mook toegevoegd. Het werd tijd. Immers, de twee boekwerken over hem dateren alweer van 1982. Het betreffen de gedegen, maar verouderde studie van de hand van de Singaporese historicus Yong Mun Cheong en de oppervlakkige monografie van J.C. Bijkerk. Zou de Leidse historicus Tom van den Berge dan op basis van alle informatie die de laatste decennia beschikbaar is gekomen met de definitieve biografie komen over Van Mook en met name zijn zo controversiële handelwijze als luitenant-gouverneur-generaal uit de doeken doen? Voor wie in deze verwachting zijn boek ter hand neemt is het resultaat een tegenvaller. Waar in biografieën over landsbestuurders doorgaans de nadruk ligt op hun publieke loopbaan, overheerst in deze publicatie de persoonlijke dimensie: niet de koloniale bestuurder en zijn werk staan centraal, maar veeleer de mens Van Mook en zijn privéleven. Dat Van den Berge voor deze invalshoek heeft gekozen vloeit voort uit het feit dat hij als eerste toegang kreeg tot diens persoonlijk archief dat nog bij de familie berust. Dit bleek een dusdanige Fundgrube dat daaruit overwegend door hem is geput. Het heeft erin geresulteerd dat Van Mooks optreden als koloniaal bestuurder, getuige ook de beperkte raadpleging van primaire bronnen met betrekking tot zijn beroepsmatige werkzaamheden, er bekaaid vanaf is gekomen. In dat opzicht schiet de studie tekort. Immers, het belang van Van Mook als de architect van het dekolonisatiebeleid schuilt toch vooral in zijn optreden als landvoogd. De lezer had graag meer willen weten over de sleutelrol die Van Mook gedurende de jaren 1945-1948 heeft vervuld dan wat al genoegzaam bekend is. Aldus is het wachten nog steeds op degene die Van Mooks handelwijze in de dekolonisatieperiode alsnog tot onderwerp van grondige studie maakt. Deze kritiek laat onverlet dat de fraai uitgegeven en goed geschreven biografie wel degelijk belangrijk is. Wat het privéleven van Van Mook betreft voegt de studie veel nieuws toe aan de bestaande historiografie. Dankzij de te berde gebrachte vele nieuwe wetenswaardigheden kijkt de lezer met een andere blik naar Van Mook. Daarin schuilt ook de meerwaarde van het boek. Centraal staat Van Mooks Indisch bestaan met als leidraad de vraag hoe zijn bestaan in de kolonie hem heeft gevormd en zijn doen en denken heeft bepaald in het verwerkelijken van een onafhankelijk Indonesië. Van den Berge heeft zijn hoofdpersoon in al zijn facetten geschetst zonder diens onvolmaaktheden te verbloemen of te vergoelijken. Uit de biografie komt een gedreven, maar ook autoritair bestuurder naar voren die, overtuigd van zijn eigen kunnen en van de juistheid van zijn denkbeelden, geneigd was tot eigenzinnig en eigenmachtig optreden om zijn ideaal van 'een vrij en gelukkig Indonesië' te verwerkelijken. Al als jongeling ontbrak het Van Mook niet aan eigendunk en zag hij het als zijn roeping om Indonesië onafhankelijk te maken. Ambitieus en snel carrière makend binnen de Indische bestuursdienst maakte Van Mook zich daar sterk voor, maar hij had in de jaren dertig het politieke tij tegen om gestalte te geven aan zijn doel, terwijl de Tweede Wereldoorlog al helemaal roet in het eten gooide. De oorlogsjaren vormden wat zijn werk betrof als ook persoonlijk een waterscheiding in zijn leven. Tijdens de Japanse bezettingstijd was hij de belangrijkste vertegenwoordiger van Nederlands-Indië in de vrije wereld. Hij rekte als plaatsvervangend gouverneur-generaal en korte tijd als minister van Koloniën al zijn bevoegdheden tot het uiterste op om zijn ideaal van een zelfstandig Indonesië te realiseren zodra de bevrijding een feit zou zijn. Het uitroepen van de Republiek Indonesië meteen na de Japanse capitulatie doorkruiste echter zijn uitgedacht scenario. De daaruit voortvloeiende verwikkelingen probeerde hij uit alle macht in de door hem gewenste richting van een verantwoorde dekolonisatie te kanaliseren. De tegenkrachten waren echter te groot om te beheersen. Ook privé betekenden de jaren 1942-1945 een fundamentele wending in zijn leven. Gescheiden van zijn in Japanse kampen geïnterneerde vrouw en kinderen raakte de buiten de kolonie verblijvende Van Mook geheel van hen vervreemd. Hij kreeg een verhouding met zijn secretaresse. Omdat zijn echtgenote na de bevrijding weigerde te scheiden, verbrak zijn nieuwe liefde de relatie. De worsteling van een zwaar aangeslagen Van Mook met zijn emoties, samenvallend met het escalerende dekolonisatieconflict met de eerste politionele actie als dieptepunt, maakt het centrale hoofdstuk in de biografie over de jaren 1945-1948 tot een waar Grieks treurspel. Van Mook figureert erin als een tragische held die naarmate hij de greep op de gebeurtenissen verloor en zich door iedereen verlaten en onbegrepen voelde, van de weeromstuit steeds monomaner opereerde om al doende het tegenovergestelde te bewerkstelligen van wat hij beoogde, om uiteindelijk op pijnlijke wijze de laan te worden uitgestuurd. Met de uitvoerige weergave van wat zich privé allemaal achter de schermen afspeelde in deze jaren – de politieke verwikkelingen zijn slechts achtergrond – maakt Van den Berge het zeer aannemelijk dat Van Mooks persoonlijke omstandigheden zijn weerslag wel moet hebben gehad op zijn werk als landvoogd. Maar in hoeverre en op welke wijze zij zijn doen en laten hebben beïnvloed, daar laat hij zich niet over uit. Het wordt aan de lezer overgelaten eigen conclusies te trekken. Terwijl het dekolonisatiechapiter al zeer dramatisch is, de hoofdstukken daaropvolgend zijn welhaast nog aangrijpender en vormen het beste deel van het boek. Van den Berge beschrijft in al zijn details, maar toch ook geserreerd, de teloorgang van zijn hoofdpersoon. Het is een treurig relaas over een gedesillusioneerd man die niet alleen zijn ideaal niet had weten te verwezenlijken, maar ook nog eens zijn thuisland verloor. Daarbij was zijn nieuwe liefde uit zijn leven verdwenen. Na Indonesië kwam het niet meer goed met hem. Het is schrijnend te lezen hoe Van Mook, zich in Nederland niet thuis voelend en ook om zijn gezin te ontvluchten, uitweek naar de Verenigde Staten met zijn nieuwe levenspartner – zijn laatste secretaresse in Indonesië – in de hoop daar een nieuwe carrière te kunnen opbouwen. Het werd een deceptie. Zwervend van de ene tijdelijke functie naar de andere kwam hij tot de slotsom dat ook daar niemand op hem zat te wachten. Zijn rol op het (inter)nationale toneel was definitief uitgespeeld. Volledig op een dood spoor beland, vestigde hij zich tenslotte in Zuid-Frankrijk, alwaar hij zich schamend voor zijn leeg bestaan en zijn ongemakkelijke privéomstandigheden afsloot van de buitenwereld, om daar kort voor zijn 71ste verjaardag te overlijden. Al met al heeft Van den Berge op knappe wijze een bovenal menselijk beeld van Van Mook geschetst. Zijn relaas biedt inzicht in wie hij werkelijk was: een naar de buitenwereld toe imposante man die achter zijn zelfverzekerde voorkomen eenzaam en ongelukkig was. Die paradox alsmede het contrast tussen zijn zo glansrijk en boeiend leven in de schijnwerpers in Indonesië en zijn vastgelopen carrière en ontworteld bestaan daarna is wat de onthullende biografie ondanks zijn tekortkomingen zo fascinerend maakt en het lezen meer dan waard. ; The biography is about the personal life of the last Governer-General of colonial Indonesia, H.J. Van Mook (1942-1948)

The research opens a new chapter about the studies conducted until now on the traditional architecture of the smaller towns in Sardinia, which I have been part from 2007 to 2010 and has been completed with the editing of Manuals Retrieval of the historical centers of Sardinia. The research started from a socio-anthropological knowledge of the characters, urban and technological centers and from the study of the traditional Sardinian architecture. Furthermore, having the opportunity to meet the Mediterranean architecture on the same viewpoints, the research investigates the archetypal elements of traditional architecture under the aspect of composition. It looks at the ways in which the contemporary design strategies, released by ideological references, take them over elaborating them, comparing with the memory of places, beyond of every stylistic affiliation. Belonging to minimalist positions, regionalist or post-modern resuming solutions, contextualizing and reinterpreting them in a practical and empirical way, even trying to see which characters and modes could be identified as typical and recurrent. This kind of research, which specifically aims to verify the composition and some elements of the experience of this project, needs to be based on the knowledge of the culture and the debate which marked the activity of designers in the near past, from the first modernity trying to recognize which characters were conditioners, which continue to influence the present and which are typical and original in the actuality. For this reason, the research has an introductory part which incorporates some emblematic moments of the debate on the architecture of the twentieth century, referring to reality and figures of the Mediterranean. One is the myth of modernity celebrated from the first rationalism, especially in Italy and Spain, the other one is the debate about the historical centers of the late twentieth century, still typical of our country: in the first season the traditional Mediterranean architecture is transformed into a progressive ideal used to specify shapes and intentions of the new architecture, especially in its character of anonymity and puristic reduction. The first part of the research, introduces the relationship between modern architecture and Mediterranean inspiration and deepens in a critical manner, the weakness of the concept of Mediterranean, founded on one hand in a sham and on the other on how rationalism looks at the historical landscape searching for a radical overhaul of the style of architecture. The Mediterranean myth in the Italian architecture is mainly influenced by the idea of the correspondence of the formal themes of modernity and is used for political reasons in order to find a place of modern Italian positions within the regime. The Mediterranean architecture is not, therefore, re-interpreted conservatively, but revised into a new paradigm, a new way of imagining the architecture. In the second part, by the pre-war myth, still literary and idealized, we move to a more critical and accurate knowledge to the empirical verification and philological sort order, losing the progressive tension of the first season and building a system of strict preservation rules, revealed, too deterministic and inhibitory. The weakness of the rationalist positions, reveals the architecture of the Second World War, who looked to the Mediterranean, devoid by now, of the ideal tension during the rationalism: it is less parallelism between cutting-edge research and charm of the Mediterranean landscape and the question begins to focus more on the relationship with the towns, with the existing environment, and for a certain range of the debate, with the preservation of historic centers, up to produce more and become part of the theories of critical regionalism, political manifesto, as Frampton says, of resistance towards globalization. The enhancement of local realities is no longer specific to the Mediterranean, but is extended: it is as if the great architecture of Mediterranean figures lost part of the universal value, which instead is recognized during rationalism. In the present, after the crisis of the great paradigms interpretive, the debate about relationship between new and old loses strength and becomes eccentric compared to issues considered preeminent. Some great works receive media attention representing particular methodologies, these are exceptional circumstances, related to charismatic personalities who avoid to define a strong theory. This research select a field of attentive investigation to the works of medium size on which you can recognize an empirical approach (not programmatic), which could be recognized as typical of this period. An approach that addresses issues that in the past were strongly ideological - the relation between modernity and tradition and continuity and rupture with the figures of history - out of those programmatic intentions and norms: in this way many architects of the younger generation, active in the Mediterranean territories, they built a sensitive and imaginative dialogue between the elements inherited from the context and strategies - even radical - of contemporary design, defining a fertile scene and interesting to build new methodologies and practices of intervention. Currently there is no attention to the great paradigm, but an open and practical approach. I will approach the scope of this study as part of the Mediterranean, in order to understand the outcome of discussions which are the current approaches and isolating a specific subject of the tradition, one of the most characteristic, trying to figure out how the projects chosen take up and rework the issue. The modulation of the light, treated according to the manner in which you relate to some elements of tradition: the dematerialization of the building mass, the dimming systems, gaps in the patio and courtyard and places of shade. Each of the examples treated, shows that there is a traditional way to control the light that has characterized the Mediterranean architecture of the past and that has been expressed by the categories identified. I prove that there are contemporary projects which reflect those solutions contextualizing and reinterpreting them in an empirical and practical way: this is very interesting because it demonstrates the vitality of the relationship between contemporary architecture and history and how certain paradigms of the Mediterranean tradition have survived as a cultural and architectural legacy, in the attempt to offer a possible answer to the complexity of the problems posed by the existing historic and how have been reinterpreted. Beyond each "nuovismo", as well as the obsession of memory, which often gave rise to an analytical mummification that carries with it the nostalgic for the unachievable quality of the ancient city and the assurance of the absence of quality of the city modern-contemporary, can be an alternative based on the careful study of places to go back to the essential qualities that the architectures are realized in it.

Exclusion of marginalized people in public spaces has been a recurrent topic of human geography (Smith, 1996, Mitchell, 1997) but explanations mainly refer to macrogeographical level and entrepreneurial production of iconic public spaces. But conflicts of appropriation also exist in banal public spaces (Padisson and Sharp, 2007). In this thesis, we analyse this kind of conflicts, in two peri-central neigborhoods : Shaugnessy Village in Montreal and La Goutte d'Or in Paris. Relying on the vision of space as a topological structure of positions (Hubert, 1993), we study the issue of exclusion in public space through space's experiences of people. By taking interest in banal public spaces, we show that appropriation of public spaces also refer to dwelling pratices. They are used, through social relations and investment of specific values in space, as a home for homeless and marginalized people and as an extension of home for residents. Involving contradictory uses of public spaces, these dynamics of appropriation induce conflicts. The inadequacy of presence and behaviors of marginalized people with the desired residential way of life in the neighborhoods induce the mobilization of the residents and the process of purification of space (Sibley, 1995). In the face of marginalized practices of public spaces, a residential " us " appears, based on the " common " residential values. This reveals the will to create a protective and " coexistential interior " (Sloterdijk, 2005) over the public spaces, in which marginalized persons are not admitted, except if they conform to it. Diffusion of residential values in public spaces finally restrict self-recognition and their feeling of belonging to the neighborhood. They feel more and more " out of place " (Cresswell, 1996), which incite them to leave, or to normalize their own behaviors if they want to stay. In fact, residential domestication of public space, through the injection of residential values in space, reduces the opportunities to make these public spaces a home for marginalized people. Therefore, in banal and residential public spaces, through actions on space and the transformation of landscape, a new kind of urban exclusion appears: a " soft dispersal " which substitute for " zero tolerance policies ". ; Constituant des réflecteurs d'urbanité, les espaces publics font aujourd'hui l'objet d'une attention accrue de la part des aménageurs et des planificateurs dans un contexte de compétition urbaine où l'attractivité devient l'une des principales stratégies de développement (Harvey, 1989). Dans cette perspective, de nombreuses transformations touchent les espaces publics, à l'instar de leur privatisation (Zukin, 1995 ; Le Goix et Loudier Malgouyres, 2005), de leur marchandisation (Sorkin, 1992 ; Zukin, 1995) ou de leur sécurisation (Németh et Hollander, 2010), soulevant alors des conflits d'appropriation. Les fonctions associées aux espaces publics, de sociabilité, d'interaction et de libre accessibilité (Ghorra-Gobin, 2001), évoluent donc considérablement. Ces changements ont été analysés par de nombreux auteurs, lesquels ont révélé les dynamiques de mise à l'écart et d'exclusion des personnes les plus marginalisées (Smith, 1996 ; Mitchell, 1997), dont la visibilité limite la portée des politiques urbaines de revitalisation. Pourtant, au-delà des espaces publics centraux et iconiques et de l'action des pouvoirs publics, des conflits d'appropriation se manifestent également dans les espaces publics ordinaires (Paddison et Sharp, 2007) et résidentiels. En construisant leurs " mondes ", certains groupes peuvent restreindre celui d'autres groupes et déclencher des cohabitations parfois difficiles. Comprendre ces conflits nécessite alors d'intégrer à l'analyse les rapports qu'entretiennent les citadins à leurs espaces de vie, primordiaux dans la structuration des espaces publics. En effet, dans leurs pratiques, dans la projection de soi dans l'espace urbain, les citadins participent à leur production (De Certeau, 1990 ; Lefebvre, 2000), et les appropriations mises en œuvre peuvent être vectrices de conflits, de mises à l'écart ou d'inaccessibilité à certains espaces publics. Plus particulièrement à une époque où les espaces publics tendent à être investis comme une extension du chez-soi, leur production dans la proximité et la participation des résidents peuvent déclencher des processus d'exclusion (Fleury, 2007) et de résistance des populations marginalisées qui investissent aussi ces lieux comme un " chez-soi ". Nous proposons dans cette thèse d'analyser ce type de conflits d'appropriation. Dans cette perspective, nous inscrivons notre réflexion dans l'interprétation de l'espace géographique comme structure topologique de positions (Desmarais, 1992 ; Hubert, 1993 : Parazelli, 1997). Ces préceptes épistémologiques nous permettent d'aborder le partage des espaces publics à travers les concepts d'appropriation et d'habiter, et de porter une attention particulière aux pratiques mises en œuvre par les riverains et les personnes marginalisées dans leurs espaces de vie. Cela nous permet notamment d'éclairer le sens de l'appropriation des espaces publics et d'expliciter les significations relatives aux conflits. En tissant également des liens théoriques avec les concepts de purification de l'espace (Sibley, 1995) et d' " out of place " (Cresswell, 1996), il s'agit de comprendre comment les pratiques mises en œuvre dans ces appropriations peuvent se contraindre les unes les autres et marginaliser davantage les personnes marginalisées. Nous nous sommes alors intéressés à deux quartiers, la Goutte d'Or à Paris et le Village Shaugnessy à Montréal, à vocation davantage résidentielle qu'iconique, et au sein desquels se manifestent des conflits pour l'appropriation des espaces publics. À travers une cinquantaine d'entrevues avec divers acteurs : des riverains et des personnes marginalisées ou des travailleurs communautaires mais également des responsables politiques, des urbanistes et architectes, nous montrons comment les espaces publics s'avèrent particulièrement importants dans les pratiques d'habiter. Ceux-ci constituent des positions attractives que les personnes marginalisées et les riverains investissent de manière à se les approprier et à pouvoir s'y reconnaître. Par les socialisations et leur occupation, les personnes marginalisées parviennent ainsi à constituer un " chez-soi " identificatoire tandis que par leur réappropriation, par l'animation et leur embellissement, les riverains les instituent comme une extension résidentielle du " chez-soi ". Or, ces dynamiques d'appropriation, et les prégnances qu'elles inscrivent dans l'espace, vont à l'encontre les unes des autres. L'inadéquation de la présence et des comportements des personnes marginalisées avec le mode de vie résidentiel désiré du quartier constitue l'un des éléments moteurs de la mobilisation des riverains et des désirs de purification de l'espace (Sibley, 1995). Face aux pratiques des personnes marginalisées s'affirment alors le " commun " des valeurs résidentielles désirées et la constitution d'un " nous ". Or ces exigences résidentielles renvoient à la volonté des riverains de créer un " intérieur coexistentiel " (Sloterdijk, 2005) protecteur dans l'ensemble des espaces publics du quartier, au sein duquel les personnes marginalisées ne sont pas incluses, à moins de s'y conformer. La diffusion de valeurs résidentielles dans les espaces publics limiterait ainsi les prégnances associées à la marginalité, réduisant leur sentiment d'appartenance au quartier et la reconnaissance de soi, et les incitant alors à se déplacer, à adopter des tactiques de résistance pour maintenir leur occupation des lieux ou à normaliser leurs comportements. De fait, dans ces espaces publics ordinaires, des rapports de force se manifestent également pour leur appropriation, mettant en lumière des rapports de pouvoir qui s'éloignent du revanchisme ou de la tolérance zéro. Ceux-ci prennent une forme plus subtile de dispersion, à travers le contrôle des références topologiques associées aux diverses positions. Ces résultats invitent alors à interroger le partage des espaces publics à travers la cohabitation et à réfléchir aux moyens de faire des espaces publics des lieux dans lesquels l'ensemble des habitants d'un quartier puisse se reconnaître.

Exclusion of marginalized people in public spaces has been a recurrent topic of human geography (Smith, 1996, Mitchell, 1997) but explanations mainly refer to macrogeographical level and entrepreneurial production of iconic public spaces. But conflicts of appropriation also exist in banal public spaces (Padisson and Sharp, 2007). In this thesis, we analyse this kind of conflicts, in two peri-central neigborhoods : Shaugnessy Village in Montreal and La Goutte d'Or in Paris. Relying on the vision of space as a topological structure of positions (Hubert, 1993), we study the issue of exclusion in public space through space's experiences of people. By taking interest in banal public spaces, we show that appropriation of public spaces also refer to dwelling pratices. They are used, through social relations and investment of specific values in space, as a home for homeless and marginalized people and as an extension of home for residents. Involving contradictory uses of public spaces, these dynamics of appropriation induce conflicts. The inadequacy of presence and behaviors of marginalized people with the desired residential way of life in the neighborhoods induce the mobilization of the residents and the process of purification of space (Sibley, 1995). In the face of marginalized practices of public spaces, a residential " us " appears, based on the " common " residential values. This reveals the will to create a protective and " coexistential interior " (Sloterdijk, 2005) over the public spaces, in which marginalized persons are not admitted, except if they conform to it. Diffusion of residential values in public spaces finally restrict self-recognition and their feeling of belonging to the neighborhood. They feel more and more " out of place " (Cresswell, 1996), which incite them to leave, or to normalize their own behaviors if they want to stay. In fact, residential domestication of public space, through the injection of residential values in space, reduces the opportunities to make these public spaces a home for marginalized people. Therefore, in banal and residential public spaces, through actions on space and the transformation of landscape, a new kind of urban exclusion appears: a " soft dispersal " which substitute for " zero tolerance policies ". ; Constituant des réflecteurs d'urbanité, les espaces publics font aujourd'hui l'objet d'une attention accrue de la part des aménageurs et des planificateurs dans un contexte de compétition urbaine où l'attractivité devient l'une des principales stratégies de développement (Harvey, 1989). Dans cette perspective, de nombreuses transformations touchent les espaces publics, à l'instar de leur privatisation (Zukin, 1995 ; Le Goix et Loudier Malgouyres, 2005), de leur marchandisation (Sorkin, 1992 ; Zukin, 1995) ou de leur sécurisation (Németh et Hollander, 2010), soulevant alors des conflits d'appropriation. Les fonctions associées aux espaces publics, de sociabilité, d'interaction et de libre accessibilité (Ghorra-Gobin, 2001), évoluent donc considérablement. Ces changements ont été analysés par de nombreux auteurs, lesquels ont révélé les dynamiques de mise à l'écart et d'exclusion des personnes les plus marginalisées (Smith, 1996 ; Mitchell, 1997), dont la visibilité limite la portée des politiques urbaines de revitalisation. Pourtant, au-delà des espaces publics centraux et iconiques et de l'action des pouvoirs publics, des conflits d'appropriation se manifestent également dans les espaces publics ordinaires (Paddison et Sharp, 2007) et résidentiels. En construisant leurs " mondes ", certains groupes peuvent restreindre celui d'autres groupes et déclencher des cohabitations parfois difficiles. Comprendre ces conflits nécessite alors d'intégrer à l'analyse les rapports qu'entretiennent les citadins à leurs espaces de vie, primordiaux dans la structuration des espaces publics. En effet, dans leurs pratiques, dans la projection de soi dans l'espace urbain, les citadins participent à leur production (De Certeau, 1990 ; Lefebvre, 2000), et les appropriations mises en œuvre peuvent être vectrices de conflits, de mises à l'écart ou d'inaccessibilité à certains espaces publics. Plus particulièrement à une époque où les espaces publics tendent à être investis comme une extension du chez-soi, leur production dans la proximité et la participation des résidents peuvent déclencher des processus d'exclusion (Fleury, 2007) et de résistance des populations marginalisées qui investissent aussi ces lieux comme un " chez-soi ". Nous proposons dans cette thèse d'analyser ce type de conflits d'appropriation. Dans cette perspective, nous inscrivons notre réflexion dans l'interprétation de l'espace géographique comme structure topologique de positions (Desmarais, 1992 ; Hubert, 1993 : Parazelli, 1997). Ces préceptes épistémologiques nous permettent d'aborder le partage des espaces publics à travers les concepts d'appropriation et d'habiter, et de porter une attention particulière aux pratiques mises en œuvre par les riverains et les personnes marginalisées dans leurs espaces de vie. Cela nous permet notamment d'éclairer le sens de l'appropriation des espaces publics et d'expliciter les significations relatives aux conflits. En tissant également des liens théoriques avec les concepts de purification de l'espace (Sibley, 1995) et d' " out of place " (Cresswell, 1996), il s'agit de comprendre comment les pratiques mises en œuvre dans ces appropriations peuvent se contraindre les unes les autres et marginaliser davantage les personnes marginalisées. Nous nous sommes alors intéressés à deux quartiers, la Goutte d'Or à Paris et le Village Shaugnessy à Montréal, à vocation davantage résidentielle qu'iconique, et au sein desquels se manifestent des conflits pour l'appropriation des espaces publics. À travers une cinquantaine d'entrevues avec divers acteurs : des riverains et des personnes marginalisées ou des travailleurs communautaires mais également des responsables politiques, des urbanistes et architectes, nous montrons comment les espaces publics s'avèrent particulièrement importants dans les pratiques d'habiter. Ceux-ci constituent des positions attractives que les personnes marginalisées et les riverains investissent de manière à se les approprier et à pouvoir s'y reconnaître. Par les socialisations et leur occupation, les personnes marginalisées parviennent ainsi à constituer un " chez-soi " identificatoire tandis que par leur réappropriation, par l'animation et leur embellissement, les riverains les instituent comme une extension résidentielle du " chez-soi ". Or, ces dynamiques d'appropriation, et les prégnances qu'elles inscrivent dans l'espace, vont à l'encontre les unes des autres. L'inadéquation de la présence et des comportements des personnes marginalisées avec le mode de vie résidentiel désiré du quartier constitue l'un des éléments moteurs de la mobilisation des riverains et des désirs de purification de l'espace (Sibley, 1995). Face aux pratiques des personnes marginalisées s'affirment alors le " commun " des valeurs résidentielles désirées et la constitution d'un " nous ". Or ces exigences résidentielles renvoient à la volonté des riverains de créer un " intérieur coexistentiel " (Sloterdijk, 2005) protecteur dans l'ensemble des espaces publics du quartier, au sein duquel les personnes marginalisées ne sont pas incluses, à moins de s'y conformer. La diffusion de valeurs résidentielles dans les espaces publics limiterait ainsi les prégnances associées à la marginalité, réduisant leur sentiment d'appartenance au quartier et la reconnaissance de soi, et les incitant alors à se déplacer, à adopter des tactiques de résistance pour maintenir leur occupation des lieux ou à normaliser leurs comportements. De fait, dans ces espaces publics ordinaires, des rapports de force se manifestent également pour leur appropriation, mettant en lumière des rapports de pouvoir qui s'éloignent du revanchisme ou de la tolérance zéro. Ceux-ci prennent une forme plus subtile de dispersion, à travers le contrôle des références topologiques associées aux diverses positions. Ces résultats invitent alors à interroger le partage des espaces publics à travers la cohabitation et à réfléchir aux moyens de faire des espaces publics des lieux dans lesquels l'ensemble des habitants d'un quartier puisse se reconnaître.

Durante el gobierno del presidente Jorge Alessandri Rodríguez se dictó, en 1959, el Decreto con Fuerza de Ley Nº2, "instrumento legal destinado a movilizar, encauzar y fomentar los recursos estatales e institucionales, el ahorro y el crédito público y privado en favor de la vivienda popular". La Corporación de Vivienda (CORVI) asume la acción técnica y ejecutiva de esta legislación y se convierte en la encargada de poner en práctica el Plan Habitacional Chileno. La serie de proyectos desarrollados por la Corvi ejemplifican las líneas programáticas que dicha Corporación desarrollo a lo largo de todo Chile. No sólo se intento renovar el parque residencial, a través de las políticas impulsadas por el gobierno, si no que también se intentaron establecer pautas que dieran orientación en la planificación y desarrollo del crecimiento de las ciudades. Para poder contextualizar estas estrategias aplicadas por la CORVI, la Tesis analizará todos los grandes proyectos de vivienda desarrollados en Santiago de Chile. La gran mayoría de las intervenciones utilizan construcciones en forma de bloques lineales. Ellos sintetizan el trabajo realizado por la Corvi durante dos décadas en la aplicación de este tipo de estrategias urbanas (1953 – 1970). Las obras, en su análisis, ejemplifican un concepto: "el proyecto como parte de la ciudad". Las obras seleccionadas no se muestran como obras autónomas sino como un sistema de proyectos que buscan recuperar áreas de la ciudad y de su conjunto. Los casos seleccionados son las Unidades Vecinales Portales, Exequiel Gonzalez Cortes (Villa Olímpica), Villa Presidente Frei y el primer prototipo de Remodelación, la Remodelación Republica, todos desarrollados entre los años 1953 y 1970. Cada uno se inserta en un área de ciudad degradada o en proceso de consolidación urbana y responde con un planteamiento propio. Pero en todos se estudia la relación del conjunto con su entorno, de acuerdo con una idea de ciudad. En ellos se desarrollan estrategias que corrigen patologías propias del lugar, o bien establecen pautas para la consolidación del área de ciudad donde se emplazan. Esta variable urbana es, por tanto, no sólo una componente importante de cómo se plantea cada proyecto, sino que refleja una idea de ciudad. El proyecto no se entiende como un objeto, sino como un sistema enlazado a una trama urbana existente. Este conjunto de obras responde a una necesidad de grado superior a la de generar vivienda, responde a la necesidad de hacer ciudad, y cada obra experimenta métodos diferenciados de recomposición urbana. Cada obra establece una estrategia propia de gradación en la escala urbana del proyecto, que, a su vez, se vincula a los requerimientos técnicos y espaciales de la vivienda. El campo de estudio se cierra con el proyecto Remodelación República, ya que en las siguientes Remodelaciones se disocian roles. El planteamiento urbanístico es desarrollado por los organismos del estado, que, al entregar en cada nueva obra un master plan previo, limitan el trabajo de los arquitectos a la resolución del edificio, es decir al objeto arquitectónico como elemento autónomo. La tesis documenta y analiza por primera vez los proyectos de las Unidades Vecinales y Remodelación antes mencionados, lo cual permite realizar el análisis de cada obra y de la ciudad en su conjunto. Se contextualizan las obras en la evolución histórica de la urbe de Santiago, para permitir un análisis urbano integral de los casos. El resultado es una reflexión sobre las metodologías y estrategias urbanas aplicadas durante este periodo, que pone en valor el breve pero intenso trabajo de la arquitectura y urbanismo del Movimiento Moderno en Chile. ; In 1959, during the tenure of President Jorge Alessandri Rodriguez, the Law-Ranking Decree No. 2 was issued "legal instrument destined to mobilizing, harnessing and enhancing the resources of the state and its institutions, public and private savings and credit for the affordable housing". The housing Corporation (CORVI) assumed the technical and executive action of this legislation and became responsible for implementing the Chilean Housing Plan. The series of projects developed by CORVI exemplify the programmatic guidelines that said Corporation developed throughout Chile. Through the policies promoted by the government, not only was attempted to renew the housing stock, but also tried to establish guidelines to orient the planning and development of cities. To contextualize these policies utilized by CORVI, the thesis will analyze all the major housing projects developed in Santiago, Chile. The vast majority of interventions were built in the form of linear blocks. They synthesize the work of CORVI during two decades in implementing this type of urban strategies (1953 - 1970). The works, in their analysis, exemplify a concept: "the project as part of the city." The selected works are not portrayed as autonomous buildings but as a system of projects seeking to recover areas of the city and its whole. The selected cases are Neighborhood Units Portales, Exequiel Gonzalez Cortes (Olympic Village), Villa President Frei and the first prototype of Remodeling, Republica Street Remodeling, all developed between 1953 and 1970. Each one is inserted into an area of degraded city or in the process of urban consolidation and responds with a unique approach. But in all these cases the relationship of the whole project with its environment is studied in accordance to an idea of city. In these cases strategies were developed to correct the pathologies inherent to their places, as well as to the establishment of guidelines to consolidate the area of the city where they were located. This urban variable is therefore not only an important component of how each project is thought out, but also reflects an idea of the city. The project is not understood as an object, but as a system linked to an existing urban fabric. This body of work responds to a need that is greater than generating housing, it responds to the need to make city and each case experiment with different methods of urban restructuring. Each project provides its own strategy of molding to the urban scale of the project which, in turn, is linked to the technical and spatial requirements of the homes. The field of study closes with the Republica Street Remodeling project, as in the following Remodelings the roles dissociate. The urban approach is developed by state agencies, which, sets for each new project a master plan that limit the work of the architects to the resolution of the building, i.e. the architectural object as a standalone. The thesis documents and analyzes for the first time the Neighborhood Unit and Remodeling projects above mentioned, which allows the analysis of each work and the city as a whole. The works are contextualized in the historical evolution of the city of Santiago, to enable an integrated urban analysis of the cases. The result is a reflection on the methodologies and urban strategies implemented during this period, which adds value to the brief but intense work of architecture and urbanism of the Modern Movement in Chile. ; Postprint (published version)

Durante el gobierno del presidente Jorge Alessandri Rodríguez se dictó, en 1959, el Decreto con Fuerza de Ley Nº2, "instrumento legal destinado a movilizar, encauzar y fomentar los recursos estatales e institucionales, el ahorro y el crédito público y privado en favor de la vivienda popular". La Corporación de Vivienda (CORVI) asume la acción técnica y ejecutiva de esta legislación y se convierte en la encargada de poner en práctica el Plan Habitacional Chileno. La serie de proyectos desarrollados por la Corvi ejemplifican las líneas programáticas que dicha Corporación desarrollo a lo largo de todo Chile. No sólo se intento renovar el parque residencial, a través de las políticas impulsadas por el gobierno, si no que también se intentaron establecer pautas que dieran orientación en la planificación y desarrollo del crecimiento de las ciudades. Para poder contextualizar estas estrategias aplicadas por la CORVI, la Tesis analizará todos los grandes proyectos de vivienda desarrollados en Santiago de Chile. La gran mayoría de las intervenciones utilizan construcciones en forma de bloques lineales. Ellos sintetizan el trabajo realizado por la Corvi durante dos décadas en la aplicación de este tipo de estrategias urbanas (1953 – 1970). Las obras, en su análisis, ejemplifican un concepto: "el proyecto como parte de la ciudad". Las obras seleccionadas no se muestran como obras autónomas sino como un sistema de proyectos que buscan recuperar áreas de la ciudad y de su conjunto. Los casos seleccionados son las Unidades Vecinales Portales, Exequiel Gonzalez Cortes (Villa Olímpica), Villa Presidente Frei y el primer prototipo de Remodelación, la Remodelación Republica, todos desarrollados entre los años 1953 y 1970. Cada uno se inserta en un área de ciudad degradada o en proceso de consolidación urbana y responde con un planteamiento propio. Pero en todos se estudia la relación del conjunto con su entorno, de acuerdo con una idea de ciudad. En ellos se desarrollan estrategias que corrigen patologías propias del lugar, o bien establecen pautas para la consolidación del área de ciudad donde se emplazan. Esta variable urbana es, por tanto, no sólo una componente importante de cómo se plantea cada proyecto, sino que refleja una idea de ciudad. El proyecto no se entiende como un objeto, sino como un sistema enlazado a una trama urbana existente. Este conjunto de obras responde a una necesidad de grado superior a la de generar vivienda, responde a la necesidad de hacer ciudad, y cada obra experimenta métodos diferenciados de recomposición urbana. Cada obra establece una estrategia propia de gradación en la escala urbana del proyecto, que, a su vez, se vincula a los requerimientos técnicos y espaciales de la vivienda. El campo de estudio se cierra con el proyecto Remodelación República, ya que en las siguientes Remodelaciones se disocian roles. El planteamiento urbanístico es desarrollado por los organismos del estado, que, al entregar en cada nueva obra un master plan previo, limitan el trabajo de los arquitectos a la resolución del edificio, es decir al objeto arquitectónico como elemento autónomo. La tesis documenta y analiza por primera vez los proyectos de las Unidades Vecinales y Remodelación antes mencionados, lo cual permite realizar el análisis de cada obra y de la ciudad en su conjunto. Se contextualizan las obras en la evolución histórica de la urbe de Santiago, para permitir un análisis urbano integral de los casos. El resultado es una reflexión sobre las metodologías y estrategias urbanas aplicadas durante este periodo, que pone en valor el breve pero intenso trabajo de la arquitectura y urbanismo del Movimiento Moderno en Chile. ; In 1959, during the tenure of President Jorge Alessandri Rodriguez, the Law-Ranking Decree No. 2 was issued "legal instrument destined to mobilizing, harnessing and enhancing the resources of the state and its institutions, public and private savings and credit for the affordable housing". The housing Corporation (CORVI) assumed the technical and executive action of this legislation and became responsible for implementing the Chilean Housing Plan. The series of projects developed by CORVI exemplify the programmatic guidelines that said Corporation developed throughout Chile. Through the policies promoted by the government, not only was attempted to renew the housing stock, but also tried to establish guidelines to orient the planning and development of cities. To contextualize these policies utilized by CORVI, the thesis will analyze all the major housing projects developed in Santiago, Chile. The vast majority of interventions were built in the form of linear blocks. They synthesize the work of CORVI during two decades in implementing this type of urban strategies (1953 - 1970). The works, in their analysis, exemplify a concept: "the project as part of the city." The selected works are not portrayed as autonomous buildings but as a system of projects seeking to recover areas of the city and its whole. The selected cases are Neighborhood Units Portales, Exequiel Gonzalez Cortes (Olympic Village), Villa President Frei and the first prototype of Remodeling, Republica Street Remodeling, all developed between 1953 and 1970. Each one is inserted into an area of degraded city or in the process of urban consolidation and responds with a unique approach. But in all these cases the relationship of the whole project with its environment is studied in accordance to an idea of city. In these cases strategies were developed to correct the pathologies inherent to their places, as well as to the establishment of guidelines to consolidate the area of the city where they were located. This urban variable is therefore not only an important component of how each project is thought out, but also reflects an idea of the city. The project is not understood as an object, but as a system linked to an existing urban fabric. This body of work responds to a need that is greater than generating housing, it responds to the need to make city and each case experiment with different methods of urban restructuring. Each project provides its own strategy of molding to the urban scale of the project which, in turn, is linked to the technical and spatial requirements of the homes. The field of study closes with the Republica Street Remodeling project, as in the following Remodelings the roles dissociate. The urban approach is developed by state agencies, which, sets for each new project a master plan that limit the work of the architects to the resolution of the building, i.e. the architectural object as a standalone. The thesis documents and analyzes for the first time the Neighborhood Unit and Remodeling projects above mentioned, which allows the analysis of each work and the city as a whole. The works are contextualized in the historical evolution of the city of Santiago, to enable an integrated urban analysis of the cases. The result is a reflection on the methodologies and urban strategies implemented during this period, which adds value to the brief but intense work of architecture and urbanism of the Modern Movement in Chile. ; Postprint (published version)

U tekstu se, temeljem fotografija od kojih se neke objavljuju prvi put, rekonstruira izvorni izgled secesijske zgrade Hrvatskog doma u Splitu kao zrelog arhitektonskog djela Kamila Tončića. Donosi se i kronološki pregled uloge Hrvatskog doma u društvenoj povijesti grada Splita koji pridonosi spomeničkoj vrijednosti zgrade. ; The idea of building a "Croatian House", in which the Split culture, art and sporting associations connected to National Party would be located Narodna čitaonica (People's Reading Room), Slavjanski napredak (Slav Progress), Narodna glazba (National Music), the Volunteer Fire-Fighters, Muzikalno društvo "Zvonimir" (the Zvonimir Musical Association) and Hrvatski sokol (the Croatian Hawk – sporting association) came upon the scene in 1896. At the turn of the century artists who elevated the cultural and artistic life of Split and took it out of the provincial context, placing it shoulder to shoulder with European contemporaries, came together in the National party circles. The design of the building made in the spirit of Art Nouveau architecture by Kamilo Tončić in 1906 was bold and avant-garde for a centre in which up to then Historicist or revival architecture had prevailed; in consequence it aroused diverse public reactions. But the Croatian House was nevertheless built according to the Tončić design, and opened in 1908. It had an important role in the musical life of Split as a gathering place for musicians, as a stage and concert venue, all the way up to World War I. The most important event in the first year of the existence of the Croatian House was the organisation of the First Dalmatian Art Exhibition at which the foundation of the Medulić Croatian Art Association was mooted, and the idea for founding the Gallery of Fine Art was also put forward. In the changed political circumstances after World War I, the House lost its pre-war role as an essential factor in the creation of the musical and artistic life of the city. When the Sokol association of the Kingdom of Yugoslavia was formed in 1929, all activities in the Sokol House unfolded under the aegis of Sokol (Hawk), for it was a state organisation; the art and cultural events did not rise above the average amateur level. The most important event in the working of the amateur sections of Sokol was the foundation of the puppet theatre in 1933, on the foundations of which the Marionette Theatre still in operation today was built in 1945. After WWII, the onetime Croatian and later Sokol House was renamed Youth House, while along with the Split City Puppet Theatre, various sporting organisations were assigned the premises of the House. The house was remodelled and extended in 1930 and 1939, and thoroughly remodelled in 1942, when all the decorations on the facade and in the interior of the grand hall were destroyed in order to bring out the monumental aspects of the house in the spirit of fascist architecture. The concept of the building is a simple T-shaped ground floor. In the northern part of the site there is a narrow four-storey building with an attic along the long side placed parallel to the street in which the premises of the societies were located, while at the end of the plot, perpendicularly to it, is a two-storey building with a grand hall on the upstairs. With logical grouping of features and a functional arrangement, the spatial constraints of the plot were made use of to the best extent and complemented with an extensive programme that was supposed to meet the needs of the associations so that all of them should have their own individual quarters while making use in common of the grand hall meant for municipal events, joint events and Sokol members' athletic exercises. Although the principal facade is symmetrical with the main entrance in the middle, the courtyard part of the house with the hall is not built on its vertical axis, but shifted to the west. At the joint of the street and courtyard part of the house there are the grand stairs. The non-formalist asymmetrical disposition of volumes between the courtyard wing of the Croatian House and the neighbouring house left room for a large exercise space outdoors. Only a photograph of the drawing of the main facade remains of the design of the Croatian House. By rectification of the historical photographs, the drawing of the built facade was reconstructed, and a comparison of the project and the original appearance of the original facade shows that the design really was built, in basic idea and composition, and that alterations were made only to some of the decorative features. The lobby of the auxiliary eastern entrance and the threeflight stone staircase are kept in original form. The rectification of the previously unknown photographs of the interior of the hall has allowed the reconstruction of the original volume, position and repertoire of decoration. The space of the hall that we know of today in denuded form consists of two parts: the grand hall with the stage and the backstage areas. Abstract, linear and almost flat details, floral motifs, female heads with flowers and leaves in their hair and masks – common in the Art Nouveau idiom – were applied in the iconographic programme. In the choice of construction material and the manner of construction Tončić opted for the classic solid masonry construction of roughly worked stone blocks in lime mortar, smoothly rendered. The between-floor constructions were of wood, as was that of the gable roof. The flights of stairs with stone steps were leaned on iron I-section girders clad in rendered moulding. The pilasters alongside the central entrance, the pillars on the facade with an emphasised cornice and the attic are made of concrete, but they are only decorative and not structural elements of the building. The building of the Croatian House was adapted to the possibilities (i.e. the constraints) of the site and the function, that is, the needs of its users, in the allocation of the fundamental volumes and in the organisation of space. The interior decoration was also adjusted to the contents (the modestly decorated staircase area as against the luxuriant decoration of the grand hall), and a clearly, symmetrically and gracefully designed facade enhanced with Art Nouveau decorations and the characteristic Tončić details reveal its almost classical composition. The representative Art Nouveau building of the Croatian House, designed in the spirit of the Wagner school and its earlier works, is the original work of a mature architect in whom along with an echo of the classicist tradition the architecture of the modern age can also be sensed. But it is not just its Art Nouveau idiom that imparts a particular heritage value to the Croatian House, but also the events and personalities linked with it, whose importance in the history of the city of Split and Croatian art surmounts that of the building itself.

The assignemnet was to evaluate the design process of Westraven in Utrecht. This design is made by Cepezed architect in commission of the Dutch Rijksgebouwendienst (Rgd), the Government Buildings Agency, and concerns a renovation and new construction of an office building for Rijkswaterstaat (RWS), the Government Hydraulic Engineering Agency.The purpose of research was to deliver the client organization RGD a set of management tools and a set of implementation suggestions. Each of the five management tools corresponds to a specific research area identified in the analysis.From the analysis of the process and project course the good and bad practices led to the definition of five research areas. Literature was studied in order to find relevant information for the development of management models. In both the analysis and literature phase interview were held to relate to the organization of the RGD.1. Design Risks The chapter 'design risks' is primarily interesting for project managers of the Rgd, who are interested in dealing with risks in the design phase. As a result of the analysis of the Westraven project some points of interest have been recognized for research. One of the interesting research areas was the area of design risks. The research question that is formulated concerning this research area is: 'In what way can the complete range of design risks be structured, based on rational choices concerning the legal organization of the design team?'In order to control design risks deal with all these 'problems' in this research is tried to develop a framework in which the various responsibilities of involved parties are enunciated. Besides, the liabilities of parties are set out in the Design Risk Matrix (DRM). The client now clearly sees which risks a particular party controls and which administrative measure in terms of legal options can be used to be sure that this party is really capable of dealing with that responsibility. Finally, the Design Risk Matrix is the input -variable for choosing a particular procurement plan. This is on the basis of rational thinking and deliberation advantages and disadvantages.2. Integrated Quality ManagementThe quality management of the Rgd is fragmented and therefore it is hard to improve the total quality by adjusting the different quality systems. In this research a simple model was developed for managing integrated quality. This model is for the project manager of the Rgd for managing integrated quality in the design phase. The quality model gives an overview of the different quality systems (organization, project and product level) and the interaction of these systems. The project manager has to follow a procedure and make use of the quality products in order to manage integrated quality.The quality model makes it possible for Project department of Rgd to evaluate the integrated quality management and improving it. The procedure and quality products are defined and can be adjusted if necessary. However, the quality model is no blueprint and should therefore be seen as a framework for the project manager. Also more literate and case study should be done on different quality systems that are available and on critical factors to integrate them.3. Improving Design ManagementThe improvement of the Rgd design management focuses on the management of processes. The aim is to improve the efficiency of the design team and to improve the control in the design stage on costs and quality. The set up of the design stage, the control of the design stage and the implementation of alternative processes into the design team are the central issues in structuring the management of design. These issues are further elaborated in the descriptions of the process steps, which are supported by recommendations.The recommendations for the set up and the control of the design stage are founded primarily on the literature of the management of processes. Recommendations for the control of the design stage are also founded on risk management literature. Two options to intervene in the course of the design stage are given. The first is to adjust the process of the design, the second is to make adjustments in the unfinished results of the design.The implementation of the alternative management is supported by a recommendation. The suggestion to actively use individual promoters to stimulate planned process innovations is treated as an integral aspect of the set up of design stages. Finally the continuous improvement of the set up of a design stage is a point of attention in the improved design management loop.The Design Management Support Tool is presented as a model that can be used to assist in planning and monitoring the agreements for the project manager and the design team. Furthermore it can be used to plan and monitor the delegation of managerial responsibilities. 4. Innovation: decision based on pros and consInnovation is an important issue for the Rgd. As a public body, one of its missions is to stimulate innovation and to set up and example for the market. Innovation generally is accompanied by uncertainties and risks. The pros and the cons of innovative products need to be clearly defined within construction projects in order to make balanced decisions about applying them. The Pros-Cons MCDA (Multi Criteria Decision Analysis) represents a framework for the Rgd and its clients to get a well-defined insight about the impact of applying an innovative product. Comparing the innovation with alternatives from two different points of views, the positive ones (Pros MCDA) and the negative one (Cons MCDA) will provide such insight. A list of assessment criteria is made, which visualizes important aspects for assessing construction products. Relevant criteria are chosen and weighted, based on their significance for the construction process and the project. Especially, criteria influencing the lifecycle costs of a building are important. The innovative product and the alternatives are the subsequently scaled on the criteria. Possible weaknesses and uncertainties for the construction process and project become explicit. The Pros-Cons MCDA is and easy and user-friendly tool. When first applied the weighting of the criteria and the scaling of the options may need some practice in order to ensure consistency. The Pros-Cons MCDA can be made on different levels of detail.5. Property Management and Client DemandBecause of the importance of client satisfaction the Rgd develops projects in close communication with the client. For a large part of the office buildings such as intensive process is not necessary when rather standard solutions will satisfy the clients'needs. The goal is to realize a marketable office building that supports the productivity of the end-users. With systematic Post Occupancy Evaluations it is possible to link the specific user demand to rather generic solutions known from other projects. The model focuses on the role of the project manager in the Pre Design research. In this model it is his task, in cooperation with the account manager of Front Office, to structure the user demand in a way that it is compatible with the Post Occupancy Evaluation results. The support matrix is presented as the instrument to connect a checklist of needed information with six methods of acquiring this information from the user. Comparison of the demand with the generic solutions shows the generic quality of demand.

The assignemnet was to evaluate the design process of Westraven in Utrecht. This design is made by Cepezed architect in commission of the Dutch Rijksgebouwendienst (Rgd), the Government Buildings Agency, and concerns a renovation and new construction of an office building for Rijkswaterstaat (RWS), the Government Hydraulic Engineering Agency.The purpose of research was to deliver the client organization RGD a set of management tools and a set of implementation suggestions. Each of the five management tools corresponds to a specific research area identified in the analysis.From the analysis of the process and project course the good and bad practices led to the definition of five research areas. Literature was studied in order to find relevant information for the development of management models. In both the analysis and literature phase interview were held to relate to the organization of the RGD.1. Design Risks The chapter 'design risks' is primarily interesting for project managers of the Rgd, who are interested in dealing with risks in the design phase. As a result of the analysis of the Westraven project some points of interest have been recognized for research. One of the interesting research areas was the area of design risks. The research question that is formulated concerning this research area is: 'In what way can the complete range of design risks be structured, based on rational choices concerning the legal organization of the design team?'In order to control design risks deal with all these 'problems' in this research is tried to develop a framework in which the various responsibilities of involved parties are enunciated. Besides, the liabilities of parties are set out in the Design Risk Matrix (DRM). The client now clearly sees which risks a particular party controls and which administrative measure in terms of legal options can be used to be sure that this party is really capable of dealing with that responsibility. Finally, the Design Risk Matrix is the input -variable for choosing a particular procurement plan. This is on the basis of rational thinking and deliberation advantages and disadvantages.2. Integrated Quality ManagementThe quality management of the Rgd is fragmented and therefore it is hard to improve the total quality by adjusting the different quality systems. In this research a simple model was developed for managing integrated quality. This model is for the project manager of the Rgd for managing integrated quality in the design phase. The quality model gives an overview of the different quality systems (organization, project and product level) and the interaction of these systems. The project manager has to follow a procedure and make use of the quality products in order to manage integrated quality.The quality model makes it possible for Project department of Rgd to evaluate the integrated quality management and improving it. The procedure and quality products are defined and can be adjusted if necessary. However, the quality model is no blueprint and should therefore be seen as a framework for the project manager. Also more literate and case study should be done on different quality systems that are available and on critical factors to integrate them.3. Improving Design ManagementThe improvement of the Rgd design management focuses on the management of processes. The aim is to improve the efficiency of the design team and to improve the control in the design stage on costs and quality. The set up of the design stage, the control of the design stage and the implementation of alternative processes into the design team are the central issues in structuring the management of design. These issues are further elaborated in the descriptions of the process steps, which are supported by recommendations.The recommendations for the set up and the control of the design stage are founded primarily on the literature of the management of processes. Recommendations for the control of the design stage are also founded on risk management literature. Two options to intervene in the course of the design stage are given. The first is to adjust the process of the design, the second is to make adjustments in the unfinished results of the design.The implementation of the alternative management is supported by a recommendation. The suggestion to actively use individual promoters to stimulate planned process innovations is treated as an integral aspect of the set up of design stages. Finally the continuous improvement of the set up of a design stage is a point of attention in the improved design management loop.The Design Management Support Tool is presented as a model that can be used to assist in planning and monitoring the agreements for the project manager and the design team. Furthermore it can be used to plan and monitor the delegation of managerial responsibilities. 4. Innovation: decision based on pros and consInnovation is an important issue for the Rgd. As a public body, one of its missions is to stimulate innovation and to set up and example for the market. Innovation generally is accompanied by uncertainties and risks. The pros and the cons of innovative products need to be clearly defined within construction projects in order to make balanced decisions about applying them. The Pros-Cons MCDA (Multi Criteria Decision Analysis) represents a framework for the Rgd and its clients to get a well-defined insight about the impact of applying an innovative product. Comparing the innovation with alternatives from two different points of views, the positive ones (Pros MCDA) and the negative one (Cons MCDA) will provide such insight. A list of assessment criteria is made, which visualizes important aspects for assessing construction products. Relevant criteria are chosen and weighted, based on their significance for the construction process and the project. Especially, criteria influencing the lifecycle costs of a building are important. The innovative product and the alternatives are the subsequently scaled on the criteria. Possible weaknesses and uncertainties for the construction process and project become explicit. The Pros-Cons MCDA is and easy and user-friendly tool. When first applied the weighting of the criteria and the scaling of the options may need some practice in order to ensure consistency. The Pros-Cons MCDA can be made on different levels of detail.5. Property Management and Client DemandBecause of the importance of client satisfaction the Rgd develops projects in close communication with the client. For a large part of the office buildings such as intensive process is not necessary when rather standard solutions will satisfy the clients'needs. The goal is to realize a marketable office building that supports the productivity of the end-users. With systematic Post Occupancy Evaluations it is possible to link the specific user demand to rather generic solutions known from other projects. The model focuses on the role of the project manager in the Pre Design research. In this model it is his task, in cooperation with the account manager of Front Office, to structure the user demand in a way that it is compatible with the Post Occupancy Evaluation results. The support matrix is presented as the instrument to connect a checklist of needed information with six methods of acquiring this information from the user. Comparison of the demand with the generic solutions shows the generic quality of demand.

El presente trabajo analiza la actividad profesional realizada por el arquitecto mexicano Carlos Obregón Santacilia. La premisa sobre la cual se desarrolla desconoce las posiciones tradicionales de la historiográfia mexicana ya que considera sólo se han dedicado a encajonarlo dentro de rígidos marcos estilísticos que poco han aportado para atrapar la esencia de la historia. La incursión a la microhistoria es el camino tomado por el autor a fin de acercarse a los acontecimientos en los cuales se desenvuelve el personaje estudiado. En un primer apartado se adentra en la ruta recorrida dentro de la enseñanza y actividad constructiva de los arquitectos mexicanos. De la mano de eso nos muestra el acontecer político, social y cultural así como a los personajes que van transformando el paisaje de las ciudades. La revolución mexicana crea nuevas necesidades de representación de grupos humanos que reniegan de su pasado inmediato y buscan en el pasado colonial o prehispánico referentes formales con los cuales identificarse, es ese el momento en el cual se forma profesionalmente Carlos Obregón Santacilia quien se relaciona con los nuevos grupos emergentes del quehacer cultural y político. Su incursión en la revista Azulejos y el triunfo en el concurso para el pabellón de México en la exposición de Rió de Janeiro le permiten mostrar a los intelectuales que es capaz de incursionar en el lenguaje formal buscado por estos. El llamado neocolonial va ha aparecer como motor que aglutine a los mexicanos quienes tras de la revolución requieren de una representación que cubra sus expectativas y con las cuales se identifiquen. Los acontecimientos armados precipitan la llegada de nuevos vocabularios en los cuales la nueva nación se busca nuevamente con la finalidad de encontrarse a la altura de sus vecinos: desean el reconocimiento de los gobiernos extranjeros y desean demostrarles que el México bárbaro ha sido superado. El promotor del neocolonial queda fuera de la escena al tener la pretensión de alcanzar la silla presidencial, Carlos Obregón se acerca a los ideólogos que buscan un nuevo código que muestre una nación en auge, les es necesaria otra representación la cual sume a los diferentes grupos y que a su vez se aleje del vocabulario de quien había pretendido la presidencia de la republica. Busca e incursiona en nuevas manifestaciones que respondan a las necesidades del Estado. Parte siempre del reconocimiento de materiales y esquemas en los cuales identifica la tradición mexicana. Incursiona en las técnicas desarrolladas e impulsadas por considerar que la fusión de técnica y tradición consecuentemente le llevara a un vocabulario ideal en el cual se reconocerá la manufactura mexicana. El vocabulario moderno será retomado por Carlos Obregón y se mantendrá en la adelante en sus obras aunque desde luego jamás abandonara lo que él ha comprendido como elementos necesarios para capturar la tradición y que entrar a formar parte de una tradición que ahora será la suya. Ese recorrido es mostrado paralelo al desarrollo de los avatares nacionales, al quehacer de pintores y políticos, a la actividad de sus contemporáneos y a las teorías arquitectónicas que los mueven, todos ellos se conocen y reconocen, se encuentran trabajando en la invención de un mundo diferente. Trabajan juntos en más de una ocasión y compiten por ser los mejores en sus áreas, tienen querellas que llevan al ámbito gremial, buscan ser los personajes que del lado del Estado construyan un México diferente. En suma un trabajo que nos aproxima de la mano de uno de sus representantes a la invención de la tradición arquitectónica mexicana. ; This article presents the professional activity of the mexican architect Carlos Obregon Santacilia. The point in wich it develops, doesn't recognize the traditional positions of the mexican historiography, because he considers it has been closed inside hard stylistic patterns that had even aported to get the essence of the history. The incursion into the microhistory is the way taken by the author to get close in the sucess among is this character studied. In a first part, this work, comes in along the way walked on the teaching and constructing activity of the mexican architecs. Beside this, it shows us the political, social and cultural, and the characters were perfoming the city landscape too. The mexican revolution creates new necessities of representation from some human communities, that denie their inmediat past and look in the colonial or prehispanic past some formal referents in wich identify theirselves. That is the moment in wich Carlos Obregón Santacilia is forming professionaly and relating himself to the new emergent cultural and political groups. His incursion in the Azulejos magazinne and the success in the concurse of the mexican pavillion on the Rió de Janeiro Exposition, allows him to show the intelectuals his capacity to get into the formal language by them searched. The neocolonial call will appear as the integrating motor of the mexicans, who after the revolution want a hole expectations satisfing and identificable representation of themselves The armed sucess hurried the income of new vocabularies in wich the nation search to get to the level of the neighboors: they want the foreing Goverment recognizement and want to show that the barbarian Mexico is passed. The colonial promotor stays outside the scene when he pretends to get the presidential chair. Carlos Obregón get close to the ideologs that look for a new code of the rising nation. It is them necessary another representation that adds the differents groups and at the same time get away of the presidential chair pretender vocabulary. He looks and works in new manifestations that answer the Goverment necesities. He departs always from the material and patterns recognition on them is the mexican tradition identified. He works in the developed and supported technics thinking that the fusion of technic and tradition will consecuently take him to the ideal vocabulary in wich the mexican manufacture will be recognized. The modern vocabulary will be retaked by Carlos Obregón, who keept ahead on theirs works; but, never leaving what he has understood as necessary elements to capture the tradition and incorpore himself in a tradition that will then become his. This walk is shown parallel to the national avatars, the work of politics and painters, the activity of theirs contemporaries and the architectonical theories that move them. All of them get to know themselves, recognize themselves, find each other working in the invention of a different world. They worked together more than once and compite to be the best of his area, fighting until getting to the gremial ambit, look to be the characters who beside the Goverment will build a different Mexico. In sume, a work that near us, in the hand of one of his representants, to the invention of the Mexican architectonic tradition. ; Postprint (published version)