Dissertations / Theses on the topic 'Architecture, Spanish'

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.
Pages 156-157 blank. Cataloged from PDF version of thesis.
Includes bibliographical references (p. 154-155).
This thesis seeks to unpack the nature of ecology within architecture, not as a neutral science, but a legitimizing construct, building a future and transforming the ethics of the present towards very deliberate ideological ends, and contingent on certain practices of alienation which themselves have historically laid the groundwork for later environmental and social crisis. The thesis asks the question, what do we mean when we call an architecture ecological, and what sort of reality are we advocating within that practice. The project is not staged explicitly as a critique of ecology, but rather a challenge to the overwhelming neutrality with which the ecological project is entertained within architectural discourses, under the premise that an ecological awareness must first entail an awareness of the means by which ecology constructs unreal realities in order to work for us. The project takes place in Almeria Spain, which in the last forty-five years has gone from the poorest region in Spain to one of the richest, through the wide scale application of greenhouse urbanism. Almeria is currently the largest intensive agriculture site in the world (80,000acres) and supplies the majority of winter produce to Europe. But Almeria is also, in many ways, an accelerated microcosm of larger contemporary ecological paradigms, what Keller Easterling called an autonomous world, Almeria is a place in which the apparent neutrality of ecological ideologies are consistently leveraged towards technological transformations of the landscape precipitating widespread environmental and social fallout conditions. In Almeria, Ecological ideologies consistently serve as the legitimizing platforms by which transformation after transformation (each promising an ideal future) compound the effects of peripheral disaster all under the guise of a seemingly neutral science. The thesis argues that within a condition in which neutral ecology is leveraged to legitimize specific ideological and economic positions, it may actually be the task of an ecological architecture to irrigate radical alternatives, not as ideal futures, but as provisional presents, alternate ecological life rafts within contested environmental conditions. This thesis proposes one such alternate present. It interjects itself within the most recent technoecological shift from chemically applied agricultural practices which are rapidly being replaced with the promise of a genetically engineered future, a 'clean' Almeria in the wake of widespread chemical fallout. The alternative is formed from a seemingly simple question, what if we merely doubt that Almeria's genetic turn won't precipitate alternate forms of fallout equal to its chemically contested state.
by Curtis Roth.
M.Arch.

The Jaca Basin lies to the south of the Pyrenean mountain chain, in Spain, and was formed by the Late Cretaceous and Tertiary convergence between the Iberian and European tectonic plates. During the Bartonian (Middle Eocene), sediment flux from the uplifting Pyrenees was deposited in this basin as the Belsué-Atarés Fm. deltaic system. At the same time, southward propagation of deformation from the orogen created a number of emergent thrusts and thrust-related anticlines along the margins of the basin and within the basin itself. The effect that the growth of these kilometre-scale structures had on the coeval marine depositional systems is the focus of this work. Although the effects that uplifting intrabasinal structures have on fluvial systems and the effects that basin margin structures have on marine systems are well covered in the literature, the influence of intrabasinal compressive structures on coeval marine sedimentation has been largely neglected. By undertaking detailed fades, palaeocurrent and compositional analysis of the Belsué-Atarés Fm. deltaics across the Jaca Basin, it has been found that local tectonics had the strongest control on the marine sedimentation. The structurally defined basin margins largely acted as barriers to external depositional systems, causing large parts of the basin to be dominated by marl deposition. However, a total of four structurally controlled low points through the northern and southern basin margins allowed the entry of large volumes of Pyrenean axial zone sediments, beginning at 41.5 Ma. These were composed of silts, sands and pebbles, and formed the axial deltaic system. Once in the basin, a total of ten, kilometre-scale, growing thrust-related anticlines acted as barriers to the progradation of the axial system, causing facies associations to vertically aggrade behind each structure. At 37.5 Ma, after 4 Myr of vertical aggradation, a basin-wide fall in relative sea-level allowed the facies associations to rapidly prograde, breaching the crests of each of the barrier anticlines. The principal controls on the distribution of facies associations through time (sequence development) in the Jaca Basin were therefore local tectonic ones, with relative sea-level being secondary. This finding calls into question the work of the few existing studies into marine intrabasinal growth structures, which tended to use passive margin sequence stratigraphic concepts i.e. assume that relative sea-level was the primary control on sequences. The development of new techniques, such as numerical modelling, is needed before these types of complex geological situations can be fully understood. The results of this work will be of great relevance to basin dynamics and fold kinematics studies, and for hydrocarbon exploration in thrust-top basin settings.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.
Includes bibliographical references (p. 73-76).
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
In 1893 at Chicago's World Columbian Exposition, California devoted a great deal of resources to its promotion through a pavilion that spelled out a construct about California's "Spanish" past. This supposed history got incorporated into California's self-representation and affected the identity of both the Anglo and California populations. This presentation of California shows that exotic figures need not function through the logic of an opposite "other," as is usually theorized. By analyzing the role of architecture in California's Spanish "identity," the thesis locates the representational power of architecture closer to its function in discursive practices rather than to mere formal aspects.
by Leonardo Díaz-Borioli.
S.M.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (leaves 106-111).
Through an examination of changes in urban structure and building form, I will consider the continuity of historical Spanish urban form in the American Southwest. The study encompasses three phases of increasing Anglo American influence between 1821 and 1900. An analysis of Santa Fe, Albuquerque, Socorro and Las Vegas, New Mexico, and Tucson. Arizona will be made in reference to: culturally- embedded models of city form in 16th century Spain and 19th century North America: modifications to those models due to a frontier location; and the geographical context of the Southwest. The method of analysis is based on a matrix of transformation processes and hierarchical levels of scale in the environment, and is applied to historic maps, photographs and written descriptions of the five towns. This method identifies elements of form and processes of change that continue to influence the form of these cities and are thus relevant considerations for architectural and urban design interventions in the present.
by Nina V. Brew.
M.S.

The integration of sedimentology, architectural element analysis and stratigraphy has been applied to characterise the complex depositional history of the Ainsa basin fill, and document the evolution of the proximal parts of eight, channelised deep-marine systems of the Hecho Group. The Eocene Ainsa basin provides an opportunity to research three-dimensional organisation through an entire deep-marine slope to proximal basin-floor fill, and records a range of depositional processes and sedimentary environments in a spatio-temporal framework. The Hecho Group can be divided into two tectono-sequences, TS-I and TS-II. TS-I accumulated during a period of strong flexural subsidence ahead of the main thrust front during a foredeep setting, whereas TS-II represents a more mature stage of basin development, characterised by anticlinal uplift as the basin became detached and evolved into a complex thrust-top basin. Four discrete systems and their constituent sandy sequences compose each tectono-sequence. The sequences comprising TS-I show very little lateral migration due to high basin-scale accommodation; however, westward lateral offset stacking is observed in the sandy sequences of TS-II due to the development of intrabasinal growth anticlines. These structurally controlled trends demonstrate that the timing of tectonic processes operated at frequencies consistent with the accumulation of the depositional systems. Depositional systems range between ~60–700 m thick, and were deposited in a number of deep-marine settings that include mid-slope canyons, lower-slope erosional channels and proximal basin-floor channel systems. Temporal variation in depositional style and architecture between systems reflects the tectonic regimes operating during the accumulation of the tectono-sequences. Alternatively, the 22 sandy sequences were controlled by the ~400 kyr Milankovitch frequency with higher-frequency orbital bands influencing the accumulation of channel complexes and channel fill elements. An important outcome of this study is the recognition of a complex hierarchical interaction between global climatic and tectonic drivers, operating at a variety of time scales to control the timing of coarse clastic sediment supply and the architectural styles of depositional systems.

Kyoto University (京都大学)
0048
新制・課程博士
博士(地域研究)
甲第11700号
地博第14号
新制||地||5(附属図書館)
23343
UT51-2005-D449
京都大学大学院ｱｼﾞｱ・ｱﾌﾘｶ地域研究研究科東南ｱｼﾞｱ地域研究専攻
(主査)教授 加藤 剛, 教授 田中 耕司, 助教授 ABINALES Patricio
学位規則第4条第1項該当

Although the work of Edwin Lutyens has received much careful scholarly study since the 1980s his important projects in Spain remain very little known. Presently, only a brief article by Gavin Stamp and Margaret Richardson is devoted solely to Lutyens' work, and they are merely touched on in his published biographies, especially that by Christopher Hussey. Unfortunately, Lutyens was unable to complete his Spanish commissions, mostly because of the deterioration of Spain’s economy and social order in the 1930s, and this has played a major role in keeping these projects in the dark. Furthermore, the devastation caused by the Civil War obliterated most of the evidence once held in Spanish archives. Some of the projects of Edwin Lutyens in Spain are remarkable and unique for their use of what may loosely be termed a ‘Spanish style’. The identification of this characteristic can be understood as demonstrating a growing knowledge of and appreciation for Spanish architectural heritage on the part of British architects and architectural historians by the end of the nineteenth century. At the same time, the fact that the design of important private residences in Spain were commissioned to an English architect shows the growing anglophilia of Spanish economic and political elites under Alfonso XIII's reign. During these years, the economic and political ties between Britain and Spain became closer than ever before, which also had an impact on the architecture of the time. Ultimately, this dissertation is predicated on the assumption that it is important to study further, and understand better, the Spanish projects of Edwin Lutyens in order to gain fuller and further insight into his methods as a designer. The first three of them (the first project of the Palace of El Guadalperal, the Palace of La Ventosilla and the Palace for the Count de la Cimera) cast light on Lutyens´s work during the Great War years, a relatively obscure period of his career which was, however, extraordinarily fruitful. The second project for the Palace of El Guadalperal is even larger than his previous Spanish projects, approaching the grandeur and magnificence of the Viceroy’s House in Delhi. In this respect there may be seen to be a correspondence between these otherwise discrete and apparently un-related projects, running from Britain, through Spain, all the way to India. Moreover, given their scale, along with the design input required to make them successful and coherent buildings, they must be appreciated as pivotal moments in the design development, if not built oeuvre, of Edwin Lutyens as an architect. Finally, the Reconstruction of Liria Palace, is not only his last commission in Spain but it can also be considered as the last building he designed. Only when these projects are brought to the fore and analysed properly can a full understanding of Lutyens as an architect be reached.

The Spanish Fort San José, located on the St. Joseph Peninsula, was occupied from 1719 until 1723. This site is significant as it preserves key details on Spanish settlement, trade, and ethnic diversity on the northern Gulf Coast and relationships with aboriginal and other European peoples of the region. The first archaeological testing of this site was conducted in the 1960s, but limited information exists on this work, and the fort's structural remains are now gone. My research examines a recently discovered artifact collection from this site and combines the new data with information from extant collections from Florida State University and the University of West Florida. The research aims first, to document the large body of materials from the site, then to provide new insights on the nature of this remote and short-lived colonial outpost and how this settlement compares in material culture and inferred social and economic behavior with other contemporaneous aboriginal and Spanish settlements, including Santa Maria de Galve in Pensacola, approximately 225 km (140 mi) to the west, and Mission San Luis de Talimali in Tallahassee, approximately 127 km (79 mi) to the east. My artifact analysis, coupled with description from historical documents, resulted in the determination that Fort San José was not simply an outpost but is actually very similar to Santa Maria de Galve and Fort San Luis at the Mission San Luis de Talimali in both function and the artifacts that were left behind. Fort San José was intended to be a strong Spanish presence in the Gulf Coast, as evidenced by the number of individuals living here, the interactions they had with other colonial powers, and the remarkable footprint they left in just four short years.

San Antonio, Texas, is home to several eighteenth-century Spanish Franciscan missions, which represent some of the best examples of Spanish colonial mission architecture in the United States and which together comprise the city's historic Chain of Missions. This study traces the history of four of these missions: Mission Nuestra Senora de la Purismima Concepcion de Acuna, Mission San Jose y San Miguel de Aguayo, Mission San Juan Capistrano, and Mission San Francisco de la Espada. Founded by Franciscan friars, who traveled from Spain to Mexico and ultimately to Texas to christianize native populations of the Americas, and built by craftsmen transplanted from Mexico, the missions are an amalgam of diverse cultures and decades of evolving architectural styles. This study examines the cultural, religious, and environmental factors that influenced the design and construction of the original mission structures. Specifically, it analyzes the vernacular architecture of eighteenth-century Spain and Mexico, as well as the traditions of local Native American groups of the period, and studies the effect of these cultures and San Antonio's environmental conditions on the resulting vernacular construction of the San Antonio missions. Each of the four missions in this study is examined within the context of three main factors: (a) the unique combination of broad cultural factors‚both local and imported-that influenced the architectural forms of the missions; (b) the religious prescriptions of three cultural groups and their effect on the structure of the missions; and (c) the impact of the specific environmental conditions of the San Antonio area. The goal of this study was to identify the multiple forces that contributed to the creation of a vernacular architectural form-Spanish mission architecture-in Texas. The findings suggest that the design and construction of the San Antonio Missions were most strongly influenced by Mexican religious factors, followed by Spanish cultural factors. Environmental conditions of the area were not highly influential.

Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema. Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.

The sixteenth-century port of Nombre de Dios in Panama played a crucial role in the colonization of America. From 1519 to 1597, Nombre de Dios was the Atlantic port connecting Spain with the southern Pacific colonies in America. Even though its importance to Spain's New World colonial settlement has been widely recognized, there has never been systematic historical or archaeological research undertaken to document this colonial town and describe its establishment and subsequent development and abandonment.;This study employs a comparative approach to early Spanish urban settlement in Latin America, and combines archaeological and archival data to explain the unique history of Nombre de Dios. Archaeological examination and documentary analysis has revealed the town's physical layout, its location and geographical features, and the settlement's place within the region's trade network. Findings relating to Nombre de Dios are compared to evidence from Cartagena and Veracruz, two of Spain's other sixteenth-century ports-of-call, providing important information regarding the factors responsible for the slow development of Nombre de Dios, and its abandonment before the end of the century.

The built environment played a central role in policies intended to build a new colonial Andean society. The Spanish approached urbanism as a precondition and generator of the civic community. From precedents in the Mediterranean world, the staging of spectacle was integral to the design and construction of Spanish urban space, especially through the forms of the plaza and the church. Such associations and forms have analogies in the late prehispanic Andes, and in the colonial policies of Tawantinsuyu in particular. This paper traces out how these spatial forms, ideologies, and practices articulated through the Spanish invasion, with a focus on the (re)construction and (re)use of ritual spaces in the context of the Colca Valley (southwestern highlands of Peru). Specifically, analysis of how the configuration of kallanka/pata translated to church/plaza since the first evangelization in Franciscan doctrinal settlements, through the general resettlement of Indians (reducción general de indios) under the Viceroy Francisco de Toledo. This exploration reveals a long and punctuated trajectory of centripetal processes and events from the Inka era through the reducción, and the centrality of these ritual spaces in them. What emerges is a picture of mutual appropriation more than domination through compulsory urbanism.
El entorno construido desempeñó un rol central en las políticas dirigidas a construir una nueva sociedad andina colonial. Los españoles se acercaron al urbanismo como una precondición y el generador de la comunidad cívica. Desde precedentes en el mundo mediterráneo, la escenificación de lo espectacular fue esencial para el diseño y construcción del espacio urbano español, especialmente a través de las formas de la plaza y la iglesia. Tales asociaciones y formas tienen analogías en los Andes prehispánicos tardíos, y en la política colonial de Tawantinsuyu en particular. En este artículo, se reproduce cómo estas formas, ideologías y prácticas espaciales se ensamblaron a través de la invasión española, con un enfoque en la (re)construcción y (re)uso de espacios rituales en el contexto del valle del Colca (sierra suroeste del Perú). En particular, se analiza cómo la configuración de kallanka/pata se tradujo a iglesia/plaza desde la primera evangelización en doctrinas franciscanas hasta la reducción general de indios del virrey Toledo. Esta exploración demuestra una larga y marcada trayectoria de procesos y eventos centrípetos desde la época inkaica hasta la reducción, y la centralidad de tales espacios rituales. Lo que surge es una visión de apropiación mutua, más que de dominación a través de un urbanismo compulsivo.

This project documents and analyzes a substantial private collection of artifacts from archaeological sites around Choctawhatchee Bay, northwest Florida. The goals are to determine what the materials can contribute to the archaeological record, how they enhance our knowledge of the people who lived there over the past 2000 years, and how this information can be used to expand or contradict models of prehistoric lifeways in this region. This is done by comparing artifact assemblages, looking at site distribution patterns, and using pXRF trace-element analysis to compare Late Archaic clay objects with those from elsewhere along the Gulf. Examination of the assemblage and the results of the pXRF trace-element analysis show that both materials and finished products were imported into this region from as far away as Poverty Point, Louisiana, especially during Late Archaic times. In addition to the movement of artifacts, site distribution patterns around Choctawhatchee Bay show that people also moved into and away from the area during periods of low and high sea levels.

"Neo-Inca" or Colonial? The Death of Inca Architecture and other ParadigmsMost indigenous architectural traditions are believed to have ended abruptly with the European invasion of the Americas. In the Andes, scholars have argued that Inca architecture ceased soon after the arrival of the Spaniards and was rapidly replaced with European models. In this paper, I argue that the perceived death of Inca architecture is a false paradigm based on a variety of factors, such as a split in scholarly disciplines, a lack of scholarship on indigenous post contact architecture, and —most importantly— naming practices that have carried mistaken assumptions about the past. Focusing on Chinchero, the private estate of Thupa ‘Inka, as a case study, this paper demonstrates that Inca architecture continued well after the Spanish invasion.
Por lo general, se cree que las tradiciones arquitectónicas indígenas finalizaron bruscamente con la invasión europea de las Américas. En los Andes, los especialistas piensan que la arquitectura inca cesó poco después de la llegada de los españoles y fue reemplazada de manera rápida por modelos europeos. En el presente artículo, la autora plantea que la percepción de la "muerte" de la arquitectura inca es un paradigma falso, cuyo origen se debe a varios factores, tal como la separación en disciplinas académicas, la ausencia de estudios calificados sobre arquitectura indígena posterior a la Conquista, y, sobre todo, las denominaciones modernas, que implican erróneas aseveraciones acerca del pasado. Los trabajos de investigación se concentran en Chinchero, la propiedad privada de Thupa ‘Inka, como un caso en el que se demuestra que la arquitectura inca siguió en existencia después de la invasión española.

Spanish Indian is a generic term that has been used repeatedly in written documents over the past three centuries to describe a range of different social, ethnic, and economic groups in the southeastern United States. In this thesis, a comparative analysis of the material culture from Cuban fishing ranchos of the eighteenth and nineteenth centuries on the west coast of Florida addresses the ways in which specific Spanish Indian artifact assemblages fit into the archaeological record. Three archaeological assemblages from known Rancho sites are detailed and analyzed. In addition, this thesis details a public archaeology project undertaken in conjunction with the Florida Public Archaeology Network, which led to the development of a traveling exhibit and public presentation on the origins of local place names. The thesis also provides suggestions for how historical archaeologists might contend with difficulties in determining and documenting identity at early historical sites in coastal Florida. The research undertaken for this thesis demonstrates a pressing need for additional data collection and research in the field. As it currently stands, however, the preliminary analysis conducted in this thesis indicates an economic basis for cultural interaction and intermarriage rather than an actual cultural synthesis, creolization, or ethnogenesis, which would imply shared cultural systems of belief and meaning. This thesis is also a proposal for a typology of ranchos. Through a cross-comparison of the similarities and differences in subsistence strategies and labor practices, a research design for rancho archaeology is outlined.

There has been increased attention given in the tourism literature to experiential perspectives of tourism. This thesis addresses the lack of attention in previous experiential studies to the relationship between heritage buildings and tourism. Specifically, this thesis explores the influence of heritage buildings in shaping international tourists' experiences of a particular region of New Zealand: Hawke's Bay. This research sought insight into the specific attributes of heritage buildings that influenced the experiences of international tourists visiting the region, and examined the relative importance of heritage buildings for international tourism to Hawke's Bay, as perceived by international tourists visiting the region. In this way, results are assumed in the personal constructs of individual consumers (Beeho Prentice, 1997; Prentice, Witt Hamer, 1998; McIntosh Siggs, 2005). An increased understanding of the relationship between heritage buildings and tourism is essential in strengthening support for preservation, for product development and promotion. A mixed-methodology comprising of 50 semi-structured interviews, 66 photograph-supported interviews and 354 structured questionnaires was adopted. Hawke's Bay's heritage buildings were found to have an important influence on tourists' experiences of the region, visually and as part of the narratives of their reported experiences. Attributes of Hawke's Bay's heritage buildings that influenced tourists' experiences of the region included their architecture, exterior and interior design, colour, history and associated stories. Furthermore, the interviews elicited three key experiential themes that emerged from respondents' narratives of their experiences in Hawke's Bay. They are; 'visual appeal', 'personal reflections' and 'engaging experiences'. Specifically, it was found that a townscape is not a passive space. Heritage buildings render the townscape an experiential place filled with emotion, mindfulness, engagement, and imbued with personal meaning. Visitors in effect created their own experiences through their active interaction with the environment; rendering it relevant to a context they were personally interested in, or which held personal significance for them. Analysis of the questionnaires revealed that, as perceived by international tourists, heritage buildings are important to a region; a significant proportion of respondents indicated that they would theoretically be willing to pay some money to ensure the preservation of Hawke's Bay's heritage buildings. This thesis evidences the important relationship between heritage buildings and tourism, and future research is advocated to advance upon the conclusions made in this research.

Esta investigación, El dibujo arquitectónico en los libros de arquitectura hispánicos del siglo XVI, surge tras constatar un aspecto no tratado de estos libros relacionado con sus ilustraciones y más concretamente con los dibujos arquitectónicos, como es la conceptualización y el desarrollo del sistema de proyección ortogonal. Del mismo modo, se prestará atención a la implementación, evolución y finalidad de recursos gráficos como tramas, rayados y líneas auxiliares dentro de estas representaciones. Igualmente, también será objeto de análisis las difrentes técnicas gráficas – escalas, acotación y rotulación– presentes en el aparato gráfico de estas obras. El campo de estudio se ha divido en tres grupos claramente definidos. Un primer grupo formado por los Tratados de arquitectura hispánicos del siglo XVI (I): Tratados teóricos. Un segundo grupo compuesto por los Tratados de arquitectura hispánicos del siglo XVI (II): Tratados prácticos. Los tratados de cantería. Y, por último, un tercer grupo que engloba Otras obras relacionadas con la arquitectura española del siglo XVI. En el primer grupo de obras, Tratados de arquitectura hispánicos del siglo XVI (I): Tratados teóricos, se agrupan aquellos tratados de arquitectura hispánicos del siglo XVI en los que priman los contenidos teóricos y especulativos: Medidas del romano de Diego de Sagredo; el manuscrito de Rodrigo Gil de Hontañón a través del Compendio de architectura y simetría de los templos de Simón García; el Libro de arquitectura de Hernán Ruiz; la traducción española de Los diez libros de arquitectura de Marco Vitruvio realizada por Lázaro de Velasco y, por último, De varia commensuracion para la esculptura, y architectura de Juan de Arfe y Villafañe. En el segundo grupo de obras, Tratados de arquitectura españoles del siglo XVI (II): Tratados prácticos. Los tratados de cantería, se recogen otros tratados de arquitectura del ámbito hispánico del siglo XVI donde, a diferencia de los tratados del epígrafe anterior, priman las cuestiones de la práctica arquitectónica y constructiva sobre la especulación teórica. Son los tratados de cantería, también llamados de arte de montea o de estereotomía: El tratado de cantería de Pedro de Alviz, el tratado de cantería de Alonso de Guardia, el Libro de cortes de cantería de Alonso de Vandelvira y, por último, Cerramientos y trazas de montea de Ginés Martínez de Aranda. El tercer y ultimo grupo de elementos que forman el campo de estudio de la investigación está formado por Otras obras relacionadas con la arquitectura española del siglo XVI y engloba aquellas obras que, si bien no son exactamente tratados de arquitectura, son textos muy relevantes, directamente relacionados con la arquitectura española de la segunda mitad siglo XVI: el Sumario y breve declaracion delos disenos y estampas de la Fabrica de san Lorencio el Real del Escurial de Juan de Herrera; In Ezechielem explanationes et apparatus vrbis ac templi Hierosolymitani de Jerónimo de Prado y Juan Bautista de Villalpando; el Compendio de la segunda parte de los comentarios sobre el propheta Ezechiel de Jerónimo de Prado y, por último, el Álbum sevillano de dibujo arquitectónico. Para realizar este estudio, se plantea una metodología analítica que permita que cualquiera de estos dibujos pueda ser estudiado con los parámetros del modelo teórico que plantea, con independencia de la época en la que fuese realizado y tanto si pertenece a un libro manuscrito como a un libro impreso, proyecto arquitectónico, colección de dibujos de arquitectura, o simplemente constituya un dibujo de arquitectura único e independiente. El objetivo es analizar los dibujos arquitectónicos de los tratados de arquitectura hispánicos del siglo XVI con objeto de determinar en ellos la presencia o la ausencia de convenciones de símbolos no verbales, que se concretan en su modo de representación –proyección ortogonal– y en el uso de técnicas gráficas –rotulación, acotación y escalas–. Del mismo modo, se prestará una especial atención a explicar cuál ha sido la evolución desde el punto de vista teórico del concepto del dibujo arquitectónico y de la proyección ortogonal, así como de la rotulación, acotación y escalas gráficas, desde la Antigüedad hasta el siglo XVI, para lo que intentaremos ofrecer una perspectiva lo más amplia y plural posible, desde Los diez libros de la arquitectura de Marco Vitruvio hasta los tratados de arquitectura italianos y centroeuropeos de los siglo XV y XVI. Igualmente, centraremos nuestra atención en el ámbito hispánico del siglo XVI, en el que se intentará establecer desde el punto de vista teórico cuál era la conceptualización expresada en los tratados de arquitectura hispánicos del quinientos sobre todas estas cuestiones. Por un lado, el marco referencial para realizar este análisis se sitúa en la representación visual, concretamente en los postulados que sobre esta materia enunciaron E. H. Gombrich, Donis A. Dondis, W. M. Ivins, Francesc Marcè i Puig y Justo Villafañe. Este marco teórico establece que estamos ante un metalenguaje formado por símbolos no verbales de carácter icónico, que está directamente influenciado por el medio en el que se representa, y en el cual estos símbolos no verbales pueden ser utilizados para representar la realidad mediante unas reglas o convenciones que operan entre ellos. Mientras, por otro lado, en el marco conceptual y teórico de la investigación, se establecerá cuál es la definición de dibujo arquitectónico, así como su ámbito, límites tanto cuantitativos como cualitativos y sus características y en base a la cual poder estudiar las representaciones de los tratados de arquitectura hispánicos del siglo XVI. Ante la ausencia de estudios previos que aborden el análisis de estas cuestiones gráficas planteadas en esta investigación tanto en el modo de representación –proyección ortogonal– como en el uso de técnicas gráficas –rotulación, acotación y escalas– en la tratadística de arquitectura europea desde la Antigüedad hasta el siglo XVI, se ha procedido a una revisión exhaustiva de estas obras. El objeto es por un lado determinar cuáles son los antecedentes y por otro establecer puntos de referencia, a través de los cuales realizar un estudio comparado con los tratados de arquitectura hispánicos del siglo XVI. De esta forma, será posible dirimir cuales son las aportaciones de la tratadística europea a la tratadística hispánica y cuáles son la innovaciones autóctonas.
This research, The architectural drawing in the books of the sixteenth century Hispanic architecture, emerges after verifying a non-discussed aspect in these books with its graphic content and specially their architectural drawings, such as conceptualization and the development of orthogonal projection. In the same way, implementation, evolution and the purposes of graphic resources such as frames, stripes and auxiliary lines in these representations will be taken into account. Equally, the different graphic techniques –scale, dimensioning and labeling– presented in the graphical system of these works will also be object of analysis. The field of this study has been divided into three defined groups. A first group formed by Hispanic architectural of the sixteenth century (I): Theoretical treatises. A second group made up of Hispanic architectural of the sixteenth century (II): Practical treatises. Stonecutting treaties. And lastly, a third group which includes Other works related to the Spanish architecture of the sixteenth century. In the first group of works, Hispanic architectural of the sixteenth century (I): Theoretical treatises, those treatises of Spanish architecture of the 16th century which give priority to theoretical and speculative contents are gathered. These treatises are: Medidas del romano by Diego de Sagredo, Rodrigo s Gil de Hontañón manuscript through the Compendio de arquitectura y simetría de los templos by Simón García, Libro de arquitectura by Hernán Ruiz, the Spanish translation of Los diez libros de arquitectura by Marco Vitruvio translated by Lázaro de Velasco and lastly, De varia commensuracion para la esculptura, y architectura by Juan de Arfe and Villafañe. In the second group of treaties, Hispanic architectural of the sixteenth century (II): Practical treatises. Stonecutting treaties, other sixteenth century treaties of the Hispanic architecture were collected where, unlike the treatises of the previous section, the issues of architectural and structural practice on theoretical speculation are prioritized. These are the stonecutting treaties, also known as montea or stereotomy: the Pedro de Alviz’ stonecutting treaty, the Alonso de Guardia’ stonecutting treaty, Libro de cortes de cantería by Alonso de Vandelvira and lastly, Cerramientos y trazas de montea by Ginés Martínez de Aranda. The third and last group of elements which make up the field of study of this research are Otras obras relacionadas con la arquitectura española del siglo XVI which includes those works that, although they are not exactly architectural treatises, they are very relevant texts directly related to the Spanish architecture of the second half of the 16th century. These works are: Sumario y breve declaración de los diseños y estampas de la Fabrica de san Lorencio el Real del Escurial by Juan de Herrera, In Ezechielem explanationes et apparatus vrbis ac templi Hierosolymitani by Jerónimo de Prado and Juan Bautista de Villalpando, el Compendio de la segunda parte de los comentarios sobre el propheta Ezechiel by Jerónimo de Prado and lastly, el Álbum sevillano de dibujo arquitectónico. In order to carry out this study, it is considered an analytical methodology that allows that any of these drawings can be studied with the parameters of the theoretical model that is proposed regardless of the era in which it was done and whether it belongs to a manuscript or a printed book, architectural project, a collection of architectural drawings, or it simply constitutes a unique and independent architectural drawing. The aim to achieve is the fact of analyzing the presence or absence of these conventions about non-verbal symbols, which are specified on their representation method –orthogonal projection– and the use of graphic techniques –labeling, dimensioning and graphic scales– in the architectural drawings of Spanish architectural treatises of the 16th century. In the same way, some special attention will be provided in order to explain what has been the evolution from the theoretical point of view of the concept of both architectural drawing and orthogonal projection, as well as labeling, dimensioning and graphic scales, from Antiquity to 16th century. In order to achieve this, we will attempt to provide a wide range of perspectives from Los diez libros de la arquitectura by Marco Vitruvio to Italian and Central European architectural treatises of 15th & 16th centuries. Similarly, we will focus on the Hispanic scope of the 16th century trying to establish, from the theoretical point of view, which was the conceptualization showed in the Spanish architectural treatises of 1500’s on all these issues. On one hand, the reference framework to carry out this analysis focuses on the issue of visual representation, specifically on the hypothesis previously stated about this subject by E. H. Gombrich, Donis A. Dondis, W. M. Ivins, Francesc Marcè i Puig and Justo Villafañe. This theoretical framework establishes that we are in front of a metalanguage composed of non-verbal symbols with an iconic nature directly influenced by the field in which it is represented whose non- verbal symbols are able to be used in order to represent reality through a number of rules or conventions which work between them. Meanwhile, on the other hand, the conceptual and theoretical framework of the research and on base in which representations of Spanish architectural treatises of the 16th century are able to be studied, the definition of architectural drawing as well as its scope, its quantitative and qualitative approaches and its characteristics will be established. It has been proceeded to an exhaustive review of these works due to the absence of previous studies which broach the analysis of the graphical issues mentioned in this research, both in the mode of representation –orthogonal projection– as well as the use of graphic techniques –labeling, dimensioning and graphic scales– in the group of European architectural treatises from Antiquity to 16th century. On the one hand, the aim is to decide which are the precedents and on the other hand, the fact of determining reference points in order to make a study comparing it with the Spanish treatises of the 16th century. Therefore, it will be possible to resolve which are the contributions of European group of treatises to Hispanic group of treatises and which are the native innovations.

In the three decades surrounding the Spanish-American war (1880-1910), three prominent Puerto Rican artists, Francisco Oller (1833-1917), Manuel E. Jordan (1853-1919), and Ramón Frade (1875-1954) created a group of paintings depicting "el jíbaro," the rural Puerto Rican farm worker, in a way that can be appropriately labeled "nationalistic." Using a set of motifs involving clothes, customs, domestic architecture and agricultural practices unique to rural Puerto Rico, they contributed to the imagination of a communal identity for creoles at the turn of the century. ("Creole" here refers to individuals of Spanish heritage, born on the island of Puerto Rico.) This set of shared symbols provided a visual dimension to the aspirational nationalism that had been growing within the creole community since the mid- 1800s. This creollismo mythified the agrarian laborer as a prototypical icon of Puerto Rican identity. By identifying themselves as jíbaros, Puerto Rican creoles used jíbaro self-fashioning as a way to define their community as unique vis a vis the colonial metropolis (first Spain, later the United States). In this thesis, I will examine works by Oller, Jordan and Frade which employ jíbaro motifs to engage this creollismo. They do so by painting the jíbaro himself, his culture and surroundings, the fields in which he worked, and the bohío hut which was his home. Together, these paintings form a body of jíbaro imagery which I will contextualize, taking into account both the historical circumstances of jíbaro life, as well as the ways in which signifiers of jibarismo began to gain resonance amongst creoles who did not strictly belong to the jíbaro class. The resulting study demonstrates the importance of the mythified jíbaro figure to the project of imagining Puerto Rican creole society as a nation, and the extent to which visual culture participated in this creative process.

This creative project presents architectural and design principles of the landscape features define as Hispanic gardens, which were built by the Spanish conquistadors of the island of La Hispaniola since 1492 up to the seventeenth century in La Ciudad Colonial of Santo Domingo, today capital of the Dominican Republic. This study researches the urban and architectural characteristics of the Colonial City of Santo Domingo as well as the main elements that define the Spanish gardens and also some of the current strategies and techniques for garden restoration. Those aspects are a background and support to the identification of these Hispanic gardens and to the proposed guidelines for the rehabilitation of these historic areas. To fulfill a further purpose of promoting an integral restoration* of the Colonial City of Santo Domingo, the goals of the project relate to the areas of landscape and architecture, and to the social and educational contexts. Therefore, the recommended guidelines for the rehabilitation of the historic Hispanicgardens of La Ciudad Colonial of Santo Domingo are a preliminary step toward a different approach of the preservation of this cultural landscape.Integral restoration, to this project, it is understood as a plan of preservation, which valorizes all the aspects concerning to architecture, landscape, and the urban and social patterns related to La Ciudad Colonial of Santo Domingo.
Department of Landscape Architecture

Qu'il s'agisse de corporations ou d'Académies, l'existence de circuits de production artistique officiels (ou du moins formellement constitués), fournit à l'historien de l'art une grille de lecture permettant de structurer l'approche avec l'objet à étudier et avec les processus qui ont abouti à sa création. Cela ne se vérifie pas dans toute l'Amérique coloniale même si, paradoxalement, la légitimité du projet politique espagnol se fondait sur le succès de la campagne évangélisatrice et donc sur la mise en place de temples, ce qui théoriquement, devrait se traduire par l'imposition d'un goût officiel à travers de telles institutions. Face à l'impossibilité d'étudier la production artistique de la Nouvelle Grenade (Colombie actuelle) selon une histoire qualitative articulée autour d'un jugement de valeurs (le Beau, le Vrai le Bien), ce travail propose d'aborder le bâti religieux depuis la perspective d'une histoire culturelle. Comme instrument méthodologique nous avons privilégié la recherche heuristique. Délaissée par l'histoire de l'art colonial colombien depuis les années 1980, cette approche qui implique la mise en valeur du patrimoine documentaire, représente pourtant une source très abondante d'informations. Eloignés d'une histoire basée sur l'analyse de la forme et sur sa classification taxonomique, une lecture culturaliste des documents d'archive nous a permis d'approcher la chaîne de production du bâti, depuis la mise en place d'une réglementation jusqu'à la réalisation - ou l'abandon - du projet. Nous avons également identifié les différents acteurs susceptibles d'intervenir dans l'étape de d'invention du projet, en prêtant une attention particulière à leur formation afin de restituer les voies qui ont permis la circulation des idées et du savoir-faire.

This is the first archaeometric study comparing Hispano-Moresque tiles from different Portuguese and Spanish collections, no other published one being known at the time of writing. Despite the increasing interest in the Iberian ceramic cultural heritage, a specific study dedicated to architectural tiles was lacking. With this in mind, this thesis offers a first approach on the technological features of these impressive – although somehow undervalued – architectural tiles. With this work, important Portuguese and Spanish Hispano-Moresque tile collections are characterised, compared and studied: National Palace of Sintra (Portugal) (PNS), Monastery of Santa Clara-a-Velha (Coimbra, Portugal) (SCV), archaeological site of Santo António da Charneca (Barreiro, Portugal) (SAC), Instituto Valencia de Don Juan (Madrid, Spain) (IVDJ), Casa de Pilatos (Seville, Spain) (CPS) and Museo de Cerámica y Artes Sumtuarias “González Marti” (Valencia, Spain) (MCV). The aim is to provide a physicochemical characterisation of both the glazes and the ceramic bodies of the tiles to better understand the production technology. The methodology proposed for this study had the main purpose of developing a minimally invasive and essentially non-destructive approach with complementary analytical techniques that will allow for replication in future studies with other Hispano-Moresque tile collections. The techniques chosen were: Micro-Particle Induced X-Ray Emission (μ-PIXE), Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA-ICP-MS), Scanning Electron Microscopy with X-ray Microanalysis (SEM-EDS), μ-Raman spectroscopy, Micro-X-ray diffraction (μ-XRD) and Synchrotron Radiation Micro-X-ray diffraction (SR-μ-XRD). The archaeometric study concluded that calcareous clays were the standard material used for the ceramic bodies of the tiles. Lime content is frequently higher than 20 wt.%, which is a high value among the typical calcareous clays analysed in the literature, although within the expected results for tinopacified ceramic bodies. The glaze technology employed in Hispano-Moresque tiles followed the Islamic tradition that was introduced in the Iberian Peninsula from the 8th century onwards. High-lead glazes (ca. 30-50 wt.% PbO) were identified in all analysed samples. Two types of high-lead glazes were identified: “transparent” and tin-opacified. Besides the disparity in tin contents, the two glaze types also evidence differences in sodium and lead values. A sodium compound (most likely NaCl) may have been added to compensate the lower PbO content in tin-opacified glazes. The pictorial layer is composed of five colours: white (SnO2), blue (SnO2 + CoO), green (CuO), amber (Fe2O3) and brown (MnO). These colours exhibit different shades depending on the glaze recipe, its thickness and the influence of the underlying ceramic body. White and blue are consistently tin-opacified, whereas most green, amber and brown glazes are transparent. The results of the archaeometric study identify a widespread ceramic technology. Nevertheless, it is still visible a higher proximity between the CPS, IVDJ-Seville, SCV and PNS collections – although with differences among them – whereas the MCV and IVDJ-Toledo groups display distinct features that attest for their different provenance.

Esta dissertação apresenta uma leitura sobre o tema da habitação para o maior número, mais precisamente sobre a geração de tipologias que potenciam a vivência em comunidade na vertical. Como caso de estudo será apresentado um conjunto habitacional chamado Walden 7 projetado por Ricardo Bofill Taller de Arquitectura para a periferia de Barcelona, na década de 1970. A investigação é suportada pelo acesso a fontes primárias, nomeadamente ao arquivo do Ricardo Bofill Taller de Arquitectura; uma estadia no edifício, que permitiu o testemunho da sua vida quotidiana e uma visita ao Taller de Arquitectura, realizados em Janeiro de 2016; por desenhos analíticos realizados pelo arquiteto e professor Pedro García Hernandez, no seguimento da sua tese de doutoramento La agregacion modular como mecanismo proyectual residencial en España: Taller de Arquitectura; por pequenos documentários televisivos; e por revistas e artigos de periódicos. Passados 40 anos da sua construção, verifica-se atualmente a existência de uma comunidade sólida com cerca de mil habitantes e um esforço contínuo de preservação do edifício.
Within the theme of social housing, this essay presents a reading on the generation of housing typologies that enhance the experience of community living in vertical buildings. As a case study, it will be presented a housing complex named Walden 7 for the outskirts of Barcelona, designed in 1970 by Ricardo Bofill Taller de Arquitectura. This research is supported by the access to primary sources, namely the archive of Ricardo Bofill Taller of Arquitectura, a visit to the studio and a stay in Walden 7, that allowed a testimony of its everyday life. This trip took place in January 2016. The reseach was also supported by the analytical drawings produced by the architect and professor, Pedro García Hernandez, following up his doctoring thesis La agregación modular como mecanismo proyectual residencial en Espãna: Taller de Arquitectura; by short TV documentaries; and by magazines and periodical articles. After 40 years since its construction, we can observe the existence of a solid and strong community- consisting of around one thousand inhabitants - as well as a continuous effort for the preservation of the building.