THIS PAPER OFFERS A FIRST-PERSON APPROACH TO THE PHENOMENON OF MASS UPRISING OF BARRICADES IN THE STREETS OF THE CITY OF CONCEPCION, CHILE, AFTER THE EARTHQUAKE OF FEBRUARY 27, 2010, WHICH HIT MUCH OF THE CENTRAL REGION. REVISIT THE CAUSES AND REFLECTS ON THE URBAN PARADOXES IMPLIED THAT MOTIVATED THIS UNUSUAL SOCIAL FACT, THROUGH THE STORY OF THREE ARCHITECTS / PLANNERS THAT WITH THOUSANDS OF PEOPLE, STAGED IN VARIOUS PARTS OF THE CITY THE IMPROVISED QUICK DESIGN AND CONSTRUCTION OF THE BARRICADES : THE FACT THAT HISTORICALLY HAS POINTED BUILT WHEN THE STREET SPACE CEASES TO EXIST AS A GROUP HOME SOCIAL BODY TO BECOME ABNORMAL AGGREGATION OF ATOMIZED URBAN SEGMENTS WHERE AT THE SAME TIME, PARADOXICALLY, THE COLLECTIVE LIFE OF NEIGHBORLY INTENSIFIES EQUALLY UNUSUAL. DOCUMENTA AS A UNIQUE URBAN STATE, THE PRODUCT OF A UNIQUE CIVIC STATE, OPENED WIDE A TIME WINDOW INTO A PAST THAT WILL NOT RETURN AND AN UNCERTAIN FUTURE, WHILE RAISING POWERFUL QUESTIONS ABOUT OUR URBAN PRESENT.

THROUGHOUT THE WORLD AND ESPECIALLY IN EMERGING COUNTRIES, MUSEUMS ARE INCREASINGLY UNDERGOING DEVELOPMENT, WHICH PROMOTES THE CONSTRUCTION OF BUILDINGS WITH SIGNIFICANT ARCHITECTURAL EXPRESSIONS AND DIVERSE CULTURAL ACTIVITIES. INTERIOR ENVIRONMENT IN MUSEUMS IS DEFINED BY TWO IMPORTANT REQUIREMENTS: THE PRESERVATION OF WORKS OF ART, AND THE COMFORT OF VISITORS OR INDIVIDUALS WHO WORK IN THESE BUILDINGS. THE RESEARCH PROBLEM UNDER INVESTIGATION ORIGINATES IN THE FACT THAT SOME WORKS OF ART ON DISPLAY HAVE HYGROTHERMAL NEEDS THAT IN MOST CASES DO NOT CORRESPOND TO THE ENVIRONMENTAL COMFORT CONDITIONS REQUIRED BY VISITORS AND THOSE WHO WORK IN EXHIBITION SPACES. THIS ARTICLE PRESENTS STANDARDS AND RANGES OF CONFLICT IN INTERIOR CLIMATE IN MUSEUMS, AND MEASURES THESE REQUIREMENTS USING ENVIRONMENTAL RECORDS AND VISITOR SURVEYS. THE METHODOLOGY EMPLOYED WAS BASED ON THE ?SIMULTANEOU-SNESS INDEX? PROPOSED IN ITALY IN 2008, AND WAS EXTENDED TO MUSEUMS LOCATED IN DIFFERENT CLIMATIC ZONES. USING THIS METHOD, THE CONDITIONS IN THREE CONTEMPORARY ART MUSEUMS CONCENTRATED IN THE HUMID SUBTRO-PICAL CLIMATE OF BRAZIL WERE REVIEWED IN ORDER TO EXAMINE THE REQUIRED ENVIRONMENTAL PARAMETERS, VERIFY THE SIMULTANEITY OF ARTWORK-VISITOR HYGROTHERMAL SATISFACTION, AND DISCUSS FORMAL CHARACTERISTICS IN RELATION TO ENERGY DEMANDS. THE CASES STUDIED WERE THE FIC (PORTO ALEGRE), THE MON (CURITIBA), AND THE MUBE (SÃO PAULO). THE RESULTS SHOW THE PERFORMANCE OF ENVIRONMENTAL COMPATIBILITY FOR WINTER AND SUMMER, AND SUGGEST THE INFLUENCE OF ARCHITECTURAL STRATEGIES ON THERMAL COMFORT SATISFACTION AND ENERGY DEMAND.

ESTE ARTÍCULO SE PROPONE REFLEXIONAR ACERCA DE LA PARADOJA QUE SE PRODUCE CON LA TRANSPARENCIA EN LA ARQUITECTURA. EL PLANO DE VIDRIO ES UNA ESTRATEGIA EN LA ARQUITECTURA MODERNA PARA DELIMITAR UN ESPACIO PERO MANTENIENDO, CON EL MEDIO EXTERIOR AL CUAL ESTÁ ORIENTADO, UNA RELACIÓN VISUAL CONTINUA, INSTANTÁNEA Y PERMANENTE. TANTO SI SE TRATA DE SU CUALIDAD SUPERFICIAL DE TRANSPARENCIA ABSOLUTA COMO LA DE SU CAPACIDAD REFLECTIVA, EL PLANO DE VIDRIO NOS OFRECE UNA SEGUNDA LECTURA QUE RESULTA SER UNA PARADOJA. A TRAVÉS DEL PLANO DE TRANSPARENCIA, EL MEDIO EXTERIOR APARECE EFECTIVAMENTE EXPUESTO EN EL ESPACIO CONFIGURADO PERO, A PESAR DE LA EXTENSIÓN QUE PUEDA ALCANZAR LA MIRADA, LA INTEGRACIÓN INTERIOR-EXTERIOR ES SOLO UNA SIMULACIÓN. FOMENTAR LA INVISIBILIDAD DEL LÍMITE PARA CREAR LA "CONTINUIDAD" DEL ESPACIO ES UN OBJETIVO QUE NUNCA SE CONSUMA PUES, AÚN CUANDO NO SE VEA, EL LÍMITE ESTÁ SIEMPRE PRESENTE. A MODO DE METÁFORA, EL ANÁLISIS DE UNA ESCENA DEL FILME "LAS ALAS DEL DESEO"...

LA INVESTIGACIÓN CENTRA SU ATENCIÓN EN LAS PROPUESTAS Y MATERIALIZACIONES DE ESPACIO PÚBLICO, RELACIONANDO LOS GRANDES EVENTOS SÍSMICOS DE 1939 Y 1960. EL PLAN REGULADOR DE 1940-48 PROPONE LA CREACIÓN DE UNO DE LOS ESPACIOS PÚBLICOS MÁS SIGNIFICATIVOS PARA LA CIUDAD: LA CONEXIÓN DEL CONJUNTO URBANÍSTICO DE LA UNIVERSIDAD DE CONCEPCIÓN, A TRAVÉS DE UNA NUEVA AVENIDA TRAZADA EN FORMA DIAGONAL AL RETICULADO EN DAMERO, CON LA CALLE QUE CONDUCE HACIA EL CENTRO URBANO. EL SEGUNDO CASO SE CONVIERTE EN UNA NUEVA OPORTUNIDAD PARA PROPONER Y RESOLVER INNOVADORAS ESTRATEGIAS DE DESARROLLO DE SUS ESPACIOS PÚBLICOS A TRAVÉS DEL PLAN REGULADOR FORMULADO ESE MISMO AÑO (1960). LA NORMATIVA ESTABLECIDA PARA LA EDIFICACIÓN EN ALTURA, MEDIANTE LA DIVISIÓN DE PLACA Y TORRE, TIENE POR OBJETIVO CONSOLIDAR, NO SOLO LA OCUPACIÓN DEL INTERIOR DE LA MANZANA, A TRAVÉS DE LAS GALERÍAS, SINO TAMBIÉN LA DE AUMENTAR LA OFERTA DE LA ACTIVIDAD COMERCIAL EN SEGUNDOS NIVELES. ACTO FALLIDO, ESO SÍ, FUE LA IDEA DE CREAR UN ESPACIO PÚBLICO DE RECORRIDO PEATONAL, ALTERNATIVO AL SUELO URBANO, ELEVADO SOBRE LA PLACA. ESTA PONENCIA SE PROPONE ENTONCES ANALIZAR LA EVOLUCIÓN DE ESTE SISTEMA DE ESPACIOS PÚBLICOS, INICIADO CON LA AVENIDA DIAGONAL (1939), SU CONSOLIDACIÓN Y PROLONGACIÓN HACIA EL RÍO BIO BIO (1960) SIGUIENDO LAS DIRECTRICES PLANTEADAS EN EL PLAN RIBERA NORTE (2004), A PARTIR DE LOS PLANES REGULADORES QUE NACIERON COMO CONSECUENCIA DE LOS EFECTOS DESTRUCTIVOS SOBRE EL TEJIDO URBANO DE LOS DOS TERREMOTOS MENCIONADOS. AGRUPADO AHORA BAJO EL CONCEPTO DE EJE BICENTENARIO, ESTA INVESTIGACIÓN SE PROPONE REFLEXIONAR ADEMÁS ACERCA DE LAS POSIBLES CONSECUENCIAS QUE EL RECIENTE TERREMOTO DEL MES DE FEBRERO DE 2010, PUDIESE HABER TENIDO EN LO QUE SERÍA CONSIDERADO SU ÚLTIMO ESTADIO DE DESARROLLO.

SEVERAL CONTEMPORARY ARCHITECTURAL WORKS ARE ARGUING USE OF PARAMETRIC DESIGN TECHNOLOGIES, WITHOUT CLEARLY IDENTIFYING THEIR ESSENTIAL CONDITIONS. THIS ARTICLE REVIEWS MEANINGS OF THIS TERM AND ITS FIRST LITERARY USES IN REFERRING TO ARCHITECTURAL DESIGN, AS WELL AS INITIAL WORKS APPLYING THESE TECHNIQUES, WITH THE PURPOSE OF CLARIFYING ITS ORIGINAL SENSE AND APPLICATIONS, TO SUPPORT A CONSISTENT DEVELOPMENT. THE WORD HAS DIFFERENT MEANINGS RANGING FROM SOCIAL TO MATHEMATICAL CONNOTATIONS, MOSTLY RELATED TO A MEASURABLE VARIATION. MEANWHILE, THE DOCUMENTS ABOUT ARCHITECTURAL WORKS CONSIDER THE CONCEPT OF PARAMETRIC DESIGN FROM THE STAND POINT OF MANAGEMENT OF BUILDING INFORMATION TO SPECIFIC GEOMETRIC OPERATIONS. THE WORKS REVIEWED AS EARLY EXAMPLES OF PARAMETRIC PROCEDURES IN BUILDING DESIGN ARE THE PHILIPS PAVILION BY LE CORBUSIER AND XENAKIS, THE BARCELONA FISH BY FRANK GEHRY AND THE EXTENSION OF WATERLOO STATION BY NICHOLAS GRIMSHAW. IT COMMENTS ON THEIR GENERAL PROCESS OF PRODUCTION, FUNCTIONAL AND CONSTRUCTION ISSUES INVOLVED IN THE DESIGN OF THESE THREE CASES. GEOMETRICAL AND COMPUTER PROCEDURES ARE DESCRIBED IN RELATION TO SHAPE DEFINITION, STRUCTURAL SOLUTION AND DESIGN EXPRESSION OF EACH BUILDING. BASED ON THE TEXTS AND CASES REVIEWED, THE ARTICLE SUGGESTS A STRICT CONCEPTION OF PARAMETRIC DESIGN IN ARCHITECTURE, LINKED TO VARIABLE CURVES, AS WELL AS A CONSTRUCTIVE AND CULTURAL SENSE.

EPHEMERAL ARCHITECTURE HAS BEEN LINKED TO ASSEMBLING AND DISMANTLING PROCEDURES OF EXHIBITION HALLS AND EXHIBITION FACILITIES, WHOSE LEGACY REMAINS IN MANY CASES REDUCED TO PHOTOGRAPHIC SEQUENCES OR MODELS. THIS WORK PROPOSES TO EXTEND THE CONCEPT OF THE EPHEMERAL FROM SUCH IDEA OF PROVISIONAL CONSTRUCTION TOWARDS A LONG-LASTING ARCHITECTURE BUT WITH A FORM THAT IS VISUALLY EVANESCENT. A MORE SYMBOLIC ASPECT, INVOLVING VISUAL PERCEPTION AND SENSORY EXPERIENCE. THUS, THE REPRESENTATION OF THE EPHEMERAL ON THE FACADES HAS RESULTED IN THE USE OF SUPERIMPOSED RETICULATED WEFTS, TRANSLUCENT PLANES, REFLECTIVE SURFACES AND, ESPECIALLY, THE EXTENSIVE USE OF GLASS, NO LONGER AS A TRANSPARENT CLOSURE BUT AS A PLANE OF IMAGE RECEPTION. IN THE CARTIER FOUNDATION (NOUVEL, 1994) AND THE SENDAI MEDIA LIBRARY (ITO, 2000), THE FACADE APPEARS ENDOWED WITH A NEW AESTHETIC QUALITY. THE RELATIVE TRANSPARENCY CONSTITUTED BY A SET OF REFLECTED IMAGES, LIGHTS AND GLITTERS, SILHOUETTES, SHADOWS AND BACKLIT FIGURES, EXPRESSES VISUAL QUALITIES ASSOCIATED WITH THE EPHEMERAL: FLEETINGNESS, CHANGE AND TRANSIENCE.