Sobre el nuevo diseño de los estudios de Arquitectura

[ES] En los momentos en los que escribo estas líneas, en la primera semana de abril de 2009, se debate de nuevo entre los arquitectos la estructura del título académico que ha de dar acceso a la profesión. En diciembre de 2007 se publicaron un Acuerdo de Consejo de Ministros y una Orden Ministerial que establecen las condiciones que deben cumplir los planes de estudios de los títulos que habiliten para el ejercicio de la profesión de arquitecto. Tras la correspondiente evaluación y verificación de los títulos, cinco universidades han comenzado en otoño de 2008 a impartir los estudios del nuevo título de Graduado en Arquitectura, y muchas otras se están preparando para implantarlo en los dos próximos años.Calvo López, J. (2009). Sobre el nuevo diseño de los estudios de Arquitectura. EGE Revista de Expresión Gráfica en la Edificación. 0(6):27-29. https://doi.org/10.4995/ege.2009.1250927290

El manuscrito Cerramientos y trazas de montea, de Ginés Martínez de Aranda

[ESP]El arquitecto y cantero baezano Ginés Martínez de Aranda, que trabajó a finales del siglo XVI y ejerció la maestría de las catedrales de Cádiz y Santiago de Compostela, compuso un manuscrito llamado Cerramientos y trazas de montea, que trata de los problemas geométricos de la construcción pétrea. El artículo analiza la copia del manuscrito conservada en el Servicio Histórico Militar de Madrid, la identidad del copista, la fecha de la primera redacción de la obra y la de la copia conservada, y el destino de la obra; a continuación, se estudia la relación del manuscrito con otras obras españolas de cantería, en especial las de Alonso de Vandelvira, Cristóbal de Rojas, Alonso de Guardia y Juan de Portor y Castro, para finalizar tratando diversas aportaciones originales de Aranda a la literatura europea de la cantería.[ING]Ginés Martínez de Aranda, master mason in the cathedrals of Cádiz and Santiago de Compostela during the late 16th century, wrote a manuscript, Cerramientos y trazas de montea, concerning geometrical problems in stone construction. This article deals with the copy of Cerramientos in the Servicio Histórico Militar (Madrid), its copyist, dating, the existence of an earlier version and whether or not Aranda intended to publish it. Also examined are the connections between Cerramientos and other Spanish stonecutting texts of the period, such as those by Alonso de Vandelvira, Cristóbal de Rojas, Alonso de Guardia or Juan de Portor y Castro. Finally, an assessment is made of Martínez de Aranda’s original contributions to European stonecutting literature.Este trabajo ha sido realizado como parte del proyecto de investigación “Construcción en piedra de cantería en el ámbito hispánico. Fuentes documentales y patrimonio construido”, del Plan Nacional de I+D+I, Ministerio de Ciencia e Innovación, con referencia BIA2006-13649

Jacopo Torni l'indaco vecchio and the emergence of Spanish classical stereotomy

A widespread conception in Spanish Renaissance architecture studies considers stonemasons and stonecutting as a reactionary force opposed to the renovation of the architectural vocabulary brought about by Italianate artists. This view, though, appears to be rather simplistic. It is certainly true that some elements of the stonemasons' lore, such as the stonecutting tools, derive from Romanesque or Antique origins; but it is also true that the adoption of classical forms in stone vaults fostered the development of new stereotomical methods. These new stonecutting techniques derive neither from the mainstream of Late Gothic stone construction nor from the brick vaults of Italian tradition. This paper will analyze an episode that exemplifies these complex relations. Jacopo Torni, L'Indaco vecchio, a Florentine painter, worked with Pinturricchio in the Borgia Rooms and with Michelangelo in the Sistine ceiling. Due to unknown reasons, he went to Spain in 1520 and two years later he was made master mason of Murcia cathedral. Without prior architectural experience, he had to carry on a complex architectural program. In just four years he built a number of pieces that show a remarkable command of classical architecture and a complete mastery of the stonecutting technique, such as one of the first stone pendentive vaults in Europe and a singular skew passage. The construction of early Renaissance vaults at Murcia cathedral does not show, therefore, a confrontation between traditional masons and innovative artists but, quite to the contrary, stereotomical skill at the service of Renaissance architecture

Orthographic projection and true size in Spanish stonecutting manuscripts

Stonecutting treatises, from the Renaissance to the Enlightenment, classify dressing methods in two broad areas. Both are named mainly after masons' tools: the square -équarrissement, escuadría, dérobement, robos- and the template -panneaux, plantas. However, the significance of these categories lies mostly in the geometrical notions they stand for; the square is applied when tracings make use of the orthographic projection, usually double, whereas the template is used where geometrical constructions provide true-size representations of the sides of the dressed stones. Thus, both methods are related to key concepts in Descriptive Geometry, the double orthographic projection for the square and developments and rabattements for the templates. This is not surprising, if we take into account that Gaspard Monge, the founder of Descriptive Geometry, was Professor of Theory of Stonecutting in the Ecole de Génie at Mézieres (Monge 1799,4; Loria ] 92] :84-91; Taton 1954, 17-20; Sakarovitch ]992, 530-536; Sakarovitch 1995, 208-210; Sakarovitch ]998, 218-227; Rabasa 2000, 241). The picture is not so clear as it appears in the treatises, however. It has been pointed out (Rabasa 2000, 158-]60) that modern stonecutting mixes both methods, and that Frézier (1737,2:]4; 2:] 15-116), and his Spanish follower Bails (J 779, 433-437) propose the dressing of some pieces by a method known as demi-équarrissement or media escuadría. We shalI deal in this paper with an early example of these hybrid methods. In Cerramientos y trazas de montea, a manuscript written by Ginés Martínez de Aranda around 160O, we can find stonecutting problems solved by means of pure squaring or full templates, the two canonical methods of mainstream treatises. Neverthe]ess, Aranda also explains the use of a two-side adjustable temp]ate, the saltarregla or sauterelle, combined with squaring; and what is more remarkable, the combination of squaring and full templates. First, we shall discuss stonecutting operations based only on orthographic projections or on true size, taking into account not only Aranda's manuscript, but also other Spanish works and, when the need arises, Philibert de L'Orme's Premier tome de L'Architecture; afterwards, we shall study the hybrid methods that appear, here and there, in Aranda' s manuscript

Sixteenth-century Spanish Cranes and Lázaro de Velasco's Translation of Vitruvius

Quite a number of studies, such as those by Íñiguez (1963, pp. 193-211), García Tapia (1990, pp. 172-181) and Lorda (1997), have discussed the cranes used in the construction of Spanish Renaissance buildings. All these papers deal with the surviving evidence about the construction of the Escorial complex, in particular the main church or basilica, such as a large number of contracts and other documents, a manuscript by Juan de Herrera called Architectura y machinas, and the outstanding drawing of the Escorial building site now at Hatfield House, England. Another source for studies about Spanish Renaissance cranes is Lázaro de Velasco’s translation of Vitruvius’ De architectura libri decem. Velasco was the grandchild of a wood carver, Juan López de Velasco, and the son of Jacopo Torni, a Florentine painter and sculptor who was master mason of Murcia cathedral and architect of the church of San Jerónimo in Granada. Velasco followed an ecclesiastical career, holding a post as beneficiado in the chapter of Granada cathedral. However, his artistic interests show up in his work as illuminator of choir books, in his ill-fated attempt to obtain the office of master mason for Granada Cathedral in 1577 and in his complete translation of Vitruvius into Spanish, about 1564. Of course, Velasco translates the passages of Vitruvius’ tenth book about machines, such as the tryspast and the polyspast, adding drawings of these hoisting devices. Furthermore, Velasco interpolates a long passage describing a big crane, similar but not identical to the ones in the Escorial, with a pyramidal frame, a windlass or mástil, moved by men treading inside a wheel, a rotating pole, ropes and a tryspast, but does not furnish a drawing of this big, non-Vitruvian crane. After a brief review of Velasco’s career, I shall try to reconstruct the big crane in Lázaro de Velasco’s text, comparing it with the Escorial cranes, as depicted in the Hatfield drawing and described in the studies of Íñiguez, García Tapia and Lorda. I shall also discuss the possible sources of Lázaro de Velasco expertise on cranes; on the one hand, classical sources such as Vitruvius or Greek mechanics, on the other, the traditional and empirical lore of carpenters and masons, embodied in the ingenio or crane put up in Murcia cathedral in the years of Jacopo Torni, or the cranes that Velasco may have seen in Granada cathedral

Second-language instruction at the Ph. D. level. The doctoral program in architecture and building technology at UPCT

[SPA]La comunicación analiza una serie de razones que aconsejan emplear una segunda lengua en la formación de los estudiantes de doctorado, que se pueden resumir en dos ideas: los alumnos de este nivel deben poseer competencias que les permitan acceder a la información y presentar los resultados de su investigación en una segunda lengua, en especial el inglés. A continuación, los autores tratan la aplicación de estas ideas en el programa de doctorado en Arquitectura y Tecnología de la Edificación de la Universidad Politécnica de Cartagena (UPCT), exponiendo cómo los alumnos interesados puedan desarrollar competencias linguísticas aplicadas a la investigación, mediante seminarios y otras actividades: comprender presentaciones orales en inglés, leer trabajos en otros idiomas europeos, exponer oralmente sus resultados en inglés y escribir en inglés desde los rótulos de una presentación hasta un trabajo de investigación. [ENG]The paper analyses a number of reasons for implementing second-language instruction at the doctoral level, stressing that Ph. D. students should be able to acquire information and present the results of their research not only in their mother tongue, but also in English. Next, the authors discuss the application of such ideas on the Ph. D. programme in Architecture and Building Technology at Universidad Politécnica de Cartagena (UPCT), explaining how seminars and other activities will enable interested students to develop linguistic skills such as understanding oral presentations in English, reading literature and sources in a number of European languages, presenting the results of their research in English in front of a specialised audience and writing presentations captions and full academic papers in English.Campus Mare Nostrum, Universidad Politécnica de Cartagena, Universidad de Murcia, Región de Murci

Levantamiento arquitectónico e hipótesis sobre la estereotomía de la bóveda aristada de las torres de quart de Valencia

Las Torres de Quart son uno de los principales testimonios de la ciudad amurallada de Valencia en la época medieval. Su construcción comenzó en 1441 y prosiguió hasta 1460, y estuvo a cargo, entre otros, del maestro Francesc Baldomar. La planta primera de la tribuna central está cubierta por una bóveda aristada esviada en la que se abandonan las soluciones lineales de nervaduras y plementería típicas de la época para emplear únicamente piezas enterizas de piedra. Esta bóveda resulta de un interés excepcional desde el punto de vista de la Historia de la Construcción, pues constituye un paso intermedio entre la cantería gótica y la estereotomía renacentista: si bien plantea nuevos problemas geométricos, el reto se afronta desde un completo dominio de la tradición gótica. El objetivo del trabajo es obtener la forma de esta bóveda y avanzar en el conocimiento de su construcción, para lo cual se realiza un levantamiento arquitectónico, dovela a dovela, mediante fotogrametría multimagen, donde a partir de un conjunto de fotos convergentes obtenidas con una cámara digital calibrada, y empleando un programa informático especializado, se obtiene un modelo tridimensional del intradós. El levantamiento muestra claramente aspectos que ponen en juego elementos de la tradición bajomedieval y facilita datos acerca de su estereotomía que las fuentes escritas no pueden proporciona

Compulsive Sexual Behavior Disorder should not be classified by solely relying on component/symptomatic features. Commentary to the debate: “Behavioral addictions in the ICD-11”

The paper by Sassover and Weinstein (2022) contributes to a timely and complex debate related to the classification of Compulsive Sexual Behavior Disorder (CSBD). The recent inclusion of CSBD as an impulse- control disorder in the ICD-11 has generated debate since a competitive view is that CSBD should rather be classified as an addictive disorder. Sassover and Weinstein (2022) reviewed existing evidence and concluded it does not support the conceptualization of CSBD as an addictive disorder. Although we agree regarding the relevance and timely nature of considering the classification of CSBD, we respectfully disagree with the position that relying on the components model of addiction (Griffiths, 2005) is the optimal approach for determining whether or not CSBD is an addictive disorder. In this commentary, we discuss potential pitfalls of relying on the components model to conceptualize CSBD as an addictive disorder and argue that considering a process-based approach is important for advancing this timely debate

Prospettiva Soldatesca: An Empirical Approach to the Representation of Military Architecture in the Early Modern Period

The paper deals with the history of military perspective, that is, cavalier per-spective with a horizontal projection plane. After surveying briefly its remote origins in ancient and mediaeval transoblique or ‘Egyptian’ perspective, the au-thors explain how military perspective arose to fulfill the needs of military archi-tecture representation, in particular the depiction of the new bastion systems that were introduced in the late fifteen and sixteenth centuries as an answer to the appearance of gunpowder and artillery. Next, the paper follows its gradual expansion into broader fields as a general technical drawing procedure, while remarking a puzzling fact: until the 19th, this technique was not conceived as a projection, in contrast to orthographic drawing and linear perspective. Nev-ertheless, its awkard ‘legalisation’ in the late nineteenth century paved the way for its adoption as the most significant graphic device of the architecture of the twentieth century