El fenómeno de los objetos cotidianos en el periodo de posguerra y el diseño de interiores mediante la elección creativa: Banham, Los Smithson y el Arte de Habitar

Tras la Segunda Guerra Mundial, Banham reflexionó sobre una situación inédita entre los arquitectos, ya que con la llegada de la producción industrializada dejaron de ser “diseñadores totales”. En este contexto son especialmente elocuentes la “elección creativa” de objetos ready-made propuesta por Le Corbusier en 1920 y su intento de “controlar el ambiente arquitectónico frente a la elección de otros”. Banham también se interesó por el “arte de habitar” de los Smithson, que en sus dos exposiciones de 1950 lograron renovar los espacios existentes disponiendo en su interior imágenes y objetos inesperados, como si los ocupantes hubieran personalizado su hábitat. Los Smithson encontraron la foto de la casa Eames con la puesta en escena de una vida corriente y reinterpretaron la estrategia de los Eames en su propia técnica de “escoger y disponer”. La disposición espontánea de los objetos, comparable a actos cotidianos como los arreglos florales, puede resultar esencial y meritoria. Gracias a la distinción entre los objetos-contenido y la arquitecturacontinente, el arte de habitar influye en el arte de la arquitectura, al igual que los elementos de catálogo utilizados en el Baukunst o arte de construir. En cualquier caso, es fundamental que la elección no pierda su audacia y deje atrás los convencionalismosIn “ Design by Choice” ( 1961), Reyner Banham reflected on the role of architects in the new visual environment of objects. Faced with uncontrollable industrial productions, post-war architects were losing their traditional role of “ total designers”. Banham evoked Le Corbusier’s exercise of “ creative choice” with example of the Esprit Nouveau Pavillon ( 1925). Here, the architect refused to design domestic objects and tried to impose the “background control over the choice of others”. Banham was also interested in Alison and Peter Smithson’s “Art of Inhabitation”, domonstrated by their two exhibitions with two artists, Nigel Henderson and Edouardo Paolozzi. Parallel of Life and Art ( 1953) exhibited the accumulation of unusual images from real life and created an unexpected perception of the exhibition room. In Patio and Pavilion ( 1956), the architects were concerned only with pavilion construction inside the room, and assigned the artists to arrange the objects. It was the artists who completely renewed the space, as if inhabitants personalized inside of the new habitat. The Smithsons were influenced by the Eames House ( 1949) through the media. The photo of the living room of the American furniture designer couple, published several times in the Smithsons’ writings, showed a house not “for living in” but “already lived”, and presented mise-en-scène of an ordinary life from American advertisements or films. The Smithsons also compared the interior of the Eames with that of Le Corbusier. The Eames House was far from the aesthetics of the architect-painter, but closer to that of a “layout man” of cinema. The arrangement of the objects by the Eames looked instantaneous and changeable, unlike the composition in a Purist still life. According to the Smithsons, the attitude of the Eames could be translated into a strategy they called the “ Select and Arrange”, almost similar to their “ Art of Inhabitation”. The “ Select and Arrange” is close to the everyday acts of popular people: “ flower arrangement”, “ furnishing”, or “ apples on a plates” at breakfast. The domestic scene becomes spontaneous arrangement of objects “ without rhetoic” and is completely left to the hands of real inhabitants. The “ Art of Inhabitation” continues to this day : based on the hypothesis that the separation between objects-contained and architecture-container will be more evident, architecture seeks neutrality of plan. However, it is not impossible to bridge this rupture between objects and architecture : Examplary strategies are : Auto- Construction “ without architects” but by inhabitants ; Architects’s Baukunst( art of building) from ready-made elements in industrial catalogs. The art of inhabitant influences the art of architect. Nevertheless, choice and arrangement must remain “ adventurous” beyond functional and aesthetic conventions

Los objetos sanitarios en Le Corbusier: la libertad dispositiva y la exposición radical en los años 20

El cuarto de baño considerado, todavía frecuentemente, estancia utilitaria, cotidiana y de menor interés, es –según Sigfried Giedion– la invención anónima más importante en la historia de la arquitectura, de la misma manera que los sanitarios en la civilización industrial. Entre los arquitectos modernos, Le Corbusier es el que mayor sensibilidad muestra con las cuestiones relacionadas con el cuarto de baño, explotando brillantemente las cualidades arquitectónicas posibles y potenciales de esta estancia. Centrándose en sus casas de los años 20, desde las casas Citrohan hasta la villa Savoye, la etapa purista, el artículo intenta analizar y mostrar el singular y evolutivo diseño de Le Corbusier con relación al cuarto de baño y a sus sanitarios

Phenomenological Consequences of Singlet Neutrinos

In this paper, we study the phenomenology of right-handed neutrino isosinglets. We consider the general situation where the neutrino masses are not necessarily given by $m_D^2/M$, where $m_D$ and $M$ are the Dirac and Majorana mass terms respectively. The consequent mixing between the light and heavy neutrinos is then not suppressed, and we treat it as an independent parameter in the analysis. It turns out that $\mu-e$ conversion is an important experiment in placing limits on the heavy mass scale ($M$) and the mixing. Mixings among light neutrinos are constrained by neutrinoless double beta decay, as well as by solar and atmospheric neutrino experiments. Detailed one-loop calculations for lepton number violating vertices are provided.Comment: Revtex file,TRI-PP-94-1,VPI-IHEP-94-1, 23 pages, a compressed for 8 figures is appende

Search for neutral MSSM Higgs bosons decaying to a pair of tau leptons in pp collisions

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Measurement of top quark–antiquark pair production in association with a W or Z boson in pp collisions at √s=8 TeV

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Searches for electroweak production of charginos, neutralinos, and sleptons decaying to leptons and W, Z, and Higgs bosons in pp collisions at 8 TeV

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Study of hadronic event-shape variables in multijet final states in pp collisions at √s=7 TeV

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Measurement of prompt J/ψ pair production in pp collisions at √s = 7 Tev

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Constraints on parton distribution functions and extraction of the strong coupling constant from the inclusive jet cross section in pp collisions at √s=7 TeV

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Measurement of the top-quark mass in tt¯ events with dilepton final states in pp collisions at √s = 7 TeV

Open Access: This article is distributed under the terms of the Creative Commons Attribution License.-- Chatrchyan, S. et al.The top-quark mass is measured in proton-proton collisions at s√=7 TeV using a data sample corresponding to an integrated luminosity of 5.0 fb−1 collected by the CMS experiment at the LHC. The measurement is performed in the dilepton decay channel tt¯→(ℓ+νℓb)(ℓ−ν¯¯ℓb¯), where ℓ=e,μ. Candidate top-quark decays are selected by requiring two leptons, at least two jets, and imbalance in transverse momentum. The mass is reconstructed with an analytical matrix weighting technique using distributions derived from simulated samples. Using a maximum-likelihood fit, the top-quark mass is determined to be 172.5±0.4 (stat.)±1.5 (syst.) GeV.Acknowledge support from BMWF and FWF (Austria); FNRS and FWO (Belgium); CNPq, CAPES, FAPERJ, and FAPESP (Brazil); MES (Bulgaria); CERN; CAS, MoST, and NSFC (China); COLCIENCIAS (Colombia); MSES (Croatia); RPF (Cyprus); MoER, SF0690030s09 and ERDF (Estonia); Academy of Finland, MEC, and HIP (Finland); CEA and CNRS/IN2P3 (France);BMBF, DFG, and HGF (Germany); GSRT (Greece); OTKA and NKTH (Hungary); DAE and DST (India); IPM (Iran); SFI (Ireland); INFN (Italy); NRF and WCU (Korea); LAS (Lithuania); CINVESTAV, CONACYT, SEP, and UASLP-FAI (Mexico); MSI (New Zealand); PAEC (Pakistan); MSHE and NSC (Poland); FCT (Portugal); JINR (Armenia, Belarus, Georgia, Ukraine, Uzbekistan); MON, RosAtom, RAS and RFBR (Russia); MSTD (Serbia); SEIDI and CPAN (Spain); Swiss Funding Agencies (Switzerland); NSC (Taipei); ThEP, IPST and NECTEC (Thailand); TUBITAK and TAEK (Turkey); NASU (Ukraine); STFC (United Kingdom); DOE and NSF (USA). Individuals have received support from the Marie-Curie program and the European Research Council (European Union); the Leventis Foundation; the A. P. Sloan Foundation; the Alexander von Humboldt Foundation; the Austrian Science Fund (FWF); the Belgian Federal Science Policy Office; the Fonds pour la Formation à la Recherche dans l’Industrie et dans l’Agriculture (FRIA-Belgium); the Agentschap voor Innovatie door Wetenschap en Technologie (IWTBelgium); the Ministry of Education, Youth and Sports (MEYS) of Czech Republic; the Council of Science and Industrial Research, India; the Compagnia di San Paolo (Torino); and the HOMING PLUS program of Foundation for Polish Science, cofinanced from European Union, Regional Development Fund.Peer Reviewe