Abstract: “How can we say that a river is a thing when its constitutive elements, water molecules, keep changing and will be found here, elsewhere in the river…We should see ourselves not as things, perhaps, but as processes. The common-sense definition of individuals as things, and even of things in general, seems, after all, to be illusory, the result of a naïve perception of the world.” (Hillier, 2007). This research is developed from the premise that urban rivers are ecological structures that distinguish a territory, accentuating the socio-spatial differentiation of river cities along their continuum. Therefore, this study aims to describe the relationship between urban rivers and the morphological inequality at their edges. By inequality, this study refers to the spatial distribution of resources and opportunities for accessibility to them in relation to the population in a territory. It also measures the degree of spatial division and separation communities have among themselves to strengthen their sociocultural fabric. Some of these communities are segregated from urban centres’ social and active integration, which may be associated with spatial aspects that accentuate a poor integration with the social structure. Explosive population growth, the concentration of poverty, unemployment, forced displacement, and limited opportunities for access to educational and cultural recreational facilities and public space are some of the consequences of this socio-spatial segregation evident in communities around the world and constituting significant targets of the global urban agenda. For river cities, it is commonly associated that the dividing structure of rivers highlights such socio-spatial consequences. In many cases, due to accessibility of public services and resources across the length of this natural structure or even to the unplanned extension of the urban grid at scoping the river edges. Therefore, the result of such socio-spatial differentiation can be described in this study as spatial inequality in urban rivers, as it relates the physical aspect of rivers to the unequal social configuration along them. That is, how rivers as natural structures allow reading societies’ evolution and development processes in their territories. In order to address the term spatial inequality, this study attempts to distinguish between unequal and inequitable urban spaces. The former refers to the spatial morphological differences of the urban space and what it can offer within its physical-spatial and social possibilities. The second seeks to balance social needs by understanding its spatial morphological differences and physicalspatial conditions. Under this theoretical basis, this study sets out first to describe the spatial syntactic characteristics that comprise urban rivers. Secondly, to articulate the socioeconomic characteristics mapped within the urban rivers’ riparian area. This is in order to obtain a socio-spatial coding of inequality in urban rivers. Accordingly, the goal of this dissertation is first to open a critical query about the strength of urban river inequalities, as well as to display a socio-spatial configurational analysis of urban rivers that can enlighten the unequal diversification that these networks provide to the city. The findings of this study aim to frame morphological differences in urban rivers as the natural process of societies’ movement along them and comprehend that by strengthening differences and diversity, it is possible to approach more socially and spatially equitable cities.

Abstract: The mountain and inland areas of the Italian peninsula offer forms of rural life deeply rooted in their topographic conformation. At the same time, today they are characterized by dynamics of strong marginalization, processes established starting from the economic boom after the Second World War, and which have not yet been reversed. The Tuscan-Emilian Apennines, and the specific case of Monte Cimone, are structured through a constellation of towns, villages, small hamlets, and borgate which for centuries have constituted their social-cultural, regional, and national backbone. The Apennines today would not exist, or they would remain a mere memory if the horizontal connections present between the plain and the mountain belt were missing. The underlying question during the entire research was: in these fragile contexts, what can and what should be the role of landscape architecture? And how can the physical design of a place be the means for the consolidation of sociocultural and economic dynamics capable of bringing out positive and sustainable development trends? In this sense, the thesis path tries to configure plausible possibilities in which communities support the landscape, and at the same time how the landscape can support the communities. The structure of the thesis brings out how it was developed. The composition started with the chapter Fragile Mountains, which includes the literature studied to support the research. Continuing, there is the Cartographic framework, which consists of the graphic designs developed for understanding the area under study and refers to the numerous site visits carried out over the last year through the construction of a photographic atlas. Then, the project definition of Communities supporting Landscape is developed, which contains the explanation of the project proposal defined through two pilot projects: Socio-Cultural Infrastructures and Re-Inhabited Heritage. Through the recognition and enhancement of the existing, the thesis project elaborates on the basic conditions for the consolidation of the habitability and infrastructure of the landscape of Monte Cimone. A research approach based on sustainable territorial regeneration is recognized. The developed scenario makes specific reference to the cooperative mountain community, a place for socio-cultural innovations. The intentions declared in the pilot projects answer in terms of the offer of services and new job opportunities. The strategies and motivations materialize in a punctual landscape project. The work carried out wants to be perceived as a starting point, research capable of generating indirect positive effects, both in the academic panorama and on the reference mountain communities.

Architecture and Urban planning have traditionally been viewed through an adult-centric lens, focusing on adult-scale and experience. However, this approach ignores the valuable insights and perspectives that children can bring to the transformation of our cities. Assemble story began from the desire to make children active participants of society´s transformation and its platform is an instrument to realize it. This is a sample of the process and results in 10 workshops (fall 2022), the collective carried out in Berlin with children between 9-14 years old.

Architecture in a City Without Architects is the dissertation thesis for the Master in Sustainable and Resilient Architecture, in the framework on continuity and identity, which aims to cooperate with Nepal’s government in the reconstruction process after the devastating earthquakes of 2015 that affected that country. Focusing in Kathmandu’s city since it is the most populated and the most affected by the temblor as well as urban issues, this document presents an analysis with the main goal is to understand the current life’s conditions of this city; economical limitations, social concerns, isolated location and indochinese mentality. Therefore, a better approach to local perspective is achieved, questioning some paradigms from western mind. Translating this research to architectural and urban matters the investigation focuses on the accelerated and unplanified densification that affects the city specially in the center where oldest and more traditional neighbourhoods are located. And, the possible role of architecture on a system grounded in self-construction and non-regulations, out of reach of local authorities. Finally the understanding in consideration with architectural potential is apply to a specific case generating a proposal that aims to advocate for incorporate self -construction as economical support in order to add technical expertise that contribute in problems such as supplies lack, city’s ventilation, and gentrification. The specific strategy is the incorporation of high technology applied by bottom-up methods in order to get a passive system of oxygenation that use the current typology of narrow courtyards forced by the densification.

Este trabajo establece un marco de referencia a partir de la relación entre la idea de Naturaleza y Arquitectura en la obra de Le Corbusier, a través del análisis de su obra arquitectónica y pictórica. Esto se construye a la luz de sus textos y la experiencia del pasado, capturado a partir de sus viajes. Esta investigación se enfoca especialmente, en la compleja similitud que existe entre un texto como Après le Cubisme de 1918 y Le Poème de l´Angle Droit de1955. El trabajo presenta 3 etapas: Formulación y revisión crítica del concepto de naturaleza tanto en los textos de Le Corbusier, así como en su obra pictórica y arquitectónica. Esta revisión crítica parte de sus ideales planteados desde 1918 y desarrollados en su etapa purista durante los años veinte, donde la incidencia de su visita al Partenón durante su Viaje a Oriente (1911) es fundamental, en la formulación de sus postulados ante la relación del arte y la arquitectura con el concepto de naturaleza. La segunda etapa es el análisis e interpretación de Le Poème de l´Angle Droit de1955. Obra que da cuenta de la reflexión sobre su propia experiencia de vida, en la que se reafirman naturaleza e historia como elementos esenciales del pensamiento proyectual de Le Corbusier. La tercera parte del trabajo, establece de forma sintética, la relación entre la experiencia frente a la arquitectura clásica, teniendo como eje principal su mirada sobre el Partenón, y la arquitectura moderna, tomando como referencia su Notre-Dame du Haut en Ronchamp, a la luz de una obra como Le Poème de l´Angle Droit. Como dice Le Corbusier: “Ser moderno no es una moda, es un estado. Hace falta comprender la historia, y quien comprende la historia sabe encontrar la continuidad entre lo que fue, lo que es y lo que será.” Abstract: This study establishes a framework construed on the relationship between the idea of Nature and Architecture in Le Corbusier’s work through the analysis of his architecture and plastic work. This is complemented by the analysis of his writings and the experience of the past, captured in his travels. This research focuses on the complex similarities between a book such as Après le Cubisme of 1918 and Le Poème de l´Angle Droit of 1955. This study is organized in three parts: A critical review of the concept of Nature both in Le Corbusier’s texts, as well as in his plastic and architectural work. This critical review starts with the study of his ideals, raised up since 1918 and developed in his Purist period during the twenties, where the influence of his visit to the Parthenon during his Voyage d’orient (1911), is a fundamental key on the formulation of his postulates on the relationship between Art and Architecture, with the concept of nature. The second part is an analytical interpretation of his book Le Poème de l´Angle Droit of 1955. This book accounts the reflection on his own life experience, in which nature and history are reaffirmed as essential elements of projective thinking. The third part, enlightened by a book as Le Poème de l´Angle Droit, establishes the relationship between his knwolegde of architecture of the classical period, with the Parthenon as his main reference, and modern architecture, with the reference of his project of the chapel of Notre-Dame du Haut in Ronchamp.

Le Poème de l’angle droit es un livre de peintre, realizado por Le Corbusier entre 1947 y 1953, y publicado en París en 1955, como parte de la colección Grands livres manuscrits et illustrés par les artistes producida por Tériade Éditeur. Esta tesis busca demostrar que este libro es una obra-manifiesto de su arquitectura en la que, mediante el diálogo recíproco entre poeta y pintor, plasma los principios que establecen la relación entre su obra pictórica y arquitectónica. En este diálogo es posible reconocer tres principios: el proceso de investigación paciente, el trabajo paralelo entre oficios y la búsqueda de la unidad. La importancia de estudiar esta obra está determinada por el valor que Le Corbusier mismo le otorga, al señalar que en él condensa la prolífica y extensa exploración que desarrolla entorno a la arquitectura y, así mismo, sintetiza dicha experiencia mediante el uso mesurado de imágenes y textos capaces de producir sucesivas interpretaciones, en torno a la compleja relación reunida bajo un breve enunciado: el ángulo recto. Salvo recientes reediciones, la obra original aún reclama mayor estudio. En profundidad, es posible reconocer el complejo entramado de dibujos y pinturas, que –de modo análogo a un proyecto arquitectónico, permiten evidenciar los diversos senderos que lo configuran y los trazos que establecen puntos de referencia en la inmensidad de la constelación que constituye la obra de Le Corbusier. En otras palabras, el estudio de este texto fundamenta esta tesis, no como un complicado ejercicio criptográfico, sino que es necesario leerlo como un proyecto mismo, con las consecuentes decisiones proyectuales. Es necesario subrayar que la obra de Le Corbusier no establece límites disciplinares, ni rupturas de orden temporal, no hay que olvidar que su arquitectura proviene del estudio del pasado y del presente, para abrir camino a la experiencia del futuro. Por lo anterior, el proceso de investigación inicia con el análisis del objeto de estudio en cuestión: el poema. Es un proceso que indaga desde lo particular hacia lo universal y en el cual, la unidad es descompuesta en partes como la escena de un crimen para ser analizada científicamente, para luego recomponerla. Tres preguntas generales determinan la estructura de la tesis: el qué, el cómo y el para qué. El qué corresponde al objeto de estudio y el contexto histórico y teórico que rodean su realización. Es un livre de peintre realizado y publicado durante la posguerra de la segunda Guerra Mundial. Es un periodo en el que las discusiones sobre el arte, la arquitectura y la ciudad están determinadas por el concepto de síntesis de las artes y el espíritu de la reconstrucción. El cómo corresponde al proceso que constituye la realización y las decisiones proyectuales, las cuales determinan la construcción conceptual y material de la obra. Es el proceso en el que las ideas son materializadas en dibujos, textos preparatorios y maquetas. La reconstrucción del proceso de materialización permite verificar cómo la obra de Le Corbusier está fundamentada en la idea de una investigación paciente, en la que sus investigaciones son recogidas, sintetizadas y reelaboradas, en la medida en la que se enfrenta a la realización de un nuevo proyecto. En este proceso es posible demostrar que cada uno de los temas que componen Le Poème de l’angle droit son el resultado de investigaciones previas. El para qué, constituye la razón de ser de este libro e investigación. Es la búsqueda del propósito y de su aplicación. Le Poème de l’angle droit está estructurado y ordenado de forma sistemática, el cual revela principios puntuales que a la vez son parte de una verdad mayor: la búsqueda de la unidad y una estructura de acciones que permitan la generación de la emoción arquitectónica a través de la obra; es decir, una emoción poética. Abstract: Le Poème de l’angle droit is a livre de peintre, carried out by Le Corbusier, between 1947 and 1953 and published in Paris in 1955, as part of the collection named Grands livres manuscrits et illustrés par les artistes produced by Táriade Éditeur. The purpose of this thesis is to demonstrate that this book is a manifesto of his architecture, by which he expresses, through a reciprocal dialogue between poetry and painting, the principles that establish the relationship between his pictorial work and his architecture. There are three principles that can be identifying in this reciprocal dialogue: the processes of “recherche patient”, the parallel creations in his different craftworks and the search for unity. The importance of studying this book is determined by the value given by Le Corbusier, when he states that in it, he condenses his prolific and extensive research in architecture, and he synthesizes such experience through a moderate use of images and texts that gathered together can produce consecutive interpretations around the complex relationship brought together in a brief principle: the right angle. Except for recent re-editions, the original art book still claims greater study. In-depth, it is possible to identify the complex network of drawings and paintings that, analogously to an architectural project, evidences the diverse paths and the traces that establish points of reference in the big picture of the constellation that Le Corbusier’s work embodies. In other words, the analysis of this book is the fundament of this thesis, not as a complex cryptographic exercise, but as to be read as an architectural project itself, with the consequent projecting decisions. It must be underlined that Le Corbusier’s work does not establishes disciplinary limits or ruptures in time. It is fundamental to remember that his architecture comes from the study of the past and present, to give way to future experience. Therefore, the research process of this thesis begins with the analysis of the object to be studied: The Poem. It is an inquiry process that goes from the particular to the universal, and in which the unit is decomposed into parts as a crime scene, to be analyzed scientifically, and to be recomposed afterwards. The structure this thesis is determined by three general questions: What, How and What for? (What?), corresponds to the object to be studied and the historical and theoretical context in which it was produced. It is a livre de peintre made and published during the postwar of World War Two. It is a period of time in which the discussions about art, architecture and city planning were determined by the concept of synthesis of the arts and the spirit of the reconstruction. (How?), corresponds to the process of “the making” and the creative decisions which establish the conceptual and the material construction of the work. It is the process in which the ideas are materialized in preparatory drawings, texts and models. Reconstructing the making process allows to verify how Le Corbusier’s work is founded on the idea of a patient research, in which his investigations are gathered, synthetized and re-elaborated every time he faces a new project. In this process, it can be evidenced that each one of the themes compiled in Le Poème de l’angle droit, are the result of previous investigations. (What for?), is the underlying reason for this research and the book. It is the search for its purpose and its application. Le Poème de l’angle droit is structured in a systemic ordered in which it reveals specific principles which are in turn, part of a greater truth: the search for unity and a structure of actions that allow an architectural emotion throughout the work: meaning, a poetic emotion.

The Green and Blue Network (GBN), also known as Green Infrastructure (GI) or Ecological Main Structure, is a strategically planned network of natural and semi-natural areas (including terrestrial and aquatic ecosystems) that have location, extension, connections, health condition and multiple functions; designed and managed to provide a wide range of ecosystem services (ES) in urban and rural settings. The Metropolitan Area of Lyon, France and the Region of Hanover, Germany have both integrated the GBN in their planning documents and are currently in the phase of implementation. The comparison of these case studies shows that GBN, along with a territorial governance scheme, gives higher importance to biodiversity and nature conservation in a development strategy and moves planning discussions towards climate change adaptation and mitigation using nature. However, results of implementation so far, in terms of protection level and functionalities are not enough to guarantee sustainable development. Likewise, climate change, an important threat to our ecosystems, is not yet clearly adopted in the planning documents, nor in the planners’ discourse. The reasons are found in the design and implementation steps where the concepts of ES, landscape functions and principles of GI play a key role. All in all, this paper provides lessons to encourage and guide GBN implementation by planners worldwide. La Red Verde y Azul (GBN), también conocida como Infraestructura Verde (GI) o Estructura Principal Ecológica, es una red planificada estratégicamente de áreas naturales y seminaturales (incluidos los ecosistemas terrestres y acuáticos) que tienen ubicación, extensión, conexiones, salud condición y múltiples funciones; diseñado y gestionado para proporcionar una amplia gama de servicios ecosistémicos (ES) en entornos urbanos y rurales. El Área Metropolitana de Lyon, Francia y la Región de Hannover, Alemania, han integrado la GBN en sus documentos de planificación y actualmente se encuentran en la fase de implementación. La comparación de estos estudios de caso muestra que GBN, junto con un esquema de gobernanza territorial, otorga mayor importancia a la biodiversidad y la conservación de la naturaleza en una estrategia de desarrollo y mueve las discusiones de planificación hacia la adaptación y mitigación del cambio climático utilizando la naturaleza. Sin embargo, los resultados de la implementación hasta el momento, en términos de nivel de protección y funcionalidades, no son suficientes para garantizar el desarrollo sostenible. Asimismo, el cambio climático, una amenaza importante para nuestros ecosistemas, aún no se adopta claramente en los documentos de planificación ni en el discurso de los planificadores. Las razones se encuentran en los pasos de diseño e implementación donde los conceptos de ES, funciones de paisaje y principios de IG desempeñan un papel clave. En general, este documento proporciona lecciones para alentar y guiar la implementación de GBN por parte de planificadores de todo el mundo.

The inspiration behind this dissertation research derives from a simple, yet complex question, what makes the materiality of the computer screen you are reading this text different from the nearest wall or window you can look at? Is it the material? its connectivity? The size, or its volume? Are the sole attributes granted to a computer screen, a tablet, cell phone screen or any mobile and digital device that enable you to read this text, any different from to the plaster, paint, or any other material that surrounds you? The application of new technologies has been slow and underdeveloped in construction. In simple terms, building elements and materials have been considered as raw material or a tradeable commodity, but their potential to comprise Facts and statistics collected together for reference or analysis is still unexplored, and it’s their data emitting potential what will ultimately make them more valuable. Advances on the internet have enabled the invention of a IoT connected technologies, all of which have evolved thanks to the miniaturisation of devices, but these have not been included in the built components of construction. The Covid-19 Pandemic has placed a great burden over the way in which buildings are occupied, operated and maintained, but crisis provide opportunities, and the global problem seemed to evidence the profound obsolescence and fragility of our built infrastructure and is in the light of this events that could be a turning point for the adoption and development of these technological solutions. This dissertation will revise the existent literature review, extract the clues for the elements and frameworks from the studied authors who used IoT solutions and applications and from that knowledge, conduct a survey to obtain responses and explore in what ways, to apply these parameters as a set of problems or challenges, which will need to be assessed, in the reopening of office facilities and venues to mitigate the impact of Covid-19.

Antarctic Press is proud to present an artwork showcase of one of the most amazing comic book artists of our time: Joseph Wight. One of the very first (if not THE first) artist to do painted art in Photoshop (Shotgun Mary, 1995), Joe's gorgeous rendering (color and grayscale), narrative timing (comic, dramatic, and horror) and near-fanatical precision in rendering machines (real and fictional) on land and sea and air have graced titles for numerous companies since 1989. From Twilight X to Nazi Zombies, from Star Wars: The Manga to First Moon, Joe's work has garnered him international praise from peers and fans alike, earning him a signing trip to Europe, limited print commissions for military groups, and more. Now the man Adam Warren calls the "Photoshop Monster", has assembled a choice selection of his art pieces, presented in FULL COLOR. This will make a proud addition for any collector of fine art or fan of military, zombies, humor, action, gorgeous women, jaw-dropping scenery...well, you get the idea.

From his humble beginnings in Spain, Luis Garcia became one of the brightest stars to illustrate comics around the world. He catapulted to worldwide fame when he began illustrating for Warren's Creepy, Eerie, and Vampirella before becoming a pioneering publisher and graphic novelist on his own. Follow his artistic growth from romance artist to romance model, from storyteller to existential explorer, from publisher to portrait painter. For the first time ever, Garcia's astounding work is explored, often in the artist's own words, in this career-spanning work. Three of his strips have been translated into English for the first time giving you fresh insights into one of the most atmospheric, dynamic artists of the 20th Century.