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Las casas denominadas ‘a la malicia’, de tercia, o de difícil repartición, se construyeron en los arrabales de Madrid hasta su prohibición (1556-1788). Se consideraban bajas, feas y desproporcionadas quedando, por ello, exentas del aposento material. Sin embargo, la ausencia de trazas originales y las indefinidas reformas posteriores cuestionan el enigma gráfico de su ‘inconveniente proporción’. Esta investigación conecta los parámetros gráficos descubiertos con la construcción escondida en dibujos, ordenanzas y legajos antiguos. Analiza primero los expedientes conservados (1602- 1788); interpreta las trazas disimuladas en los grabados de Mancelli (1622-32) y Texeira (1656); y comprueba el ritmo, orden y simetría inherentes a los alzados neoclásicos documentados. Discute después la hipótesis de alzado original desproporcionado, confrontándola con la normativa exigida en las reformas posteriores: ‘levantar, extender y aumentar hasta la conveniente proporción’ (1788). Finalmente, resuelve la apariencia exterior ‘a la malicia’ compatible con alzados engañosos con huecos desordenados, forjados escondidos y parámetros desiguales.

The houses named 'a la malicia', 'de tercia', or of complex distribution, were built in Madrid's historic centre outskirts until their prohibition (1556-1788). They were considered inadequate, ugly, and lacking proportion and were therefore exempt from royal accommodation. However, the lack of original records and the subsequent indefinite reforms question the graphic enigma of their 'inconvenient proportion'. This research connects the old graphic parameters raised with the construction discovered in drawings, ordinances, and archives. It first analyses the preserved files (1602-1788), interprets the hidden lines in Mancelli's (1622-32) and Texeira's (1656) drawings, and determines the rhythm, hierarchy, and symmetry of the later neoclassical projects. Then, it presents the insufficient original elevation in contrast with the building laws required later: 'to raise, extend and increase to the appropriate proportion' (1788). Finally, it determines the tricky drawings and outlines the facade: disordered openings, hidden floors, and the disparity of its graphic parameters. [ABSTRACT FROM AUTHOR]

The açaí (Euterpe oleracea Mart.) has an ethno-variety white characterized by the absence of anthocyanin in its epicarp, differing from violet açai. White ethno-variety is under strong anthropic pressure, which can lead to genetic erosion. Studies with white açaí that allow the selection of possible cultivars to stimulate their cultivation are scarce. Therefore, this work aimed to verify which characteristics best discriminate selected progenies of white açaí. The experiment contains 52 progenies installed, in a completely randomized design, with ten replications of one plant per plot in a lowland area belonging to Embrapa Amazônia Oriental. The characteristics evaluated were total bunch weight (PTC) in kilogram; fruit weight per bunch (PFC) in kilogram; fruit yield per bunch (RFC) in %; one hundred fruit weight (PCF) in grams; rachillas number per bunch (NRC); and rachilla length in the bunch (CRC), in centimeter. The conclusions are that there exists a correlation between the characteristics in different intensities through multivariate analysis; the Box Plot indicates that the plants respond to the annual water quantity specifically in the characteristics PTC, CRC, and PFC; for the ADC, the characteristics with the greatest contribution to the variance are PTC, CRC and PFC, being similar for the ACP mainly in the PTC and PFC characteristics; by the canonical Biplot the characteristics PTC, PFC, CRC and NRC are preferentially evaluated, discarding RFC and PCF, reducing the effort to be effective. [ABSTRACT FROM AUTHOR]

En este artículo se plantea la necesidad de incorporar el análisis gráfico de la evolución de los entornos urbanos al estudio de las edificaciones, abarcando en ocasiones periodos temporales muy alejados del momento de su construcción. El conocimiento de las condiciones urbanas heredadas facilita información relevante no solo para definir la relación entre el espacio público y el construido, también para comprender la configuración original de los edificios y de sus transformaciones posteriores. Como muestra analizo gráficamente y de forma conjunta tanto los edificios de la Audiencia Real y de la Cárcel Real de Sevilla como la evolución de su emplazamiento común, confirmando que la estructura base de las dos edificaciones, con un espacio libre central y una pequeña construcción dando a la vía pública, tiene su origen en la evolución previa del tejido urbano en el que se insertaron.

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This article discusses the need to incorporate the graphic analysis of the evolution of urban environments into the study of buildings, sometimes covering periods of time far removed from the time of their construction. Knowledge of inherited urban conditions provides relevant information not only to define the relationship between public and built space, but also to understand the original configuration of buildings and their subsequent transformations. As an example, I analyse graphically and jointly both the buildings of the Royal Court and the Royal Prison of Seville and the evolution of their common location, confirming that the basic structure of the two buildings, with a central free space and a small construction facing the public thoroughfare, has its origin in the previous evolution of the urban fabric in which they were inserted. [ABSTRACT FROM AUTHOR]

Copyright of Revista Gestão & Tecnologia is the property of Revista Gestao & Tecnologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)