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ARAU ACUSTICA web : www.arauacustica.com TECHNISCHE UND MENSCHLICHE PROFIL ARAU ACUSTICA ist das professionelle Akustikbüro von Dr. Higini Arau in Barcelona. Mit über 40 Jahren Erfahrung hat es sich spezialisiert auf die Bereiche Raumakustik, Bauakustik und Dammüng von Städt-, Industrie- und Straßenlärm. Es verfügt über ein multidisziplinäres Team deren Mitarbeiter an verschiedenen Universitäten für Technik, Physik, Architektur,…, studierten wo sie auch kurse in Akustik belegten, und in ARAU ACUSTICA weiter ausgebildet wurden. Es verfügt über die neusten Messinstrumente und Berechnungsprogramme auf dem Wissenschaftsgebiet Akustik und Vibration. Technische-Team: Jordi Oliver, Maria Jutglar, Joaquim Arau und Julián Álvarez. Codirektor und Koordinator: Oriol Arau. Direktor : Higini Arau. WISSENSCHAFTLICHES PROFIL CURRICULUM Higini Arau, Doktor in Physik mit Schwerpunkt Akustik an der Universität Barcelona, mit der Qualifikation "Excellente Cum Laude". GESELLSCHAFTEN, DENEN ER ANGEHÖRT - Er ist Mitglied der Sociedad Española de Acústica SEA (ist stimmberechtigtes Vorstandsmitglied und Mitglied des wissenschaftlichen Komitees)- Acoustical - Er ist Member site 2013 und assoziiertes Mittgleid site 1976 der Acoustical Society of America. - Er ist foreign member der National Council of Acoustical Consultants depui 2013. - Er ist Mitglied der European Acoustics Association EAA site 2000. LEHRTÄTIGKEIT Er ist externer Professor für den Master für Akustik an der Universität Ramón Llull (La Salle) in Barcelona, der Europea Universidad Madrid (UEM), der Navarra Universidad (UN), der International Catalunya Universität UIC etc. und gab regelmässig Meisterklassen an verschiedenen Universitäten und technischen Zentren in Spanien. FORSCHUNGS - UND DESIGNAUSZEICHNUNGEN - er erhielt den 2. Forschungspreis JUAN VIGON des Nationalen Instituts für Luft- und Raumfahrttechnik „Esteban Terradas“ (1980/1981). - Rehabitec-Preis 1996 des Metropol Theaters. - Architekturpreis FAD 2000. Lobende Erwähnung in Anerkennung seiner Mitarbeit an zahlreichen architektonischen Bauten in Spanien während der letzten Jahre. - Construmat-Preis 2001 des Instituto del Teatro. - Silberdiplom der Acoustical Society of America, ASA. - Diploma du Reconhecimiento der Sociedad Portuguesa de Acústica. - Auszeichnung gutes Bauen 2006 – 2010 der Tonhalle St. Gallen, Schweiz. WESENTLICHE WISSENSCHAFTLICHE VERÖFFENTLICHUNGEN 1. An improved Reverberation Formula (#)(1988). Acustica (Hirzel Verlag)Vol 65 nº4, 163-180. (Veure NOTA) (*) 2. Variation of the Reverberation Time of places of public assembly with audience size (1997). Building Acoustics, Volume 4 nº 2. 3. General theory of the energy relations in halls with asymmetrical absorption (1999). Building Acoustics vol 5 nº3. 4. Increasing the Acoustic Volume of Performance Spaces without Altering the Internal Dimensions. Acta Acustica united Acustica, Vol 98 (2012) 309-316. 5. The Refurbishment of Orchestra of Rehearsal Room of Great Theater of Liceu, Journal Building Acoustics, Vol 19, number 1, 2012. 6. The Refurbishment of Tonhalle St.Gallen. Journal Building Acoustics, Vol 19, number 3, 2012. Sound Pressure Levels in Rooms: A Study of Steady State Intensity, Total Sound Level, Reverberation Distance, New Discussion of Steady Intensity, and the other Experimental Formulae. Journal Building Acoustics, Vol 19, number 3, 2012. BUCHVERÖFFENTLICHUNGEN ABC de la acústica arquitectónica (1999). Editorial Ceac. ANMERKUNG: Diese wissenschaftliche Publikation wurde und wird nun in zahlreichen wissenschaftlichen Publikationen und Büchern höchsten Niveaus zitiert. Es ist eine Theorie zur akustischen Gestaltung und Durchführung von Master- und Doktorarbeiten, sowie in wissenschaftlichen Kursen in Universitäten der fünf Kontinente. In einigen holländischen und deutschen Publikationen, Nagalmtijd in ruimten met ongelijkmatig verdeelde absorptie, wird die Verwendung besagterTheorie empfohlen nach der Norm ISO 12354-6 Anhang D. VORSITZENDER UND GASTDOZENT Er war Vorsitzender und Co-Vorsitzender in vielen nationalen und internationalen Kongressen, sowie Gastdozent bei den meisten Kongressen seit 2000, darunter INTERNOISE, FIA, SEA, Acoustics Institute ICA und ISRA. 1 ARAU ACUSTICA web : www.arauacustica.com PROJEKTE VON AUFFÜHRUNGSSÄLEN: SINFONI- UND KAMMERMUSIKSÄLE • Konzerthalle L’Auditori in Barcelona. Arch.: R. Moneo. • Auditorium Millan Picazo of Algeciras. • Auditorium des Kongresszentrums El Baluarte in Navarra, Pamplona. Arch.: F. Mangado. • Konzerthalle Enric Granados in Lleida. Arch.: Artigues & Sanabria. • Konzerthalle Palau de la Música Catalana. Arch.: Tusquets, L. Clotet, I. Paricio. • Auditorium in Sant Cugat del Vallès. Arch.: Artigues - Sanabria. • Auditorium Fundación Amancio Ortega. Inditex. • Auditorium in Sant Julià de Lòria (Andorra). Arch.: J. Mº. Gutiérrez, P. Riera. • Auditorium Kursaal, San Sebastián. Arch.: R. Moneo. • Auditorium des Kongress- und Musikzentrums Euskalduna Jauregia, Bilbao. Arch.: F. Soriano, D. Palacios. • Auditorium Príncipe Felipe de Oviedo. Arch.: R. Beca de La Fuente. • Auditorium und weitere Räume des Wissenschaftsmuseums Cosmocaixa in Barcelona. Arch.: E.Terradas, R.Terradas. Auditorio Enric Granados de Lleida • Tonhalle Düsseldorf. • Auditorium “Metrònom” (mobile akustische Raumgestaltung). Arch.: J. Romano. • Auditoriumclaustre Sant Domenech. Arch: Tena-Lorenzo 850 Plätze • Auditorium Ciudad in León. Arch: L. Moreno Mansilla, E. Tuñón. • Auditorium Josep Carreras, Vilaseca. Arch.: P. Pérez. Sinfonie Konzertsaal • Auditorium Winterthur de La Illa, Barcelona. Arch.: R. Moneo. • Auditorium in Algeciras des Puerto Autónomo Estiba. Arch.: P. García. • Auditorium-Konservatorium in Palma de Mallorca. Arch.: J. Coll, J. Leclerc. • Kulturmehrzweckhalle in Salou. Arch.: J. Mª Ferran. • Theater-Auditorium in Granollers. Arch.: J. M. Botey. • Kulturzentrum Lo Casiné in Alcarrás. Arch.: J. Artigues, J. Solé, F. Solsona. • Auditorium des Gemeindezentrums in Tarancón. Arch. B. Cano. • Auditorium des Messegeländes in Torremolinos. Arch. A. Álvarez de Toledo. • Kongresszentrum und Auditorium EL Baluarte in Navarra. Arch.: F. Mangado. • Kongresszentrum und Auditorium Badajoz. Arch.: L. Cano – J. Selgas. • Kongresszentrum und Auditorium in Mérida. Arch.: Nieto Sobejano Arquitectos. • Casa de la Música in Oporto, Portugal. Akustischer Berater des Anwesens. 2001. • Auditorium in Palencia. Arch.: F. Mangado. • Auditorium des Kasinos in Locarno Kursaal/Ascona (Schweiz). Arch.: MAP Architects. • Auditorium in Guadalajara. Arch.: L. Rojo – A. Verdasco. • Auditorium des Kulturzentrums in Lejona. Arch.: Artigues – Sanabria. • Auditorium des Museums Reina Sofía. Arch.: J. Nouvel – A. Medem. • Auditorium Beiramar in Vigo. Arch: C. Portela – Idom. • Auditorium des Palau March der March-Stiftung, Mallorca. Arch.: A. Soler, S. Farriol. • Auditorium des Riojaforum. Arch.: J. M. Barrio – A. Sainz de Aja. Auditorio de Barcelona: "L'Auditori", 1999 • Auditorium Mº Joao Pires, Castelobranco, Arch: J. L. Mateo. • Auditorium Kongress- und Austellungszentrum Lienzo Norte, Ávila. Arch.: F. Mangado. 2340 plätze • Auditorium in Teulada - Moraira. Arch.: F. Mangado. • Kongresszentrum und Auditorium in Palma de Mallorca. Arch.: F. Mangado. Sinfonie Konzertsaal • Auditorium Augusta des Kongress- und Messezentrums in Tarragona. Adaption des Saales an einen Symhoniesaal • Auditorium Can Roig in Santa Coloma de Gramanet. Arch.: C. Llinàs. • Auditorium des Konservatoriums in Burgos. Arch.: J.C. Arnuncio. • Auditorium in Vilafranca. Arch.: Dilmé & Fabré Arquitectos. • Auditorium Konservatorium in Ávila. Arch.: P. González. • Auditorium Konservatorium in Soria. Arch.: Jové Arquitectos. • Auditorium Konservatorium in Segovia, Renovierung. Arch.: J. R. Jalvo. • Auditorium Konservatorium Liceu. Arch.: D. Freixes – Varis Arquitectos. • Auditorium Miguel Delibes, Valladolid. Arch.: R. Bofill. Encargo de la Junta de Castilla y León. • Auditorium in Málaga. Arch.: F. Soriano, A. Benedicto. • Auditorium und Gaudí-Saal der La Pedrera in Barcelona. Arch.: MBM Arquitectos. • Philharmonie in Szczecin, Polen. Arch.: Barozzi-Veiga. • Auditorium in Faro (Portugal). Arch.: Gonzalo Byrne - Sophie Matias. • Auditorium Molina in Segura (Murcia). Arch.: C. Bruguerolas. • Auditorium des Kulturzentrums und Konservatoriums Rambleta, Valencia. Arch.: C. Gradolí, A. Sanz. • Auditorium der Gemeinde in Terrasa. Arch.: Artigues & Sanabria. • Kongresszentrum und Auditorium in Albacete. Arch.:J.Frechilla-A.López Peláez. • Auditorium Barradas, Hospitalet Llobregat, barcelona. • Kongresszentrum und Auditorium El Batel, Cartagena. Arch.: L.Cano-J.Selgas • Auditorium des Kulturzentrums in Benidorm. Arch.: J.Navarro Baldeweg. • Auditorium Sala 4 Alícia de Garrocha, det Banda de l’Auditori de Barcelona. Arch.: R. Moneo Palau de la Música Catalana, Barcelona • Auditorium Sala 3 Tete Monoliu de l’auditori. Barcelona. Arch.: R. Moneo • Auditorium Sala BBK Bilbao. Arch.: Dani Freixes / Varis Arquitectes. • Auditorium des Hospital von Panamà. Arch.: Sánchez • Auditorium des Liceu francès in Barcelona. Arq. B. Jimeno • Auditorium des Kunstmuseum von la Universitat de Navarra. Pamplona 2 • Auditorium des Area Metropolitana de Barcelona. Arch.: M. Salvador. ARAU ACUSTICA web : www.arauacustica.com • Tonhalle St. Gallen, Schweiz. Arch.: Boshard-Vaquer. • Auditorium des Kulturzentrums in Arousa Inseln, Pontevedra. Arch.: M. Gallego. • Auditorium in Ourense. Arch.: M.Gallego. • Auditorium in Torre Agbar, Barcelona. Arch: J. Nouvel et b720. • Kongresszentrum und Auditorium Lienzo Norte,
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    _________________________________________________________________________________ Spanish Program BARCELONA AND MODERNISM (Taught in English) Total number of hours: 30 h I. COURSE CHARACTERISTICS: The Barcelona and Modernism module is a multidisciplinary course which offers students the possibility to come into contact with Spanish language and culture through art and the history of Catalan Modernism. The module encourages students to discover and view Barcelona as an open-air museum in which glass, mosaics and buildings allow them to reconstruct one of the city's most important historical periods. The module integrates Spanish language study with a range of aspect of modernist (architecture, sculpture, painting, decorative arts, literature and music). The course is complemented with guided tours of some of Barcelona's most emblematic landmarks. II. PRE-REQUISITES: None (taught in English) III. METHODOLOGY: In both its objectives and methodology, the course is highly communicative in its focus. This means that learning outcomes are set through capacity for language use and that course content is derived directly from the objectives established. The methodology is based on the practical use of Spanish with appropriate reflection to help in the assimilation of the language. IV. EVALUATION SYSTEM: The final grade for the course is distributed in the following way. Oral presentation (10%) CONTINUOUS ASSESSMENT Work done outside class (20%) 60% Progress test (20%) Participation, effort and commitment throughout the course (10%) FINAL EXAM 40% V. GRADING AND CLASSIFICATION SCHEME: In assessed pieces of work and the final exam, the following grading and classification scheme will be used: Final course grade: 60% continuous assessment + 40% final exam Quantitative grade Qualitative grade The student will fail in any of the following cases: a) When they obtain a result of less than 5 out of 10 for the final course grade.
  • Petició Ciutadana Per a La Memòria Històrica I La Senyalització Dels Barris De Barraques De Barcelona

    Petició Ciutadana Per a La Memòria Històrica I La Senyalització Dels Barris De Barraques De Barcelona

    Petició ciutadana per a la memòria històrica i la senyalització dels barris de barraques de Barcelona Antecedents Els últims grans nuclis de barraques de Barcelona es van enderrocar poc abans dels Jocs Olímpics. La ciutat girava full a un episodi de la seva història que havia durat un segle. El rastre dels llocs on hi havia les barraques s'ha esborrat. On hi havia Can Valero i altres nuclis de barraques de Montjuïc, hi ha el Palau Sant Jordi i el Jardí Botànic. On hi havia el Camp de la Bota hi ha el Fòrum. A la zona que ocupava el gran barri del Somorrostro hi ha el Port Olímpic i les platges de la Barceloneta i de la Nova Icària. On hi havia la Perona hi ha el parc de Sant Martí i s‟hi construeix la nova estació de l‟AVE de la Sagrera. Només en alguns indrets del Carmel i al turó de la Rovira hi queden vestigis de les barraques. Però la memòria no ha desaparegut en els milers de persones que van viure aquella realitat, en alguns casos durant molts anys. Ells i els seus familiars, habitants dels nous barris de la ciutat, són una part important de la ciutadania de Barcelona. Alguns han preferit oblidar uns anys difícils, però per molts aquella experiència forma part de la seva vida i també de la vida de la ciutat. Creuen que no s'ha d'oblidar el passat. Del juliol del 2008 a l‟abril del 2009, el Museu d‟Història de Barcelona va presentar l‟exposició “Barraques.