Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This academic essay presents to readers a proposal for a curricular innovation in university formation in dance, based on the systematization of artistic creation experiences and university training processes, with the possibility of impacting on the specialized field of contemporary dance, as well as in the visibility of the contribution of this artistic-scenic discipline to the social and cultural development of the country. This essay begins with the configuration of the concept of systematization of experiences, in a multidimensional way, the relationships between the current dynamics of contemporary art with innovation in the curriculum and university teaching, in the field of professional training in contemporary dance. In addition, the ethical imperative of decolonizing knowledge in the art of dance, from the university academy, based on the reflexive praxis of practical knowledge of dance art and its teaching / learning, from a critical perspective of research in, from and for contemporary dance. To conclude with proposals for the systematization of university professional training and artistic creation experiences that impact in the specialized field of dance, in Costa Rican society and the construction of cooperation and art development networks, at national and global level.  

  Abstract This article reflects on the feelings of girls and boys in fifth and sixth grade, from the school Bernardo Soto Alfaro (Alajuela) and the mixed School of San Juan (San José), about their experience in playful workshops for the peaceful resolution of conflicts and fellowship taught by the CONARE Creative Playful Subcommittee in 2019. Through fun and creative methodologies, imagination, tenderness, hope and spontaneity are fostered to generate learning environments for living together and self-transcendence.   Keywords: Playful, creativity, childhood, self-transcendence, coexistence.

This article analyses the perception of first-year students of the National Technological University (UTN) on learning soft skills capacities in the Metacognitive Module of the Introductory Cycle 2018. The implementation of this module, focused in the development of soft skills, is a unique experience in the country and in the region, which is the reason why it is relevant to establish an idea of the student’s perception in this field and their dominance of the matter. The study had a mix approach, an exploratory scope and used a digital survey apply with a convenience sample. Of the total of students (3360), 1532 were informant participants in the implementation of the survey with 1014 responses in the tracing. The results show that the first-year students of the UTN perceive positively the learning experience of the Module, improvements in their mastery of soft skills and relevance in their transition to university life, as well as establishing possibilities for improvement in the learning of specific competences and the process of transition to career courses.

La obra Structural Equation Modelingwith Amos (SEM) es unaproducción del año 2016 realizadapor Barbara M. Byrne, profesoraemérita de la escuela de sicologíade University of Ottawa, Canadá.Esta producción académica tienecomo propósito mostrar cómo crearmodelos de investigación cuantitativosy realizar pruebas de hipótesis,simultáneamente, con el aprovechamientode las bondades que ofreceel uso de las técnicas de ecuacionesestructurales. La popularidad y aceptacióndel uso de modelos con ecuacionesestructurales en las cienciassociales se debe a su capacidad paraimputar relaciones entre constructosno observados (variables latentes) apartir de variables que sí son observables

In this case study, an analysis was made about the technical conditions that Costa Rica must meet for the transport electrification. The country meets many of these requirements, renewable electricity generation, electric transport policies and plans, interested utilities and other positive factors. However, the main current problems like, the dependence on fossil fuel, the challenges to overcome in order to achieve the correct transition, the effect on the National Electric System, distribution of fast-charging stations and the integration of electric vehicles into smart grids will be studied.

This document presents the design of an energy management model based on the INTE / ISO 50001 (2018) standard for a wheat flour manufacturing industry. The development of an energy management model, which has an important momentum in the national situation, seeks to improve the energy efficiency of production processes as well as to provide information required, by management, for the establishment of guidelines related to Energy management.

This document summarizes the development of an energy management system based on the ISO 50001:2018 standard, for the main plant of a canned seafood company. The process is described from the initial stage where detail the background, the problem, the theory, and other aspects, then is describe and characterize what is an energy management system (EnMS) (ISO, 2018). and finally develops a proposal of the management system for the company under study. Where the implementation of the EnMS predicts a reduction in the annual turnover of 7.48 % that represents annual benefits of USD 175,137.09 for this case.

The rector of the National Technical University, Dr. Emmanuel González Alvarado, explains about the Revolution 4.0 and the relationship with the educational model: " (...) One of the elements that distinguishes and generates competitive advantage to the UTN is evident in the law of creation, regarding the formation of graduates as a lateral exit of all its academic offerings, which prepares you in the know-how, in such a way that it introduces you to the world of work. Based on the above, the UTN should assume leadership in the coordination and articulation of Costa Rican technical education. Likewise, the link with the productive sector, as a fundamental axis to be able to respond to the needs of the Revolution 4.0 (...)".

Este trabajo consiste en la compilación, documentación y descripción de los cascarones de concreto armado en forma de paraboloide hiperbólico que, como concepción estética y estructural, son una parte importante de la expresión arquitectónica del siglo XX ecuatoriano.De los años 30 a los 50, con las obras y contribuciones de Karl Kohn, Otto Glass, Francesco Maccaferri, Giovanni Rota, Guillermo Cubillo, Oscar Etwanick, Guillermo Jones Odriozola, Gilberto Gatto Sobral, Sixto Durán Ballén y Jaime Dávalos, arriba la práctica de la arquitectura moderna al Ecuador con inspiración de la Bauhaus, del racionalismo y del Estilo Internacional.La llegada de la modernidad encontró un óptimo escaparate en la undécima Conferencia Latinoamericana de Cancilleres de 1959, aunque esta no llegó a celebrarse. Para esta se iniciaron y adelantaron importantes obras, algunas de las cuales se componían formalmente por cascarones delgados de hormigón armado. Como antecedente, la obra del arquitecto español Félix Candela realizada durante su exilio mexicano, fácilmente identificable por sus cascarones de doble curvatura, se hizo ampliamente conocida en todo el mundo. Los hypars de Candela fueron emulados en toda Latinoamérica, incluso en Ecuador, y se convirtieron en insignias de la identidad moderna.El Hotel Quito fue una de las obras encargadas para la conferencia de cancilleres. Su diseñador fue el arquitecto estadounidense Charles Forster McKirahan, quien trajo consigo el estilo denominado MiMo o Miami Modern, un estilo caracterizado en parte por el uso del paraboloide hiperbólico, tal como aquel que se encuentra al ingreso del hotel.Los arquitectos Milton Barragán, Agustín Patiño, Mario Arias y Oswaldo Muñoz Mariño en Quito; René Denis, Alamiro González, Xavier Quevedo y René Bravo en Guayaquil; y los ingenieros Luis Monsalve en Cuenca y Juan González en Coca y Esmeraldas, diseñaron hypars para casas, gasolineras, espacios deportivos, culturales, institucionales, educativos, industriales, para el culto e incluso complejos militares. En los años 80, en dos recintos militares ecuatorianos hubo dos réplicas del cascarón que cubre el célebre Restaurante Los Manantiales en Xochimilco—México, del maestro Félix Candela. La primera de ellas se halla en El Coca, en la Amazonía ecuatoriana; la segunda solía estar en Esmeraldas, pero desapareció.Palabras clave: Paraboloide hiperbólico, hypar, cascarón de hormigón armado, arquitectura moderna latinoamericana. AbstractThis article consists of a compilation, documentation and description of the reinforced concrete thin shells shaped as hyperbolic paraboloids that, as an aesthetic and structural conceptions, are an important part of the architectural expression of the Ecuadorian 20th century.From the 1930s to the 1950s, with the works and contributions of Karl Kohn, Otto Glass, Francesco Maccaferri, Giovanni Rota, Guillermo Cubillo, Oscar Etwanick, Guillermo Jones Odriozola, Gilberto Gatto Sobral, Sixto Durán Ballén and Jaime Dávalos, the practice of modern architecture arrived to Ecuador with Bauhaus, rationalism and International Style inspiration. The arrival of Modernity found an optimal showcase at the XI Latin American Conference of Foreign Ministers scheduled for 1959. Although the conference did not take place, important construction works were started and were brought forward. Some of these works were formally composed by reinforced concrete thin shells.As a precedent, the Spanish architect Félix Candela’s work during his Mexican exile –easily identifiable by his double-curved thin shells— became widely known throughout the world. Candelas´ hypars were emulated throughout Latin America, including Ecuador, and became an insignia of its modern identity.Hotel Quito was one of the works commissioned for the conference of foreign ministers. Its designer was American architect Charles Forster McKirahan who brought with him a style known as MiMo or Miami Modern, characterized in part by the use of the hyperbolic paraboloid, such as the one that stands before the hotel. Architects Milton Barragán, Agustín Patiño, Mario Arias and Oswaldo Muñoz Mariño in Quito; René Denis, Alamiro González, Xavier Quevedo and René Bravo in Guayaquil; and engineers Luis Monsalve in Cuenca; and Juan González in Coca and Esmeraldas, designed hypars for houses, gas stations, sports, cultural, institutional, educational, industrial spaces, for worship and even for military facilites. In the 1980s, there were two replicas of the famous Los Manantiales Restaurant in Xochimilco — México, by Master Félix Candela, in two Ecuadorian military premises. The first replica is in El Coca at the Ecuadorian Amazon, the second one used to be in Esmeraldas, but it disappeared.Keywords: Hyperbolic paraboloid, hypar, concrete thin shell, modern architecture in Latin America.

Cuando el Movimiento Moderno llegó a Latinoamérica en los años 40, la comprensión de sus atributos universales propició, en muchos casos, una adaptación al contexto y el desarrollo de características locales. Cuenca, Ecuador, no fue la excepción. Durante la década de los 60, el arquitecto uruguayo Gilberto Gatto Sobral diseñó dos edificios institucionales en el Centro Histórico: la Casa de la Cultura y el Palacio Municipal. Sin embargo, al pasar de los años la calidad de la obra moderna del siglo XX comenzó a decaer, lo cual llevo a que sea poco reconocida y estudiada. A sabiendas que la valoración patrimonial de un inmueble requiere un análisis sobre componentes estéticos, históricos, sociales, etc.; la presente investigación propone un aporte, si bien leve, al valor estético desde un punto de vista arquitectónicoy su relación con el entorno construido. Surge, de este modo, la pregunta ¿son la Casa de Cultura y el Palacio Municipal obras modernas? una respuesta implicó el análisis de casos de estudio del siglo XX, sobre las connotaciones de la implantación de obras modernas en contextos históricos; así como la revisión de las herramientas existentes de valoración del INPC (Instituto nacional de patrimonio cultural) y el Docomomo (Documentación y conservación de la arquitectura y urbanismo del Movimiento Moderno). Es así que, se propone una ficha de documentación y valoración que reúne nociones de catalogación, clasificación y, de hecho, valoración en relación al contexto, del Palacio Municipal y la Casa de la Cultura. Aunque los orígenes de esta ficha se originan en estas dos obras, pueden ampliarse a unespectro mayor de proyectos de Gilberto Gatto Sobral, e incluso trascenderlos; al dirigirse hacia la inserción de obras modernas en centros históricos y, en general, a manzanas consolidadas de primeros ensanches urbanos.Palabras clave: Catalogación, clasificación, ficha, movimiento moderno, patrimonio edificado, valor patrimonial. AbstractWhen the Modern Movement reached Latin America in the 1940s, the understanding of its universal attributes encouraged, in many cases, an adaptation to the context and the development of local characteristics. Cuenca, Ecuador, was not an exception. During the 1960s, the Uruguayan architect, Gilberto Gatto Sobral, designed two institutional buildings in the historic center: The Casa de la Cultura and the Palacio Municipal. However, as the years went by, the quality of modern 20th century work began to decline, which resulted in its little recognized and studied style. Knowing that the patrimonial valuation of a building requires an analysis on aesthetic, historical, social components, etc.; the present investigation proposes a little contribution to the aesthetic value from an architectural point of view and its relation with the built environment. In this way, a question arises: are the Casa de Cultura and the Palacio Municipal modern buildings? One answer involves the analysis of case studies from the 20th century, on the connotations of the implementation of modern builds in historical contexts; as well as the review of the existing tools of valuation of the INPC (National Institute of Cultural Heritage) and the Docomomo (Documentation and Conservation of Architecture and Urbanism of the Modern Movement). Thus, a documentation and assessment form is proposed which brings together notions of cataloguing,  classification and, in fact, assessment in relation to the context, of the Palacio Municipal and the Casa de la Cultura. Although the origins of this form are based on these two buildings, they can be extended to a wider spectrum of projects by Gilberto Gatto Sobral, and even transcend them, by moving towards the insertion of modern architectural projects in historical centres and, in general, to consolidated blocks of first urban expansions.Keywords: Cataloging, classification, form, Modern Movement, built heritage, heritage value.