To obtain the Passivhaus Certificate or Passivhaus Standard (PHS), requirements regarding building envelope air tightness must be met: according to the n₅₀ parameter, at a pressure of 50 Pa, air leakage must be below 0.6 air changes per hour (ACH). This condition is verified by following the blower door test protocol and is regulated by the ISO 9972 standard, or UNE-EN-13829. Some construction techniques make it easier to comply with these regulations, and in most cases, construction joints and material joints must be sealed in a complex way, both on façades and roofs and at ground contact points. Performing rigorous quality control of these processes during the construction phase allows achieving a value below 0.6 ACH and obtaining the PHS certification. Yet, the value can increase substantially with the passage of time: as windows and doors are used, opened, or closed; as envelope materials expand; with humidity; etc. This could result in significant energy consumption increases and losing the PHS when selling the house at a later point in time. It is therefore important to carefully supervise the quality of the construction and its execution. In this study, we focused on a house located in Sitges (Barcelona). The envelope air tightness quality was measured during four construction phases, together with the sealing of the joints and service ducts. The blower door test was performed in each phase, and the n₅₀ value obtained decreased each time. The execution costs of each phase were also determined, as were the investment amortisation rates based on the consequent annual energy demand reductions. Air infiltration dropped by 43.81%, with the final n₅₀ value resulting in 0.59 ACH. However, the execution costs—EUR 3827—were high compared to the energy savings made, and the investment amortisation period rose to a 15- to 30-year range. To conclude, these airtightness improvements are necessary in cold continental climates but are not applicable on the Spanish Mediterranean coast.

El Duque de Belle-Isle y el Conde de Espié habían conocido en sus campañas de la Guerra de Sucesión (1701-1715) la voûte à la Roussillon. Estas bóvedas tabicadas obtuvieron una buena crítica en toda Europa y también en España (donde eran conocidas desde el siglo XIV) gracias a la difusión de los textos del Conde de Espié (1754) y de Pierre Patte (1777). Se determina qué uso tuvieron las bóvedas tabicadas desde el punto de vista de la construcción militar, favorecidas por sus supuestas cualidades mecánicas, y cuál fue la repercusión entre los ingenieros militares españoles del siglo XVIII. El estudio concluye que la localización de los proyectos realizados con esta técnica por ingenieros militares en el Levante español, coincide con los lugares donde ya existía una mano de obra especializada y que conocía esta técnica constructiva.

After the Spanish Civil War, the shortage of building materials in the country and the restrictions imposed by the Dirección General de Arquitectura limited the use of steel in construction, encouraging solutions that reduced the consumption of this material. In this context, the thin-tile vault gained new relevance due to its low cost, speed of execution and good structural and fire performance. Among the architects who revisited this system, Ignasi Bosch Reitg (1910–1985) developed an innovative procedure for the construction of continuous ceilings, based on double-curved vaults with a single layer of brick. His cousin, Josep Maria Bosch Aymerich (1917–2015), an industrial engineer and architect trained in the United States, brought a business vision to the table when he discovered the potential of this system. This paper proposes an in-depth study of the patents requested on this system by the two architects, questioning the reasons for their success or failure in different countries, both in terms of dissemination and exploitation, in regard to the historical context in which it was developed. The analysis, based on original documents from the Bosch Aymerich Archive, uncovers the tensions that the reinterpretation and global projection of a traditional technique can generate.

An unknown aspect of Josep Lluís Sert (Barcelona, 1902–1983) is his deep engagement with Christian spirituality, particularly following his American exile. This perspective is beautifully reflected in his religious-themed projects, among which historiography has highlighted the church of Puerto Ordaz (Venezuela, 1951), the Chapel of St. Botolph (Boston, 1963–1968), and the Carmel de la Paix Chapel (Mazille, 1967–1972), designed, respectively, before, during, and after the Second Vatican Council. Using these three well-known projects as a starting point, our aim is to expand the discussion around this topic to encompass the entirety of Sert’s sacred architecture. The contributions of Sert to the design of modern religious architecture are analyzed in this study, firstly through the distinctive aspects of his architecture, such as its urban scale and interactions between various plastic arts, and secondly through his theological references. This study is based on Sert’s original drawings, as well as specific bibliographic sources and articles from specialized journals. At the same time, it seeks to highlight an aspect of the architect that, despite the significance and brilliance of his designs, has received little attention until now.

This research delves into the influence of St. Augustine on the construction of the Gothic cathedral of Tortosa. The canonical cathedral of Tortosa underwent re-establishment in 1155, which was carried out by Bishop Godfrey who was the abbot of Saint Rufus of Avignon and was governed by Beati Augustini rule. The presence of St. Augustine in the Capitular archives with De Civitate Dei (ACTo-20) from the XII century is examined. This, coupled with a spatial analysis of the liturgical space using laser scanning (TLS), serves to validate the historiographical thesis put forth by Wilhelm Worringer, Erwin Panofsky, and Otto von Simson for understanding the construction of the apse of the Gothic cathedral (1346–1441). This methodology establishes a bijection between patristic and Neoplatonic sources and the interpretation of the liturgical space’s dimensions using statistical systems. This approach addresses the construction of the apse through the incorporation of a heptagon, a geometric figure that is absent in Euclid’s Elementa and Ptolemy’s Almagest. In conclusion, it is determined that both the imagery and metrics employed in the design of a radial heptagonal apse, as well as its cross-section, are influenced by both St. Augustine and the metrics of the Neoplatonics, which remain present in the Chapter Archives.