Three-dimensional mapping of real environments for cognitive robots navigation

Abstract The development of cognitive robots needs a strong “sensorial” support which should allow it to perceive the real world for interacting with it properly. Therefore the development of efficient visual-processing software to be equipped in effective artificial agents is a must. In this project we study and develop a visual-processing software that will work as the “eyes” of a cognitive robot. This software performs a three-dimensional mapping of the robot’s environment, providing it with the essential information required to make proper decisions during its navigation. Due to the complexity of this objective we have adopted the Scrum methodology in order to achieve an agile development process, which has allowed us to correct and improve in a fast way the successive versions of the product. The present project is structured in Sprints, which cover the different stages of the software development based on the requirements imposed by the robot and its real necessities. We have initially explored different commercial devices oriented to the acquisition of the required visual information, adopting the Kinect Sensor camera (Microsoft) as the most suitable option. Later on, we have studied the available software to manage the obtained visual information as well as its integration with the robot’s software, choosing the high-level platform Matlab as the common nexus to join the management of the camera, the management of the robot and the implementation of the behavioral algorithms. During the last stages the software has been developed to include the fundamental functionalities required to process the real environment, such as depth representation, segmentation, and clustering. Finally the software has been optimized to exhibit real-time processing and a suitable performance to fulfill the robot’s requirements during its operation in real situations.

Three-dimensional distribution of cortical synapses: a replicated point pattern-based analysis

The biggest problem when analyzing the brain is that its synaptic connections are extremely complex. Generally, the billions of neurons making up the brain exchange information through two types of highly specialized structures: chemical synapses (the vast majority) and so-called gap junctions (a substrate of one class of electrical synapse). Here we are interested in exploring the three-dimensional spatial distribution of chemical synapses in the cerebral cortex. Recent research has showed that the three-dimensional spatial distribution of synapses in layer III of the neocortex can be modeled by a random sequential adsorption (RSA) point process, i.e., synapses are distributed in space almost randomly, with the only constraint that they cannot overlap. In this study we hypothesize that RSA processes can also explain the distribution of synapses in all cortical layers. We also investigate whether there are differences in both the synaptic density and spatial distribution of synapses between layers. Using combined focused ion beam milling and scanning electron microscopy (FIB/SEM), we obtained three-dimensional samples from the six layers of the rat somatosensory cortex and identified and reconstructed the synaptic junctions. A total volume of tissue of approximately 4500μm3 and around 4000 synapses from three different animals were analyzed. Different samples, layers and/or animals were aggregated and compared using RSA replicated spatial point processes. The results showed no significant differences in the synaptic distribution across the different rats used in the study. We found that RSA processes described the spatial distribution of synapses in all samples of each layer. We also found that the synaptic distribution in layers II to VI conforms to a common underlying RSA process with different densities per layer. Interestingly, the results showed that synapses in layer I had a slightly different spatial distribution from the other layers.

Three-dimensional spatial distribution of synapses in the neocortex: A dual-beam electron microscopy study

In the cerebral cortex, most synapses are found in the neuropil, but relatively little is known about their 3-dimensional organization. Using an automated dual-beam electron microscope that combines focused ion beam milling and scanning electron microscopy, we have been able to obtain 10 three-dimensional samples with an average volume of 180 µm(3) from the neuropil of layer III of the young rat somatosensory cortex (hindlimb representation). We have used specific software tools to fully reconstruct 1695 synaptic junctions present in these samples and to accurately quantify the number of synapses per unit volume. These tools also allowed us to determine synapse position and to analyze their spatial distribution using spatial statistical methods. Our results indicate that the distribution of synaptic junctions in the neuropil is nearly random, only constrained by the fact that synapses cannot overlap in space. A theoretical model based on random sequential absorption, which closely reproduces the actual distribution of synapses, is also presented.

Global instability analysis and control of three-dimensional long open cavity flow

The three-dimensional wall-bounded open cavity may be considered as a simplified geometry found in industrial applications such as leading gear or slotted flats on the airplane. Understanding the three-dimensional complex flow structure that surrounds this particular geometry is therefore of major industrial interest. At the light of the remarkable former investigations in this kind of flows, enough evidences suggest that the lateral walls have a great influence on the flow features and hence on their instability modes. Nevertheless, even though there is a large body of literature on cavity flows, most of them are based on the assumption that the flow is two-dimensional and spanwise-periodic. The flow over realistic open cavity should be considered. This thesis presents an investigation of three-dimensional wall-bounded open cavity with geometric ratio 6:2:1. To this aim, three-dimensional Direct Numerical Simulation (DNS) and global linear instability have been performed. Linear instability analysis reveals that the onset of the first instability in this open cavity is around Recr 1080. The three-dimensional shear layer mode with a complex structure is shown to be the most unstable mode. I t is noteworthy that the flow pattern of this high-frequency shear layer mode is similar to the observed unstable oscillations in supercritical unstable case. DNS of the cavity flow carried out at different Reynolds number from steady state until a nonlinear saturated state is obtained. The comparison of time histories of kinetic energy presents a clearly dominant energetic mode which shifts between low-frequency and highfrequency oscillation. A complete flow patterns from subcritical cases to supercritical case has been put in evidence. The flow structure at the supercritical case Re=1100 resembles typical wake-shedding instability oscillations with a lateral motion existed in the subcritical cases. Also, This flow pattern is similar to the observations in experiments. In order to validate the linear instability analysis results, the topology of the composite flow fields reconstructed by linear superposition of a three-dimensional base flow and its leading three-dimensional global eigenmodes has been studied. The instantaneous wall streamlines of those composited flows display distinguish influence region of each eigenmode. Attention has been focused on the leading high-frequency shear layer mode; the composite flow fields have been fully recognized with respect to the downstream wave shedding. The three-dimensional shear layer mode is shown to give rise to a typical wake-shedding instability with a lateral motions occurring downstream which is in good agreement with the experiment results. Moreover, the spanwise-periodic, open cavity with the same length to depth ratio has been also studied. The most unstable linear mode is different from the real three-dimensional cavity flow, because of the existence of the side walls. Structure sensitivity of the unstable global mode is analyzed in the flow control context. The adjoint-based sensitivity analysis has been employed to localized the receptivity region, where the flow is more sensible to momentum forcing and mass injection. Because of the non-normality of the linearized Navier-Stokes equations, the direct and adjoint field has a large spatial separation. The strongest sensitivity region is locate in the upstream lip of the three-dimensional cavity. This numerical finding is in agreement with experimental observations. Finally, a prototype of passive flow control strategy is applied.

Function of C1A barley peptidases and their inhibitors (cystatins) in barley seed germination : Funcion de las peptidasas C1A de cebada y sus inhibidores (cistatinas) en la germinacion de la semilla

Plant proteolysis is a metabolic process where specific enzymes called peptidases degrade proteins. In plants, this complex process involves broad metabolic networks and different sub-cellular compartments. Several types of peptidases take part in the proteolytic process, mainly cysteine-, serine-, aspartyl- and metallo- peptidases. Among the cysteine-peptidases, the papain-like or C1A peptidases (family C1, clan CA) are extensively present in land plants and are classified into catepsins L-, B-, H- and Flike. The catalytic mechanism of these C1A peptidases is highly conserved and involves the three amino acids Cys, His and Asn in the catalytic triad, and a Gln residue which seems essential for maintaining an active enzyme conformation. These proteins are synthesized as inactive precursors, which comprise an N-terminal signal peptide, a propeptide, and the mature protein. In barley, we have identified 33 cysteine-peptidases from the papain-like family, classifying them into 8 different groups. Five of them corresponded to cathepsins L-like (5 subgroups), 1 cathepsin B-like group, 1 cathepsin F-like group and 1 cathepsin H-like group. Besides, C1A peptidases are the specific targets of the plant proteinaceous inhibitors known as phytocystatins (PhyCys). The cystatin inhibitory mechanism is produced by a tight and reversible interaction with their target enzymes. In barley, the cystatin gene family is comprised by 13 members. In this work we have tried to elucidate the role of the C1A cysteine-peptidases and their specific inhibitors (cystatins) in the germination process of the barley grain. Therefore, we selected a representative member of each group/subgroup of C1A peptidases (1 cathepsin B-like, 1 cathepsin F-like, 1 cathepsin H-like and 5 cathepsins L-like). The molecular characterization of the cysteine-peptidases was done and the peptidase-inhibitor interaction was analyzed in vitro and in vivo. A study in the structural basis for specificity of pro-peptide/enzyme interaction in barley C1A cysteine-peptidases has been also carried out by inhibitory assays and the modeling of the three-dimensional structures. The barley grain maturation produces the accumulation of storage proteins (prolamins) in the endosperm which are mobilized during germination to supply the required nutrients until the photosynthesis is fully established. In this work, we have demonstrated the participation of the cysteine-peptidases and their inhibitors in the degradation of the different storage protein fractions (hordeins, albumins and globulins) present in the barley grain. Besides, transgenic barley plants overexpressing or silencing cysteine-peptidases or cystatins were obtained by Agrobacterium-mediated transformation of barley immature embryos to analyze their physiological function in vivo. Preliminary assays were carried out with the T1 grains of several transgenic lines. Comparing the knock-out and the overexpressing lines with the WT, alterations in the germination process were detected and were correlated with their grain hordein content. These data will be validated with the homozygous grains that are being produced through the double haploid technique by microspore culture. Resumen La proteólisis es un proceso metabólico por el cual se lleva a cabo la degradación de las proteínas de un organismo a través de enzimas específicas llamadas proteasas. En plantas, este complejo proceso comprende un entramado de rutas metabólicas que implican, además, diferentes compartimentos subcelulares. En la proteólisis participan numerosas proteasas, principalmente cisteín-, serín-, aspartil-, y metalo-proteasas. Dentro de las cisteín-proteasas, las proteasas tipo papaína o C1A (familia C1, clan CA) están extensamente representadas en plantas terrestres, y se clasifican en catepsinas tipo L, B, H y F. El mecanismo catalítico de estas proteasas está altamente conservado y la triada catalítica formada por los aminoácidos Cys, His y Asn, y a un aminoácido Gln, que parece esencial para el mantenimiento de la conformación activa de la proteína. Las proteasas C1A se sintetizan como precursores inactivos y comprenden un péptido señal en el extremo N-terminal, un pro-péptido y la proteína madura. En cebada hemos identificado 33 cisteín-proteasas de tipo papaína y las hemos clasificado filogenéticamente en 8 grupos diferentes. Cinco de ellos pertenecen a las catepsinas tipo L (5 subgrupos), un grupo a las catepsinas tipo-B, otro a las catepsinas tipo-F y un último a las catepsinas tipo-H. Las proteasas C1A son además las dianas específicas de los inhibidores protéicos de plantas denominados fitocistatinas. El mecanismo de inhibición de las cistatinas está basado en una fuerte interacción reversible. En cebada, se conoce la familia génica completa de las cistatinas, que está formada por 13 miembros. En el presente trabajo se ha investigado el papel de las cisteín-proteasas de cebada y sus inhibidores específicos en el proceso de la germinación de la semilla. Para ello, se seleccionó una proteasa representante de cada grupo/subgrupo (1 catepsina tipo- B, 1 tipo-F, 1 tipo-H, y 5 tipo-L, una por cada subgrupo). Se ha llevado a cabo su caracterización molecular y se ha analizado la interacción enzima-inhibidor tanto in vivo como in vitro. También se han realizado estudios sobre las bases estructurales que demuestran la especificidad en la interacción enzima/propéptido en las proteasas C1A de cebada, mediante ensayos de inhibición y la predicción de modelos estructurales de la interacción. Finalmente, y dado que durante la maduración de la semilla se almacenan proteínas de reserva (prolaminas) en el endospermo que son movilizadas durante la germinación para suministrar los nutrientes necesarios hasta que la nueva planta pueda realizar la fotosíntesis, en este trabajo se ha demostrado la participación de las cisteínproteasas y sus inhibidores en la degradación de las diferentes tipos de proteínas de reserva (hordeinas, albúmins y globulinas) presentes en el grano de cebada. Además, se han obtenido plantas transgénicas de cebada que sobre-expresan o silencian cistatinas y cisteín-proteasas con el fin de analizar la función fisiológica in vivo. Se han realizado análisis preliminares en las semillas T1 de varias líneas tránsgenicas de cebada y al comparar las líneas knock-out y las líneas de sobre-expresión con las silvestres, se han detectado alteraciones en la germinación que están además correlacionadas con el contenido de hordeinas de las semillas. Estos datos serán validados en las semillas homocigotas que se están generando mediante la técnica de dobles haploides a partir del cultivo de microesporas.

Analytic free-form lens design in 3D: coupling three ray sets using two lens surfaces

The two-dimensional analytic optics design method presented in a previous paper [Opt. Express 20, 5576–5585 (2012)] is extended in this work to the three-dimensional case, enabling the coupling of three ray sets with two free-form lens surfaces. Fermat’s principle is used to deduce additional sets of functional differential equations which make it possible to calculate the lens surfaces. Ray tracing simulations demonstrate the excellent imaging performance of the resulting free-form lenses described by more than 100 coefficients.

Low-dimensional modeling of streaks in a wedge flow boundary layer

This paper is concerned with the low dimensional structure of optimal streaks in a wedge flow boundary layer, which have been recently shown to consist of a unique (up to a constant factor) three-dimensional streamwise evolving mode, known as the most unstable streaky mode. Optimal streaks exhibit a still unexplored/unexploited approximate self-similarity (not associated with the boundary layer self-similarity), namely the streamwise velocity re-scaled with their maximum remains almost independent of both the spanwise wavenumber and the streamwise coordinate; the remaining two velocity components instead do not satisfy this property. The approximate self-similar behavior is analyzed here and exploited to further simplify the description of optimal streaks. In particular, it is shown that streaks can be approximately described in terms of the streamwise evolution of the scalar amplitudes of just three one-dimensional modes, providing the wall normal profiles of the streamwise velocity and two combinations of the cross flow velocity components; the scalar amplitudes obey a singular system of three ordinary differential equations (involving only two degrees of freedom), which approximates well the streamwise evolution of the general streaks.

Reduced three-wave model to study the hard transition to chaotic dynamics in Alfven wave-fronts

The derivative nonlinear Schrödinger (DNLS) equation, describing propagation of circularly polarized Alfven waves of finite amplitude in a cold plasma, is truncated to explore the coherent, weakly nonlinear, cubic coupling of three waves near resonance, one wave being linearly unstable and the other waves damped. In a reduced three-wave model (equal damping of daughter waves, three-dimensional flow for two wave amplitudes and one relative phase), no matter how small the growth rate of the unstable wave there exists a parametric domain with the flow exhibiting chaotic dynamics that is absent for zero growth-rate. This hard transition in phase-space behavior occurs for left-hand (LH) polarized waves, paralelling the known fact that only LH time-harmonic solutions of the DNLS equation are modulationally unstable.

Comparison of the seismic behaviour between three building tests, all based on a two storey model house

Integral Masonry System consisting of intersecting steel trusses alo ng each of the three dimensional directions of space on walls and slabs using any masonry material, had yet been backed up by the previous adobe test for seismic areas. This paper presents the comparison this last test and the adaptation of the IMS using h ollow brick. A prototype based on a two storey model house (6mx6mx6m) has being also built in two different scales in order to maximize the load and size of the shake table: the first one half size the whole building (3mx3mx3m) and the second, a quarter of the real size (3mx3mx6m). Both tests have suffered some mild to moderate damages while supporting the higher seismic action subjected by the shake table, without even fissuring the first test and with very few damages the second one. The thickness of the hollow brick wall and the diameter of the tree - dimensional truss reinforcement were scaled to the real size test in order to ascertain its great structural behaviour in relation to the previous structural model calculations. The aim of this study is to sum marize the results of the research collaboration between the ETSAM - UPM and the PUCP in whose laboratory these tests were carried out.

El centro comercial : una teoría tipológica : claves para el reconocimiento de una arquitectura ignorada

Existe en el panorama edificado un patrimonio construido que se reconoce como Centro Comercial. Un conjunto entendido, en sentido genérico, como familia arquitectónica que tiene características propias y específicas que la identifican. El objeto de la presente tesis doctoral consiste en argumentar que este conjunto constituye un nuevo tipo en el panorama de las tipologías arquitectónicas. Un tipo con entidad propia, que se conecta a una forma diferente de entender la idea de modelo. Un concepto que va más allá de la consideración tradicional del término. Modelo virtual. Este tipo, que surge de una estructura teórica que hemos denominado teoría tipológica, se constituye en una herramienta más para el estudio y el desarrollo proyectual de los espacios arquitectónicos, tanto del propio Centro Comercial como del conjunto de la disciplina arquitectónica, como referencia legítima. El presente trabajo de tesis se inicia con un bloque introductorio denominado Método. Definimos en él una metodología que hemos llamado emocional. Trata de la oportunidad de la tesis. Del porqué de un título que recoge la palabra ignorada. Del interés que suscita el asunto en el contexto del momento presente. Oportunidad e interés en base a una vida profesional dedicada al mundo del Centro Comercial y a la importancia del patrimonio elegido como objeto de estudio. También ha sido un aliciente detectar como las planificaciones del territorio y de los ámbitos de las relaciones colectivas no han sido capaces de integrar un resultado satisfactorio. Quizás por no considerar la complejidad de sus muchas facetas. En consecuencia, el texto busca la esencia del Centro Comercial como soporte para la crítica de su impacto en los nuevos escenarios de relación que la sociedad y el entorno físico imponen. Ámbitos donde los mecanismos históricos del asociacionismo tradicional han dado paso a otros, como el Centro Comercial, de exaltación del individualismo, pero demandados por una sociedad que se identifica con ellos. Espacios que, con Galbraith, existen por de la perversidad intrínseca del binomio consumo-producción que inducen la perplejidad. Ésta pasa a formar parte de la esencia del nuevo espacio comercial, como quedó de manifiesto en el Congreso de Minnesota de 1997, sobre el Centro Comercial. Una sociedad que ha girado hacia el logro material en términos de culto, ocasionando creciente valor significante del consumo. Razón última de la humanidad al decir de Rem Koolhaas. Culto que desemboca en la urgencia de alcanzar niveles de estatus y de identificación con el grupo. Dos parámetros que marcan la relación con el otro. Relación de comparación que excita la necesidad de posesión de objetos que llevaban a recrear en el consumidor la ilusión de ser especiales, de no pasar desapercibidos. El producto de consumo, el objeto, se eleva a la consideración de valor social. En el Centro Comercial se venden valores. Marketing de valores. El deseo del individuo, no la necesidad, queda involucrado en el proceso. La oportunidad y el interés de este estudio surgen además para aclarar el significado de un espacio que sirve al consumidor y a su entorno. Un significado que alcanza sentido, entre otros, por la aparición de un nuevo contexto tras la Segunda Guerra Mundial. Suburbanización, automóvil, nivel de vida, un nuevo papel de la mujer. La Era del Consumo. Una era que genera la paradoja de un individuo con autodeterminación y autosuficiencia crecientes, en un mundo cada vez más condicionado y controlado por dinámicas de ofertas mediatizadas e ilimitadas. La arquitectura en este contexto ha de juzgarse por su relación con un hombre contemporáneo que camina hacia una progresiva excepcionalidad. Cerramos la presentación justificando el término ignorada que aparece en el Título de la Tesis. Subrayamos la escasa existencia de estudios estructurados que relacionen Centro Comercial y arquitectura. Realidad que se constata partiendo del libro de Pevsner, Historia de las Tipologías Arquitectónicas, de 1976. Analizamos también la aceptación que el Centro Comercial, valorado en algunos ámbitos como arquitectura populista. Primer Capítulo, los antecedentes. Se propone un recorrido histórico por la arquitectura comercial de todos los tiempos. El Documento busca concretar las características de la arquitectura comercial a lo largo de la historia para determinar relaciones entre ella y el Centro Comercial. Estas correspondencias van a permitir contestar la pregunta retórica que nos hacemos al inicio del Capítulo: ¿Es la arquitectura del Centro Comercial una arquitectura subsidiaria, o tiene personalidad propia independiente de la del mundo comercial? Con Zevi40, queremos dejar constancia que la relación arquitectura-historia es imprescindible en la tarea proyectual. Un análisis novedoso solo es posible desde la búsqueda de unas raíces auténticas. Así mismo, con Guy de Maupassant, estamos convencidos que “La arquitectura, a través de los siglos, ha tenido el privilegio de dar un símbolo a cada una de las épocas, de resumir con un pequeñísimo número de monumentos típicos, el modo de pensar, de soñar de una raza y de una civilización”. Este recorrido se inicia interpretando la arquitectura comercial minoica. Llegaremos, paso a paso, hasta el siglo XX, los grandes itinerarios comerciales y el Centro Comercial. Se descubren una serie de invariantes que permiten comparar y extraer conclusiones. Resulta novedoso constatar que el Centro Comercial nace para dar respuesta al hombre contemporáneo en su afán consumista. También lo es la rápida implantación y evolución del Centro Comercial en un corto periodo de sesenta años frente al ritmo sosegado de otras soluciones comerciales. Novedad es ver como el comercio y sus arquitecturas nacen abiertos, bajo tenderetes y el Centro Comercial se presenta cerrado. Así mismo, las referencias sacras constituyen un elemento de novedad para la reflexión, en un contexto materialista. Y tantas otras. En Minos, la óptica comercial ofrece otra visión de su legendaria cultura. ¿Palacio o plataforma logística?, gestión centralizada del intercambio, ¿vida pública y vida privada? Así, hasta llegar al siglo XIX. Sus las galerías y sus pasajes acristalados concebidos en primera instancia como medida de recomposición urbana. Espacio entendido desde lo público-privado, desde lo interior-exterior, desde el dentro-afuera, desde lo cerrado-abierto. Con los nuevos mercados de abastos, representan una revolución en el ámbito de la funcionalidad, de la máquina, de la gestión moderna y de las relaciones del ciudadano con la ciudad apoyado en base al intercambio de bienes de consumo. El Centro Comercial es heredero de esta transformación. El Gran Almacén, por otra parte, es el reflejo de otra gran revolución. La que va ligada a la producción y comercialización en masa, las comunicaciones, el precio fijo y el aumento del nivel de vida. El Centro Comercial reinterpreta estas situaciones insertándolas en un nuevo modelo de gestión. En el siglo XX, maestro en técnicas de venta, aparece el hipermercado. El Híper, con su carga de pedagogía, se incorpora al esquema orgánico del Centro Comercial. La tienda en si misma constituye la pieza base de dicho puzle orgánico. Es en esta época cuando la tienda empieza su despegue autónomo como arquitectura, aportando su experiencia. Tras ello, llegamos a las grandes rutas comerciales, que proponemos como metáfora del shopping. Cerramos el capítulo concluyendo con Eugenio Ferrer que “si establecemos una relación entre el espacio y el capitalismo, entonces podemos inferir que los espacios del consumo de masas (ECM) son configuraciones nuevas respecto al pasado (...), pero el sistema que lo introduce no lo es del todo”. Segundo Capítulo. Búsqueda de claves que permitan el reconocimiento del Centro Comercial. Llegados a este punto y con la perspectiva del tiempo cabe preguntarnos, ¿qué entendemos pues por Centro Comercial? ¿Cómo lo percibimos? Abordamos ahora el problema de la percepción del Centro Comercial y su significado. Además de constituirse en símbolo, referencia siempre presente, la eficacia del Shopping es una de las principales causas de su poder de atracción. El Centro Comercial resulta de la síntesis de la revolución del consumo y de la revolución de la gestión. Espacio eficaz del entretenimiento como destino. El usuario resuelve su vida cotidiana dentro de un hábitat que considera propio y que se entiende como el lugar hiperbólico de la transacción comercial. Espacio de la abundancia para el disfrute. Una arquitectura involucrada en esta eficacia. Su sentido del lugar no es otro que el Shopping, que se desenvuelve de forma análoga en todas partes. El hogar del consumidor. Las nuevas catedrales. Las catedrales del consumo. Destino místico. Lugar de peregrinación para el consumidor fervoroso. Espacio sagrado que integra al usuario en la cultura dominante. Cultura del consumo. Templos, donde el tiempo ha perdido su sentido. Paraíso. Un espacio donde la altura, la luz natural, la dimensión general refuerzan el carácter sacro de un espacio para una nueva religión laica. Un espacio seguro, protegido que nos acerca a ideas como la de útero materno, con su carga de calidez y de significación erótica aplicado al encuentro compra-comprador y, ligado a ello, la literatura especializada habla del Centro Comercial como nave espacial hiperesterilizada o de agujero negro que absorbe la energía cultural. Más allá, la simulación, donde se percibe un simulacro de ciudad. Simulacro coherente con todo lo que el Shopping desencadena a su alrededor. El lugar de los sueños, de la fantasía. Aquí los productos se han metamorfoseado en fetiches, en significados. Televisión tridimensional, donde el usuario actúa guiado por una pulsión similar al zapping. Espacio lúdico de la fascinación por comprar o de imaginar que se compra. Espacio de simulaciones que llevan a la ensoñación. Un nuevo lugar que sustituye al espacio cotidiano, con el señuelo de la protección, en un contexto imaginariamente público. Espacio de la hiperrealidad donde no se distingue la realidad de la fantasía, donde tras episodios de confusión y desconcierto, se borran las fronteras con lo imaginario. Espacio mágico, escenario del gran espectáculo del consumo, controlado milimétricamente, al modo de la visita a un gran monumento, que ha de sobrevivir a los tiempos para dar testimonio de nuestro momento. Un icono, un símbolo que transmite un mensaje, que solo el consumidor es capaz de interpretar. Una agitada mezcla, sin precedentes, de percepciones que hablan de perplejidad y asombro ante el fenómeno del Centro Comercial, su espacio y las reacciones del hombre contemporáneo. ¿Cuáles serían las claves que nos permitirían reconocer la calidad esencial de un Centro Comercial, en esta concurrencia de perplejidades? Primero, la función de servicio. Un espacio donde ocurren muchas más cosas que lo obvio, que la compra. Un edificio que se involucra con el entorno de la mano de lo inesperado, la sorpresa y las expectativas. Esta vocación de servicio conecta Centro Comercial y naturaleza arquitectónica. Función que sugiere percepciones ligadas a la experiencia de compra. Organismo que vive y late al unísono con su visitante, colocándose al servicio de sus necesidades, de su afán de consumo, del que vive. Segundo, la comunidad servida. El Centro comercial sirve a una sociedad concreta. La sociedad consumista. Una nueva sociedad que se identifica con el edificio desarrollando un sentido de comunidad al nivel de sus deseos. Esta comunidad que se configura a su alrededor, constituye el activo más poderoso para el éxito de su realidad cotidiana y de su futuro. Tercero, un compromiso de carácter holístico. La economía de la experiencia aplicada al afán consumista de una sociedad identificada con su Centro, da lugar a una experiencia holística planificada. Diseño emocional. Colaboración para el éxito de un conjunto de establecimientos comerciales que participan en la aventura espacio-comercial del Centro Comercial. Ellos son los inductores primarios del consumo. Pero esta colaboración tiene su culminación en la amplificación del mensaje, como un inmenso altavoz, que proviene de la unidad configurada por todos ellos. El reflejo de esta amplificación de mensajes, desde la poderosa unidad constituida, es el aumento de la rentabilidad, fin último de la operación. Cuarto, la forma a través de una identificación de carácter gestáltico. Desde la lectura gestáltica que hacemos de la unidad holística, se advierte una poderosa capacidad de comunicación del sistema con su contexto. Centro y entorno se tornan entonces cómplices que complementan sus realidades. El Centro Comercial, arquitectura estructurada como sistema se percibe –ha de percibirse- como forma unitaria que procede de una mirada de raíz gestáltica que continuamente la recompone desde una óptica espacial y física, ligada a la experiencia individual. Esta unidad formal, más allá de la forma real, se constituye en esencia de de su arquitectura. Quinto, el Centro Comercial como sistema. Un sistema soportado por la Teoría General de Sistemas. La consideración del Centro Comercial como sistema es consecuencia de su estructura holística. El todo no se comporta como la suma de las partes y estas no lo hacen como lo harían en solitario. De aquí surge la necesidad de diálogo permanente entre la comercialización –proceso de incorporación de partes- y su traducción al mundo del diseño –proceso de articular arquitectónicamente las partes. Como sistema así configurado, el Centro Comercial se inserta en el paradigma contemporáneo, lo que genera realidades duales que no son excluyentes y reacciones de perplejidad e incertidumbre que el sistema corrige con su capacidad de autorregulación. Aparece también el espectador cuántico, el visitante, el consumidor, que interactúa con el sistema. Desde las herramientas que nos aporta la idea de sistema complejo, afrontamos el Mix Comercial -en definitiva la eficaz localización de las piezas en orden a sus relaciones y al organismo resultante- y su incidencia en la arquitectura que estamos concibiendo. Una arquitectura impredecible por lo mutable, que se erige en reto de la operación y del diseñador. Diseño que, de la mano del concepto de sistema se convierte en herramienta a mayor gloria de la operación global. El debate del estilismo no será más que el resultado del análisis en busca del éxito de esta operación. Sexto, una arquitectura de la negociación. Negociación como mecanismo proyectual y como resultado. La solución de proyecto nunca resulta evidente en el Centro Comercial como consecuencia de lo imprevisible del propio proceso de configuración. Su concreción solo puede ser fruto del compromiso de todos los agentes por conseguir el objetivo de la operación. Esto se consigue desde el equilibrio de intereses. Comerciales y de diseño. Un compromiso con la negociación y una negociación íntimamente ligada a la coordinación. Séptimo, el espacio y el tiempo. El debate espacio-tiempo condiciona y estructura la percepción del Centro Comercial. Introducimos conceptos como cronotopo –el instante y el lugar donde ocurre algo- y paradoja –incoherencia de la relación causa efecto- que sitúan el vínculo entre el tiempo y el espacio del Centro Comercial en un contexto de Shopping. En el discurrir paralelo del tiempo histórico –el tiempo de fuera- y del tiempo interior, el de dentro del Centro Comercial –tiempo presente o intemporalidad-, se produce el triunfo social del Centro Comercial que se traduce en haber sabido resolver en el espacio y en el tiempo las paradojas postmodernas del hombre contemporáneo. Octavo, de lo global. Globalidad que no es ajena a lo local. Una arquitectura que insertada en la dinámica de una economía de ámbito mundial, refleja las contradicciones que ella impone, fundamentalmente en los procesos de inclusión y exclusión, afectando de manera decisiva al debate de lo local, que el Centro Comercial debe incorporar como herramienta ineludible de reconocimiento. Terminamos el capítulo segundo manifestando como estas ocho claves, asumidas en su conjunto, confirman que el Centro Comercial puede aparecer como un todo conceptual cohesionado, pasando a formar parte de una familia arquitectónica coherente, cuya estructura funcional somos capaces de establecer. El Capítulo Tercero presenta con detalle la figura del arquitecto Víctor Gruen, creador reconocido del moderno Centro Comercial. Presentamos su trayectoria profesional observando como las diferentes claves analizadas en capítulos anteriores van apareciendo de manera natural a lo largo de ella "Victor Gruen may well have been the most influential architect of the twentieth century." Malcolm Gladwell. The Terrazo Jungle. Fifty Years Ago, The Mall Was Born. America Never Would Be The Same. 2004. In The New Yorker. Hombre complejo, conflictivo. Las paradojas a lo largo de su carrera fueron notables. Sin embargo siempre apareció como un hombre recto. Garret Eckbo, reconocido paisajista y colaborador de Gruen en el Centro Comercial peatonal del Centro urbano de Fresno, California, se asombraba de que alguien como Gruen hubiese sido capaz de combinar cortesía y humanidad en la carrera de ratas (sic) en la que se convirtió el universo de la comercialización americana y mantener la integridad542. Philip Johnson, en 1962, ponderando las muchas habilidades de Gruen manifestó que no estaba seguro si alguno de ellos, arquitectos artistas, hubiera sido capaz de hacer lo que Gruen hizo. A más, sobre Gruen, manifestó lo siguiente: "... El va más allá de la creación de un bello edificio. En jugar con la gente y sugerir lo que tienen que hacer, es un maestro. Y obtiene buenos resultados como hace la escultura. El suyo es un arte cívico, un sentido cívico.... Él es capaz de sentarse y poner cosas juntas. No es pomposo ni vano. Yo no me reuniría con él para hablar del diseño (de edificios). Víctor siente que cuando se habla de diseño se está ignorando todo el contexto... Su arquitectura es poderosamente limpia, no vuela la fantasía. Pero cuando te haces con su complejidad, ves que has descubierto algo más allá del diseño.... No puedes decir que haya alguien como él. La arquitectura tiene la suerte de tenerle como arquitecto..." Philip Johnson. Article in Fortune Review. 1962. El Documento de tesis cierra la visión de Gruen realizando un recorrido por los diferentes capítulos de su libro esencial, Shopping Towns Usa: The Planning of Shopping Centers. Solo su índice resulta un monumento al proceso de gestación del Centro Comercial. El libro, aquí simplemente mostrado en su estructura básica como un silencioso testigo, es la referencia canónica los Centros Comerciales contemporáneos, desde su aparición. . El Cuarto Capítulo del Documento de tesis es una recapitulación del trabajo anterior, en el que se sintetizan los conceptos de función y estilo relacionados con el Centro Comercial, se define en qué consiste cada uno de ellos y como, a partir de ahí, podemos afirmar que nos encontramos ante un tipo arquitectónico nuevo en el panorama de la disciplina arquitectónica. Terminamos el Capítulo integrando el Centro Comercial con un cuerpo teórico de referencias que se remiten a un tipo arquitectónico concreto y particular, acogiendo su singularidad como fenómeno arquitectónico autónomo. Como Conclusión de la tesis, resultado de todo lo anterior es decir, como consecuencia de la integración de un torrente de percepciones e intuiciones en un cuerpo teórico de referencias, deducidas de la existencia de unas claves que estructuran y penetran la esencia del singular modelo estudiado, haciéndolo detectable y seductor, resultan las características de un tipo arquitectónico con entidad propia que ordena, orienta y supedita la realidad y la existencia de esta nueva arquitectura. Una arquitectura nunca antes definida como tal, en el panorama tipológico de la disciplina. Teoría tipológica para una nueva arquitectura, que hemos ido proponiendo a lo largo del trabajo y que es coherente con los diferentes parámetros que se han analizado. Un conjunto edificado que, desde el estudio de sus claves esenciales y de sus invariantes perceptibles, aparece ahora más cercano, más familiar. Tanto que es posible destilar desde este conocimiento cercano e íntimo, una síntesis útil como referencia proyectual y como referencia para las grandes cuestiones que preocupan al discurrir del debate arquitectónico y sus ideas. El debate de la disciplina. El objeto de esta tesis, que consistía en establecer que el conjunto edificado que conocemos como Centro Comercial se constituye en un nuevo tipo en el panorama de las tipologías arquitectónicas, entendido el Centro Comercial en sentido genérico como familia arquitectónica con características propias y específicas que la hacen autónoma y reconocible, queda a nuestro juicio argumentado y justificado. ABSTRACT Within the frame of the built heritage there is a construction that is recognized as Shopping Center. An ensemble understood as an architectural family with its own specific recognizable characteristics. This thesis aims to explain that this building complex constitutes a new type in the panorama of architectural typology. This typology, with its singular identity, is connected to a way of understanding the idea of the model beyond an orthodox conception of the term understood as virtual model. This typology comes from a theoretical structure that we called typological theory, and it serves as yet another tool to reference the study and development design of the architectural spaces. In this first section, the Method, we emotionally explore the opportunities of this thesis. Why this typology has been ignored and the interest this work has in the present moment. An opportunity and an interest explained from an experience of a life dedicated to the world of Shopping Centers. The text then introduces the need for a rigorous knowledge of the Shopping Center’s essence in order to understand its impact in the frame of a new society and a new physical environment. A frame time where the historical mechanisms of association of civic community have given way to other gathering spaces like the Shopping Center, which encourages individualism, but is demanded by a society that relates to them. Spaces that, according to Galbraith, are a result of the intrinsic perversity of the unstoppable movement of the wheel of consumption-production. A society that has turned to worship of material achievement. Worship that provokes the appearance of an increasing value of consumption, according to Koolhaas, the only goal of humanity. Worship that ends in the need to reach certain status levels in the plane of a permanent comparison where the need of possession excites the consumer and gives them the illusion of being special. The product of consumption rises up to consideration of social values, entering a dynamic of marketing values, not only objects, but the desire of the individual remains. The study appears also to clarify the meaning of a space that serves the consumer and its context. A meaning that makes sense with the appearance of the suburbanization, the massive utilization of the car, the increase of living standards and the new role of women in the society after the Second World War, giving rise to the Age of Consumption. A world now determined and controlled by media and unlimited offers, where it’s necessary to place them in the context of the ordinary. An architecture that has to be judged precisely for its relation with this specific contemporary man. This section ends justifying the term ignored that appears in the Title of the Thesis, considering it in relation with the lack of studies structured about the Shopping Center and its architecture, drawing from Pevsner's work, A history of building types, 1976. Finally, the Shopping Center is analyzed with the most critical of thoughts, which considers it as populist architecture. The First Chapter, Precedents, proposes an historical tour of the commercial architecture throughout history. The Document looks to place on record the characteristics of the commercial architecture to set the connection between them and the Mall itself. These correspondences are going to allow us to answer the rhetorical question: is it the architecture of the Shopping Center a subsidiary architecture, or does it have its own personality independent from that of the commercial world? The reason of this historical search, citing Bruno Zevi, is that it is indispensable to establish the relationship between architecture and history, understating that an analysis is only possible when researching for their roots. Moreover, according to Guy de Maupassant, we are sure that architecture has had the privilege, across the centuries, of symbolizing as it were each age(…), through the harmony of lines and the charm of ornamentation all the grace and grandeur of an epoch. This historical reading, inseparable from a consistent design action, begins interpreting the commercial architecture of the Minoan to the 20th Century. Though this analysis of the big commercial itineraries and the study of the Shopping Center itself. A reading where we have found a series of constants that make it possible to draw conclusions from this comparison. The Mall appears to give response to the needs of a consumerist society. Comparing to the calm pace of the evolution of other commercial solutions, it is relevant its fast implantation and evolution in a short period of sixty years. Though via different solutions, the commercial spaces are considered taking into account the public-private relation, the interior-exterior, the inside-out, the closed-opened. Through that, the 19th century galleries and the food markets represent a revolution in functionality, in the machine, the modern management and the relations of the citizen within the city. All of this, the Mall inheritor feels. Likewise, the Department Store is the reflection of another great revolution. Production and commercialization en-mass, communications, the fixed price and increase of the living standard. The Mall reinterprets these situations inserting them in a new model of management. Already in the 20th century Mall and mass technologies of sale, the hypermarket is enthusiastically incorporated into the configuration of this organic scheme, constituting the base of one of the models, the French, that will be highly developed in the European continent. The shop itself constitutes, on the other hand, the key piece that completes the puzzle of the Mall and is in this epoch when it starts taking off as architecture, has an autonomous character. After all this, finally, we come to the big commercial routes, which we propose as metaphor of the shopping. Citing Eugenio Ferrer we can conclude that “If we establish a relation between the space and the capitalism, then we can infer that the spaces of the consumption of masses (ECM) are new configurations with regard to the past (...), but the system that introduces it it is not completely” Now we arrive at this point and with the perspective of time it is necessary to ask us, what do we understand about the Shopping Center? How do we perceive it? The second Chapter approaches the problem of the perception of the Mall and from this it is possible to detect and to identify key drivers that orientate the architectural comprehension of the space. The efficiency of the Shopping Center is its main power of attraction. A world that has ensued from the synthesis of the revolution of consumption and management. An effective cavern-like place of entertainment where the user, the consumer, the postmodern man solves his daily life inside a considered habitat. The hyperbolic place of commercial transaction. An abundance of space, that makes us perceive it as destination of entertainment. An architecture has evolved this efficiency, where the sense of place is at one with the sense of the Shopping. The home of the consumer. The new cathedrals. The cathedral of consumption. The place of peregrination for the fervent consumer. A sacred space that integrates the user in the dominant culture. A temple, where time itself has stopped existing. In this paroxysm, an expression of the Garden of Eden or Paradise itself. A space where the height, the natural daylight and the spatial dimension reinforce the sacred character of a new lay religion. Another common perception is that of a protected area, which leads to metaphors and considerations that suggest the idea of maternal womb, with its weight of erotic meaning, referring to the encounter of the shopper making a purchase. The literature also tells us about its perception as a sterile space capsule, a black hole that absorbs all cultural energy. Likewise, a world simulation where a mock city is perceived at first instance. Consistent with all that shopping triggers inside. A city, a space conceived as a place of dreams, fantasy, where the products have been metamorphosed into fetishes. Entertaining a television, three-dimensional television, where the user acts guided by a drive similar to zapping. A play area where the latest fascination is in the act of buying. Space simulations that unite and transcend creating atmospheres that lead to reverie. A new space replacing the daily space with the lure of safe space in a public context. A hyper-reality space with reality and fantasy, where borders are erased with imaginary episodes of confusion and bewilderment, without distinction. The charm and fascination of a space that reads like magic. The magic of a space which is defined as stage extravaganza, the large theatre, the consumer surveys in the fine control mode in which you visit a national monument. The shopping center has to survive the times to be a testimony of our time. An icon, a symbol that conveys a message, the message reads ‘consumer’. In short, a Shopping Center is a mix of unprecedented insights that speak of a widespread phenomenon of bewilderment. Its space and the reactions of contemporary man unfold in it like a fish in water. What are the key aspects which allow us to recognize the essential quality of a shopping center in this concurrence of perplexities? First, we want to record a service function of space much deeper than the immediately obvious, i.e. a purchase occurs. A building that appears to be involved with the environment and its people from the hand of the unexpected circumstances; surprise and attention. And that, in turn, also involves the visitor beyond the purchase. This dedication to service closely links the mall with its architectural nature. It is not the function of a lifeless machine. It is a feature that suggests unsuspected perceptions linked to the purchase, which speaks of an organism that lives and breathes in unison with the visitor. Second, in addition to the vocation of service-oriented desire for consumption, the Mall environment serves a particular society - The consumer society. A new society which relates to building a sense of community developed to the level of their desires. This community also constitutes the most powerful asset to the success of the daily life of the Shopping Center. Third, we emphasize that the so called economy of the experience is combined with the consumer zeal of a company that is identified by the Shopping Center. It connects to form a holistic and planned experience. This experience takes shape in the entity that ensues from the premeditated association and synergy, in the sense of a collaboration for success. A set of concrete commercial and independent establishments, take part in the spatial and commercial adventure that is the Mall and they are the instigators of the consumption. This holistic behavior finds culmination in the amplification of a claim that becomes unitary, like an immense force that leads to an increased profitability to all the levels. Consummation is a reference of one human being overturned in an architecture assimilated into a legitimate, emotional design with stability. A holistic quality is born of the essence of the building - and by virtue of the Conditions of Alexander, Christopher Alexander, determines the system condition of the Shopping Center. Fourth, we propose to establish what character the Mall will form when joined with the concept of its typology. This is going to allow the architectural work to be formed. As a result of the holistic structure that we see, the Mall is perceived as a system whose parts have their own function, justifying their existence in the ecosystem. Across a gestalt there is a powerful capacity of communication between the system and its context. We visualize on the one that stands out our building, turning both, Center and environment, in accomplices of a few special relations who complement each other in his realities. This relationship within a complex and diverse environment gives the Mall a range of unique spatial perceptions, the result of disparate experiences, which because of its root origin of gestalt, are integrated into a unified and coordinated manner fully intelligible and organized. This is the final formal essence of the Shopping Center. We can conclude here that the Mall as architecture is a structured system and should be perceived as a unit both from a physical and spatial perspective as this is the essence of its architecture. Fifth, the Mall as a system. A system which is being supported by a broad theoretical corpus, the General Systems Theory, which offers sufficient methodology to descend into consideration and give an enlightened conclusion on the overall understanding of the Mall. Consideration of the Mall as a system is a result of its holistic structure. The whole does not behave like any of the parties and they do not behave the way they used to before belonging to the whole, because they inhibit many of their qualities to their advantage. It arises the need for an ongoing dialogue between marketing processes and its translation into the physical world, the design. The system generates multiple perceptions to be integrated into a body which is to be understood as unitary. As a system, the Mall is inserted into the contemporary paradigm, creating dual realities that are not exclusive and are reactions of uncertainty that the system be properly designed at all levels, faced with their ability to self-regulate. Likewise, considering the visitor, the customer, like the quantum spectator who interacts with the system permanently. Moreover, a complex system confronts us with the Commercial mix, the effective location of parts in order to relate to the body and its importance in the architecture we are conceiving. Unpredictable architecture, which stands as the challenge of the operation and the designer. Design that becomes the tool of the system to create success for the overall operation. The discussion of the styling is merely the result of analysis that also seeks the success of the system, i.e. the styling should send the right message for the environment to ensure its survival. Sixth, the idea of negotiation as an architecture project, a mechanism inherent to the status of the proposed system. The project solution is never evident at the Shopping Center because of the unpredictability of the process itself. It can only be the fruit of the commitment of all stakeholders to achieve the objective of the operation. This is achieved from the balance of interests, of commercial and design. A commitment to negotiation and a negotiation linked to coordination. The pursuit of stability is key, as instability is always present and constantly requires strategies to build the object you are configuring. Seventh, proposes space-time itself as a circumstance that determines and structures the perception of the Mall in a singular way. We introduce concepts as chronotope and paradox to help us place the relationship between time and space within the Mall in the context of shopping. A consequence of the parallel flow of historical time - the time outside - and the time inside the Mall, the big shopping center formula is precisely that of having the feeling of timelessness in the space. The social triumph of the mall is the ability to resolve in space and in time all postmodern paradoxes and, beyond that, of contemporary man, condensing into a small space and time an enormous amount of cultural symbols, often contradictory, but they attract the practice of consumerism. Eighth, global level. Globalization which doesn’t ignore the local level. Architecture that is inserted into the dynamics of a global economy, reflects the contradictions that it imposes, mainly in the processes of inclusion and exclusion. Inclusion and exclusion affect the debate of the local level, which the Mall must incorporate as an unavoidable tool of recognition. The eight fundamental principles, when applied as a whole, confirm that the built heritage, which corresponds to the general Mall idea, can be presented as a cohesive conceptual whole. This becomes part of a coherent architectural family, whose functional structures are able to be established. The Third chapter presents in a detailed way the figure of the architect Victor Gruen, recognized as the creator of the modern Mall. Studying his professional experience, it is shown how the different keys analyzed in previous chapters are appearing in a natural way. "Victor Gruen may well have been the most influential architect of the twentieth century." Malcolm Gladwell. The Terrazo Jungle. Fifty Years Ago, The Mall Was Born. America Never Would Be The Same. 2004. In The New Yorker. He was a complex, troubled man and the paradoxes along his career were notable. Nevertheless, always he appeared as a straight man. Garret Eckbo, the recognized landscape painter and collaborator of Gruen was astonished how Gruen had been capable of combining comity and humanity in this career of rates, into that the American commercialization turned, Johnson, in 1962, weighting many Gruen's skills demonstrated that he was not sure if anyone of them, architects artists, had been capable of doing what Gruen did. He goes beyond just the creation of a beautiful building. In playing on people and suggesting what they ought to do, he is a master. (…) his architecture is clean - hardly architecture, no flights of fancy. But when you get hold of its complexity, you've got something beyond the design... You can't say there's someone like him. Architecture is lucky to have him as an architect." Philip Johnson. Article in Fortune Review. 1962. The Document of the thesis closes with Gruen's vision of realizing a tour through the different chapters of his essential book, Shopping towns USA: The Planning of Shopping Centers. It’s mere index turns out to be a monument to the process of the gestation of the Mall. The book, simply acted in its basic structure as a silent witness, as the canonical reference for the contemporary Malls. The Fourth Chapter of the Document of the thesis is a recapitulation of the previous work, which synthesizes the concepts of function and style related to the Shopping Center, and clearly defines how they are defined so we can conclude that we have found an architectural new type in the panorama of the architectural discipline. Therefore, the Conclusion of the thesis integrates this development in a theoretical body of references that relate to an architectural specific and particular type, which receives the singularity of the Shopping Center as an architectural independent phenomenon as it has tried to demonstrate from the beginning of the work. To conclude, as a result of the integrative process and the development of the theoretical body of references, the essential characteristics of the order and concept of the architectural typology form the existence of a new architecture; architecture never before defined as such, in the theoretical typology of the discipline. A theoretical typology for a new architecture is proposed throughout the discussed research and forms a conclusion of the different parameters that have been analysed. As a building complex, from the study of the essential characteristics and of the perceptible constants, the typology is more clearly defined and thus, becomes a useful tool and precedent for the consideration of the discipline. The thesis then justifies how the building complex known as Shopping Center constitutes a new type of architectural typology.