Potencial de la producción de bioelectricidad de las Comarcas Agrarias de la Comunidad de Madrid en base a centeno y triticale

En el presente trabajo se estudia la producción potencial de biomasa procedente de los cultivos de centeno y triticale en las seis comarcas agrarias de la Comunidad de Madrid (CM) y la posibilidad de su aplicación a la producción de bioelectricidad en cada una de ellas. En primer lugar se realiza un estudio bibliográfico de la situación actual de la bioelectricidad. Uno de los principales datos a tener en cuenta es que en el PER 2011- 2020 se estima que el total de potencia eléctrica instalada a partir de biomasa en España en el año 2020 sea de 1.350 MW, unas dos veces y media la existente a finales de 2010. Además, se comenta el estado de la incentivación del uso de biomasa de cultivos energéticos para producción de electricidad, la cual se regula actualmente según el Real Decreto-ley 9/2013, de 12 de Julio, por el que se adoptaron medidas urgentes para garantizar la estabilidad financiera del sistema eléctrico, y se consideran los criterios de sostenibilidad en el uso de biocombustibles sólidos. Se realiza una caracterización de las seis comarcas agrarias que forman la Comunidad Autónoma de Madrid: Área Metropolitana, Campiña, Guadarrama, Lozoya- Somosierra, Sur-Occidental y Vegas, la cual consta de dos partes: una descripción de la climatología y otra de la distribución de la superficie dedicada a barbecho y cultivos herbáceos. Se hace una recopilación bibliográfica de los modelos de simulación más representativos de crecimiento de los cultivos (CERES y Cereal YES), así como de ensayos realizados con los cultivos de centeno y triticale para la producción de biomasa y de estudios efectuados mediante herramientas GIS y técnicas de análisis multicriterio para la ubicación de centrales de bioelectricidad y el estudio de la logística de la biomasa. Se propone un modelo de simulación de la productividad de biomasa de centeno y de triticale para la CM, que resulta de la combinación de un modelo de producción de grano en base a datos climatológicos y a la relación biomasa/grano media de ambos cultivos obtenida en una experiencia previa. Los modelos obtenidos responden a las siguientes ecuaciones (siendo TN = temperatura media normalizada a 9,9 ºC y PN = precipitación acumulada normalizada a 496,7 mm): - Producción biomasa centeno (t m.s./ha) = 2,785 * [1,078 * ln(TN + 2*PN) + 2,3256] - Producción biomasa triticale (t m.s./ha) = 2,595 * [2,4495 * ln(TN + 2*PN) + 2,6103] Posteriormente, aplicando los modelos desarrollados, se cuantifica el potencial de producción de biomasa de centeno y triticale en las distintas comarcas agrarias de la CM en cada uno de los escenarios establecidos, que se consideran según el uso de la superficie de barbecho de secano disponible (25%, 50%, 75% y 100%). Las producciones potenciales de biomasa, que se podrían alcanzar en la CM utilizando el 100% de la superficie de barbecho de secano, en base a los cultivos de centeno y triticale, se estimaron en 169.710,72 - 149.811,59 - 140.217,54 - 101.583,01 - 26.961,88 y 1.886,40 t anuales para las comarcas de Campiña - Vegas, Sur - Occidental - Área Metropolitana - Lozoya-Somosierra y Guadarrama, respectivamente. Se realiza un análisis multicriterio basado en la programación de compromiso para definir las comarcas agrarias con mejores características para la ubicación de centrales de bioelectricidad en base a los criterios de potencial de biomasa, infraestructura eléctrica, red de carreteras, espacios protegidos y superficie de núcleos urbanos. Al efectuar el análisis multicriterio, se obtiene la siguiente ordenación jerárquica en base a los criterios establecidos: Campiña, Sur Occidental, Vegas, Área Metropolitana, Lozoya-Somosierra y Guadarrama. Mediante la utilización de técnicas GIS se estudia la localización más conveniente de una central de bioelectricidad de 2,2 MW en cada una de las comarcas agrarias y según el uso de la superficie de barbecho de secano disponible (25%, 50%, 75% y 100%), siempre que exista potencial suficiente. Para el caso de la biomasa de centeno y de triticale en base seca se considera un PCI de 3500 kcal/kg, por lo que se necesitarán como mínimo 17.298,28 toneladas para satisfacer las necesidades de cada una de las centrales de 2,2 MW. Se analiza el potencial máximo de bioelectricidad en cada una de las comarcas agrarias en base a los cultivos de centeno y triticale como productores de biomasa. Según se considere el 25% o el 100% del barbecho de secano para producción de biomasa, la potencia máxima de bioelectricidad que se podría instalar en cada una de las comarcas agrarias variaría entre 5,4 y 21,58 MW en la comarca Campiña, entre 4,76 y 19,05 MW en la comarca Vegas, entre 4,46 y 17,83 MW en la comarca Sur Occidental, entre 3,23 y 12,92 MW en la comarca Área Metropolitana, entre 0,86 y 3,43 MW en la comarca Lozoya Somosierra y entre 0,06 y 0,24 MW en la comarca Guadarrama. La potencia total que se podría instalar en la CM a partir de la biomasa de centeno y triticale podría variar entre 18,76 y 75,06 MW según que se utilice el 25% o el 100% de las tierras de barbecho de secano para su cultivo. ABSTRACT In this work is studied the potential biomass production from rye and triticale crops in the six Madrid Community (MC) agricultural regions and the possibility of its application to the bioelectricity production in each of them. First is performed a bibliographical study of the current situation of bioelectricity. One of the main elements to be considered is that in the PER 2011-2020 is estimated that the total installed electric power from biomass in Spain in 2020 was 1.350 MW, about two and a half times as at end 2010. Also is discussed the status of enhancing the use of biomass energy crops for electricity production, which is currently regulated according to the Real Decreto-ley 9/2013, of July 12, by which urgent measures were adopted to ensure financial stability of the electrical system, and there are considered the sustainability criteria in the use of solid biofuels. A characterization of the six Madrid Community agricultural regions is carried out: Area Metropolitana, Campiña, Guadarrama, Lozoya-Somosierra, Sur-Occidental and Vegas, which consists of two parts: a description of the climatology and another about the distribution of the area under fallow and arable crops. It makes a bibliographic compilation of the most representative crop growth simulation models (CERES and Cereal YES), as well as trials carried out with rye and triticale crops for biomass production and studies conducted by GIS tools and techniques multicriteria analysis for the location of bioelectricity centrals and the study of the logistics of biomass. Is proposed a biomass productivity simulation model for rye and triticale for MC that results from the combination of grain production model based on climatological data and the average relative biomass/grain of both crops obtained in a prior experience. The models obtained correspond to the following equations (where TN = normalized average temperature and PN = normalized accumulated precipitation): - Production rye biomass (t d.m./ha) = 2.785 * [1.078 * ln (TN + 2*PN) + 2.3256] - Production triticale biomass (t d.m./ha) = 2,595 * [2.4495 * ln (TN + 2*PN) + 2.6103] Subsequently, applying the developed models, the biomass potential of the MC agricultural regions is quantified in each of the scenarios established, which are considered as the use of dry fallow area available (25%, 50%, 75 % and 100%). The potential biomass production that can be achieved within the MC using 100% of the rainfed fallow area based on rye and triticale crops, were estimated at 169.710,72 - 149.811,59 - 140.217,54 - 101.583,01 - 26.961,88 and 1.886,40 t annual for the regions of Campiña, Vegas, Sur Occidental, Area Metropolitana, Lozoya- Somosierra and Guadarrama, respectively. A multicriteria analysis is performed, based on compromise programming to define the agricultural regions with better features for the location of bioelectricity centrals, on the basis of biomass potential, electrical infrastructure, road network, protected areas and urban area criteria. Upon multicriteria analysis, is obtained the following hierarchical order based on criteria: Campiña, Sur Occidental, Vegas, Area Metropolitana, Lozoya-Somosierra and Guadarrama. Likewise, through the use of GIS techniques, the most suitable location for a 2,2 MW bioelectricity plant is studied in each of the agricultural regions and according to the use of dry fallow area available (25%, 50% , 75% and 100%), if there is sufficient potential. In the case of biomass rye and triticale dry basis is considered a PCI of 3500 kcal/kg, so it will take at least 17,298.28 t to satisfy the needs of each plant. Is analyzed the maximum bioelectricity potential on each of the agricultural regions on the basis of the rye and triticale crops as biomass producers. As deemed 25% or 100% dry fallow for biomass, the maximum bioelectricity potential varies between 5,4 and 21,58 MW in the Campiña region, between 4,76 and 19,05 MW in the Vegas region, between 4,46 and 17,83 MW in the Sur Occidental region, between 3,23 and 12,92 MW in the Area Metropolitana region, between 0,86 and 3,43 MW in the Lozoya-Somosierra region and between 0,06 and 0,24 MW in the Guadarrama region. The total power that could be installed in the CM from rye and triticale biomass could vary between 18.76 and 75.06 MW if is used the 25% or 100% of fallow land for rainfed crop.

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.

Geological patterns in the collapse of certain rock sanctuaries of Spain

Descripción de ciertos rasgos geológicos que amenazan el patrimonio religioso rupestre español. Rock sanctuaries are a historical heritage not as well-known as other religious constructions, due to their usual recondite location and abandoned condition. Spain has a large number of examples, mostly excavated during the Early Middle Age or even before. Fortunately, some of them are used on present worship, but the majority of these ancient shrines have suffered of severe damage through time, mostly due to common geological patterns. Some others threaten to collapse soon unless urgent remedial improvement is applied. Some examples at different locations are shown, reviewing their problems, which involve weathering, major rock cracks, soft rock pillars and others related to the defective site where they were located.

Five-year results of a slant-path propagation experiment at 20 GHz in Madrid

Satellite operators are starting to use the Ka-band (30/20 GHz) for communications systems requiring higher traffic capacity. The use of this band is expected to experience a significant growth in the next few years, as several operators have reported plans to launch new satellites with Ka-band capacity. It is worth mentioning the Ka-Sat satellite in Europe, launched in 2010, and ViaSat-1, of 2011, with coverage of USA1. Some other examples can be found in other parts of the World. Recent satellite communications standards, such as DVB-S22 or DVB-RCS3, which provide means to mitigate propagation impairments, have been developed with the objective of improving the use of the Ka-band, in comparison with previous technical standards. In the next years, the ALPHASAT satellite will bring about new opportunities4 for carrying out propagation and telecommunication experiments in the Ka- and Q/V-bands. Commercial uses are focused on the provision of high speed data communications, for Internet access and other applications. In the near future, it is expected that higher and higher data rates will also be needed to broadcast richer multimedia contents, including HD-TV, interactive content or 3D-TV. All of these services may be provided in the future by satellites of the current generation, whose life span can extend up to 2025 in some cases. Depending on local regulations, the available bandwidth for the satellite fixed and broadcasting services in the Ka-band is in excess of several hundred MHz, bidirectional, comprising more than 1 GHz for each sub-band in some cases. In this paper, the results of a propagation experiment that is being carried out at Universidad Politécnica de Madrid (UPM), Spain, are presented5. The objective of the experiment is twofold: gathering experimental time series of attenuation and analyzing them in order to characterize the propagation channel at these frequencies6. The experiment and statistical results correspond to five complete years of measurements. The experiment is described in more detail in Section II. Yearly characteristics of rain attenuation are presented in Section III, whereas Section IV is dedicated to the monthly, seasonal, and hourly characteristics. Section V covers the dynamic characteristics of this propagation effect, just before the conclusions are described in Section VI.

Study of packing lines for stone fruits and citrus using two instrumented spheres in some cooperatives in the region of Murcia (Spain).

Two instrumented spheres IS 100 were used to evaluate the quality of post-harvest operations. Results obtained from measurements made with both IS (8.8 cm 0 and 6.2 cm 0) show significant differences. Both IS measure the same values of the same variables for soft materials, but not for hard surfaces. Four packing lines belonging to different cooperatives of the region of Murcia (two for stone fruits and two for citrus) were tested. IS values obtained in transfers belonging to the tested lines lay well above 50 g's in most of them Much higher impact intensities are registered in citrus lines than in stone fruit packing lines. To study the incidence of a certain packing line on different products an interaction fruit-packing line test was perf01med. In all cases, more than 50% of fruits belonging to the post-handling sample showed some kind of damage. Bruises evolve after 48 hours storage at room temperature.

La Sociedad de la Información, un desafío cultural

Infociudad es el espacio informacional donde los humanos de sociedades desarrolladas, mediante terminales con botones, teclas, pantallas, contraseñas e identificadores varios, se comunican y llevan a cabo una parte creciente de sus actividades habituales y otras muchas nuevas, convertidas en señales, lenguajes y procesos inmateriales,soportados por una potente infraestructura tecnológica de arquitectura reticular.

Fernando Sáez Vacas: La tecnología debería ser un instrumento cultural

Conceptos como Sociedad de la Información, Internet, Globalización, Virtualidad, Red Universal Digital o Nuevo Entorno Tecnosocial definen al hombre contemporáneo y sus circunstancias. ¿Podemos llegar a controlar la red de tecnologías que inunda ya nuestra vida cotidiana? El investigador y catedrático de la Universidad Politécnica de Madrid Fernando Sáez Vacas, doctor ingeniero de Telecomunicación, que publica estos días Más allá de Internet: la Red Universal Digital (Editorial Ramón Areces), habla en esta entrevista sobre el histórico momento que atraviesa la Humanidad.

Pollen record during the Eemian from the Fuentillejo maar-lake sequence (Ciudad Real, Spain)

The Fuentillejo maar is located in the Central Spanish Volcanic Field of Campo de Calatrava (Ciudad Real). Fuentillejo maar-Iake is a c10sed system covering over 142 m depth oflacustrine sediments; it is one ofthe best examples oflong and continuous cores at terrestrial site from the Iberian Peninsula. PalynoIogical, mineralogical and sedimentary facies analysis were performed to characterize the sedimentary record during the Last Interglacial. In core FUENT-l this period (dated in 133 ka-120 ka) is detected between 45,90-56,90 m depth. Sedimentology point of view is characterized by develop of lacustrine facies, fineIy laminated black-brown doIomicrite mud and sapropeIIayers (Sedimentary Units 16,6-17-18). The vegetation is characterised by high polIen taxa diversity (around 50 polIen taxa of terrestriaI types, 5 polIen taxa of aquatic types, spores and 9 types of non palynological microfossils-NPM) together with a high content in the Mediterranean and mesic forest components (Quercus evergreen, Oleaceae, Quercus decidous and CoryIus), tipical ofwarm and humid conditions, and a few content on Artemisia, Pinus and Juniperus taxa (typicaI of coId or warm arid phases). The scarce forest development can be interpreted from the polIen record of mesophilus and thermophilous vegetation of the FUENT-1 sequence, in which only 40-50% of total polIen come from arboreaI associations. These vaIues for arboreal pollen content are low compared with other European polIen sequences.

Overview of the Spanish Fuel Cycle: Technical Tours Organized by Spanish young Generation in Nuclear.

Spanish Young Generation in Nuclear (Jóvenes Nucleares, JJNN) is a non-profrt organization that depends on the Spanish Nuclear Society (Sociedad Nuclear Española, SNE).Since one of rts main goals is to spread the knowledge about nuclear power,severa! technical tours to facilities wrth an importan!role in the nuclear fuel cycle have been organized for the purpose ofleaming about the different stages of the Spanish tuel cycle. Spanish Young Generation in Nuclear had the opportunity to visit ENUSA Fuel Assembly Factory in Juzbado (Salamanca, Spain), Where it could be understood the front-end cycle which involves the uranium supply and storage, design and manufacturing of fuel bundles for European nuclear power plants. Alterwards, due to the tour of Almaraz NPP (PWR) and Santa María de Garoña NPP (BWR), rt could be comprehended how to obtain energy from this fuel in two different types of reactors.Furthermore,in these two plants, the facilities related to the back-end cycle could be toured. lt was possible to watch the Spent FuelPools, where the fuel bundles are stored under water until their activity is reduced enough to transport them to an Individual Temporary Storage Facility orto the Centralized Temporary Storage. Finally, a technical tour to ENSA Heavy Components Factory (ENSA) was accomplished, Where it could be experienced at first hand how different Nuclear Steam Supply System (NSSS) components and other nuclear elements, such as racks or shipping and storage casks for spent nuclear fuel, are manulactured. All these perlonned technical tours were a complete success thanks to a generous care and know-how of the wor1

Descriptive study of production factors affecting performance traits in growing-finishing pgis in Spain.

The objective of this study was to build up a data set including productive performance and production factors data of growing-finishing (GF) pigs in Spain in order to perform a representative and reliable description of the traits of Spanish growing-finishing pig industry. Data from 764 batches from 452 farms belonging to nine companies (1,157,212 pigs) were collected between 2008 and 2010 through a survey including five parts: general, facilities, feeding, health status and performance. Most studied farms had only GF pigs on their facilities (94.7%), produced ‘industrial’ pigs (86.7%), had entire male and female (59.5%) and Pietrain-sired pigs (70.0%), housed between 13-20 pigs per pen (87.2%), had  50% of slatted floor (70%), single-space dry feeder (54.0%), nipple drinker (88.7%) and automatic ventilation systems (71.2%). A 75.0% of the farms used three feeding phases using mainly pelleted diets (91.0%), 61.3% performed three or more antibiotic treatments and 36.5% obtained water from the public supply. Continuous variables studied had the following average values: number of pigs placed per batch, 1,515 pigs; initial and final body weight, 19.0 and 108 kg; length of GF period, 136 days; culling rate, 1.4%; barn occupation, 99.7%; feed intake per pig and fattening cycle, 244 kg; daily gain, 0.657 kg; feed conversion ratio, 2.77 kg kg-1 and mortality rate, 4.3%. Data reflecting the practical situation of the Spanish growing and finishing pig production and it may contribute to develop new strategies in order to improve the productive and economic efficiency of GF pig units.

Uncertainty Analysis in New Seismic Hazard Study of Spain Aimed at the Revision of the Spanish Building Code.

In this paper we present a global overview of the recent study carried out in Spain for the new hazard map, which final goal is the revision of the Building Code in our country (NCSE-02). The study was carried our for a working group joining experts from The Instituto Geografico Nacional (IGN) and the Technical University of Madrid (UPM) , being the different phases of the work supervised by an expert Committee integrated by national experts from public institutions involved in subject of seismic hazard. The PSHA method (Probabilistic Seismic Hazard Assessment) has been followed, quantifying the epistemic uncertainties through a logic tree and the aleatory ones linked to variability of parameters by means of probability density functions and Monte Carlo simulations. In a first phase, the inputs have been prepared, which essentially are: 1) a project catalogue update and homogenization at Mw 2) proposal of zoning models and source characterization 3) calibration of Ground Motion Prediction Equations (GMPE’s) with actual data and development of a local model with data collected in Spain for Mw < 5.5. In a second phase, a sensitivity analysis of the different input options on hazard results has been carried out in order to have criteria for defining the branches of the logic tree and their weights. Finally, the hazard estimation was done with the logic tree shown in figure 1, including nodes for quantifying uncertainties corresponding to: 1) method for estimation of hazard (zoning and zoneless); 2) zoning models, 3) GMPE combinations used and 4) regression method for estimation of source parameters. In addition, the aleatory uncertainties corresponding to the magnitude of the events, recurrence parameters and maximum magnitude for each zone have been also considered including probability density functions and Monte Carlo simulations The main conclusions of the study are presented here, together with the obtained results in terms of PGA and other spectral accelerations SA (T) for return periods of 475, 975 and 2475 years. The map of the coefficient of variation (COV) are also represented to give an idea of the zones where the dispersion among results are the highest and the zones where the results are robust.

Does high speed rail compete fairly with other transportation modes? Madrid-Barcelona case study

Transportation modes produce many external costs such as congestion, accidents, and environmental impacts (pollution, noise and so on). From the microeconomic theory it is well known that in order to maximize social welfare, transportation modes should internalize the marginal costs they produce. Allocative efficiency is achieved when all transportation modes are priced at their social marginal cost. The objective of this research is to evaluate to what extent different passenger transport modes internalize their social marginal costs. This analysis is important since it affects the competitiveness of the different transport modes for a given OD pair. The case study analyzed is the corridor Madrid-Barcelona in Spain and the different transport modes have been considered (cars, buses, high-speed train and air). The research calculates the marginal social cost per user for each transportation mode, and it compares it with the average fare—allowing for the effect of discriminatory taxes—currently paid by the users. The external costs are calculated according to the guidelines established by the European Union. The gap between the marginal social cost and the price paid by users will provide the extra cost per passenger that each transport mode should have to pay for internalizing the external cost it produces. The research shows that external costs already produced by road and air transport modes are much higher than those produced by rail. However, the results show that road transport already internalizes every external costs it produces because users pay high fuel taxes. In other words, although rail transportation produces lower external costs, road transportation pays more than it should on the basis of the social marginal costs. The results of this work might be of help for Europ ean policy actions to be undertaken in the future.

Wireless Sensor Network Solution for Sustainable Food Production

Environmental monitoring has become a key aspect in food production over the last few years. Due to their low cost, low power consumption and flexibility, Wireless Sensor Networks (WSNs) have turned up as a very convenient tool to be used in these environments where no intrusion is a must. In this work, a WSN application in a food factory is presented. The paper gives an overview of the system set up, covering from the initial study of the parameters and sensors, to the hardware-software design and development needed for the final tests in the factory facilities.

Stabilization works at Olvés Church (Zaragoza-Spain)

The Olvés Church is a Lhree naves basilica. From its construction in 1767, it sufTercd important damages and successivc reparations. The church is built on a claycy hillock on top of the village with vcry fort slopcs. The retaining walls Lhat surround the church havc sufTered movements. A soil sludy was done to know its propcrtics and the reason of the movement. Also, the structural roof is broken and it is not fixed to thc walls that can movc. Thc first phase is done, with a pavcd squa rc ovcr an ancient cemetery. The next phase is a new roof structure to support the lean walls. Al'ter that done, the repair inside can start.

Vegetal preservation in the “Lo Hueco” fossil site (Cuenca, Spain)

Preservación Vegetal en el yacimiento Lo Hueco (Cuenca, España)