Agrupaciones heterogéneas e intervención en arquitecturas existentes

Esta tesis doctoral profundiza, dentro del campo de la práctica del proyecto arquitectónico, en aquellas técnicas proyectuales que al intervenir sobre lo ya construido son capaces de cambiar su valor y su significado. La investigación tiene como objetivo demostrar que es posible revertir la obsolescencia de las arquitecturas ordinaras existentes mediante una técnica proyectual que hemos llamado agrupaciones heterogéneas. En ellas, la preexistencia y lo aportado inauguran un tiempo de convivencia que obliga a reinterpretar a la primera mientras que la segunda es forzada a traducir sus imaginarios. Esta investigación se conecta con el mundo del conocimiento a través de dos vectores, uno que lo enlaza con el estudio de las agrupaciones heterogéneas y otro con la intervención sobre arquitecturas ordinarias. Para el desarrollo de los trabajos, en una primera parte, se ha procedido al análisis de cada campo por separado a través del estudio de casos concretos: la plastic furniture de Charles y Ray Eames para el caso de las agrupaciones heterogéneas y el libro-manifiesto Plus de Frédéric Druot, Anne Lacaton y Jean-Philippe Vassal para la intervención sobre arquitecturas ordinarias. En cada estudio hemos obtenido unas conclusiones parciales: la arquitectura entendida como estado de encuentro y la teoría de la resistencia a los imaginarios. La segunda parte de la tesis toma el proyecto de Frank Gehry para su casa en Santa Mónica como un ejemplo en el que se ha revertido con éxito la obsolescencia de una arquitectura ordinaria a través de la técnica de las agrupaciones heterogéneas. A partir de ese ejemplo, y bajo la perspectiva de los dos campos estudiados, se propone una cartografía teórica para leer los procesos de innovación que tienen lugar al utilizar esta estrategia en diseño del proyecto. ABSTRACT This PhD thesis will provide an in-depth view of the techniques in practice in architectural projects, with proposals that are able to change the value and meaning of work that has already been built. The research is aimed at proving that it is possible to revert the obsolescence of the existing ordinary architecture using a project technique that we have called “heterogeneous ensembles”. In these ensembles, what existed beforehand and what has been contributed afterwards have brought about a new form of co-existence which forces the former to be reinterpreted and the latter to clarify its archetypes. This research connects to the world of knowledge through two vectors: one which links it to the study of the heterogeneous ensembles and the other to the work carried out on the ordinary architecture. To carry out this work, firstly we analysed each field separately by studying specific cases: the Charles and Ray Eames plastic furniture for the heterogeneous ensembles and the book and manifesto Plus by Frédéric Druot, Anne Lacaton and Jean- Philippe Vassal for the work carried out on the ordinary architecture. We drew partial conclusions in each study: architecture understood as a state of encounter and the theory of resistance to the archetypes. The second part of the thesis takes Frank Gehry’s project for his Santa Monica house as an example in which the obsolescence of ordinary architecture has been successfully reverted using the heterogeneous ensembles technique. Based on this example and from the standpoint of the two fields in question, we propose a theoretical cartography to read the innovation processes that take place when using this strategy in project design.

An autostereoscopic device for mobile applications based on a liquid crystal microlens array and an OLED display

In recent years, many experimental and theoretical research groups worldwide have actively worked on demonstrating the use of liquid crystals (LCs) as adaptive lenses for image generation, waveform shaping, and non-mechanical focusing applications. In particular, important achievements have concerned the development of alternative solutions for 3D vision. This work focuses on the design and evaluation of the electro-optic response of a LC-based 2D/3D autostereoscopic display prototype. A strategy for achieving 2D/3D vision has been implemented with a cylindrical LC lens array placed in front of a display; this array acts as a lenticular sheet with a tunable focal length by electrically controlling the birefringence. The performance of the 2D/3D device was evaluated in terms of the angular luminance, image deflection, crosstalk, and 3D contrast within a simulated environment. These measurements were performed with characterization equipment for autostereoscopic 3D displays (angular resolution of 0.03 ).

Plastic Furniture: las sillas-mundo

Investigación sobre las herramientas arquitectónicas utilizadas por Charles y Ray Eames a través del estudio de la familia de mobiliario que ha recibido el nombre de Plastic Furniture

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

Application of backend database contents and structure to the design of spoken dialog services

Current development platforms for designing spoken dialog services feature different kinds of strategies to help designers build, test, and deploy their applications. In general, these platforms are made up of several assistants that handle the different design stages (e.g. definition of the dialog flow, prompt and grammar definition, database connection, or to debug and test the running of the application). In spite of all the advances in this area, in general the process of designing spoken-based dialog services is a time consuming task that needs to be accelerated. In this paper we describe a complete development platform that reduces the design time by using different types of acceleration strategies based on using information from the data model structure and database contents, as well as cumulative information obtained throughout the successive steps in the design. Thanks to these accelerations, the interaction with the platform is simplified and the design is reduced, in most cases, to simple confirmations to the “proposals” that the platform automatically provides at each stage. Different kinds of proposals are available to complete the application flow such as the possibility of selecting which information slots should be requested to the user together, predefined templates for common dialogs, the most probable actions that make up each state defined in the flow, different solutions to solve specific speech-modality problems such as the presentation of the lists of retrieved results after querying the backend database. The platform also includes accelerations for creating speech grammars and prompts, and the SQL queries for accessing the database at runtime. Finally, we will describe the setup and results obtained in a simultaneous summative, subjective and objective evaluations with different designers used to test the usability of the proposed accelerations as well as their contribution to reducing the design time and interaction.

BioMet®Tools: from modeling and simulation to product design and development

BioMet®Tools is a set of software applications developed for the biometrical characterization of voice in different fields as voice quality evaluation in laryngology, speech therapy and rehabilitation, education of the singing voice, forensic voice analysis in court, emotional detection in voice, secure access to facilities and services, etc. Initially it was conceived as plain research code to estimate the glottal source from voice and obtain the biomechanical parameters of the vocal folds from the spectral density of the estimate. This code grew to what is now the Glottex®Engine package (G®E). Further demands from users in medical and forensic fields instantiated the development of different Graphic User Interfaces (GUI’s) to encapsulate user interaction with the G®E. This required the personalized design of different GUI’s handling the same G®E. In this way development costs and time could be saved. The development model is described in detail leading to commercial production and distribution. Study cases from its application to the field of laryngology and speech therapy are given and discussed.

Agent-based modeling and simulation for the design of the future european Air Traffic Management system: the experience of CASSIOPEIA

The SESAR (Single European Sky ATM Research) program is an ambitious re-search and development initiative to design the future European air traffic man-agement (ATM) system. The study of the behavior of ATM systems using agent-based modeling and simulation tools can help the development of new methods to improve their performance. This paper presents an overview of existing agent-based approaches in air transportation (paying special attention to the challenges that exist for the design of future ATM systems) and, subsequently, describes a new agent-based approach that we proposed in the CASSIOPEIA project, which was developed according to the goals of the SESAR program. In our approach, we use agent models for different ATM stakeholders, and, in contrast to previous work, our solution models new collaborative decision processes for flow traffic management, it uses an intermediate level of abstraction (useful for simulations at larger scales), and was designed to be a practical tool (open and reusable) for the development of different ATM studies. It was successfully applied in three stud-ies related to the design of future ATM systems in Europe.

Tradición y evolución moderna. Tres arquitecturas patio de Francisco de Asís Cabrero.

A partir del estudio de tres ejemplos seleccionados: El "zoco" expositivo de la primera Feria Nacional del Campo (1950), la Escuela Nacional de Hostelería y el pabellón de la Obra Sindical del Hogar (1956) describimos los mecanismos proyectuales utilizados por Francisco de Asís Cabrero en sus arquitecturas-patio. La investigación parte de las referencias basadas en los invariantes de la tradición hispanomusulmana descritos por Fernando Chueca, que se transforman y adaptan al incorporar las referencias modernas: el racionalismo italiano, las casas patio de Mies o las construcciones ligeras de Charles y Ray Eames. Concluiremos que los sistemas o tapices de muros paralelos y organizaciones en "U" son una referencia poco conocida a los sistemas clásicos empleados por Cabrero, y que subyace en su obra radicalmente moderna. La investigación surge de la documentación original recopilada durante la realización de la tesis doctoral y se ilustra con dibujos del autor.

Arquitectura + juego : (los años pop 1956-1967)

En 1938 surge en la escena académica un nuevo hombre –el homo ludens–, que llega de la mano del historiador Johan Huizinga. Ante el inminente aumento del tiempo libre, a partir de la disminución de la jornada de trabajo por una creciente automatización de la industria, el homo ludens viene a complementar el tiempo de trabajo ocupado desde la Revolución Industrial por el homo faber. La validez y fuerza de la propuesta de Huizinga está basada en el Juego como generador de cultura y desde allí el estudio del comportamiento de la sociedad desde su aspecto lúdico. Aquí radica la fortaleza representativa del HOMO LUDENS para las vanguardias de posguerra, que se proponen incluirlo en sus debates culturales analíticos y propositivos. En la posguerra Europa vivía el triunfalismo de la guerra en medio de sociedades y ciudades ruinosas que necesitaban una urgente reconstrucción. Se oían otras realidades, tanto el ‘American way of life’ como “The Americans” (Robert Frank, 1958): la sociedad de la abundancia, el gusto popular, la inclusión de lo cotidiano y lo banal, la publicidad, los medios de comunicación de masas, el consumo, la reconversión de la industria bélica en doméstica, las telecomunicaciones, los robots, los nuevos materiales, la carrera espacial y la ciencia ficción. Inglaterra surge como natural vínculo social y cultural con Estados Unidos, convirtiéndose en catalizador de las ideas vanguardistas. Ese panorama efervescente, ‘los años pop’, surge como una realidad cultural que representaba la complejidad, el caos, y la fascinación de la imaginería de un futuro presente, ilustrado en las propuestas artísticas de la época. Surgían, tanto desde Estados Unidos como desde Europa, ideas novedosas sobre la utilización lúdica del tiempo libre, como forma de potenciar la naturaleza creativa del ser humano: el Independent Group, Charles y Ray Eames, el Black Mountain Collage, el Theatre of Action, The Factory, la Internacional Situacionista y la Generación Beat. Estos grupos de gran impacto cultural basaron sus acciones en la utilización del Juego en sus propuestas, esencialmente bajo la in¬ fluencia dadá y singularmente de Marcel Duchamp cuyas propuestas revolucionaron la historia del arte del siglo XX. Todos ellos exploraron permanentemente la unión del arte a la vida a través de experiencias lúdicas, sirviendo como motivadores de las propuestas arquitectónico-urbanísticas en estudio en esta investigación. Estas principales son: de Alison y Peter Smithson “Berlín Hauptstadt” (1957); de ARCHIGRAM “Plug-in city” (1963-1964) e Instant City (1968); de Yona Friedman “Arquitectura Móvil” (1957); de Cederic Price “Fun Palace” (1960-1961); y de Constant Nieuwenhuys “New Babylon” (1959-64). La investigación fue conducida por una búsqueda ‘flexible’ de conceptos, hechos, personajes y proyectos. Desde el análisis de los escritos, gráficos, estudios y trabajos realizados por los protagonistas de la vanguardia, así como de una lectura contextual de la época enriquecida e ilustrada con hechos significativos y anécdotas divertidas, se opera en simultaneidad con una multiplicidad de fuentes. Se maneja un gran volumen de información proveniente de áreas de conocimiento muy diferentes (filosofía, arte, arquitectura, antropología, sociología, sicología, etc.), trabajándose con un objeto de estudio ‘vivo’, abierto y en constante reorganización. Pretende además de comunicar sus dérives, como construcción de discursos históricos, estimular el planteamiento de nuevas derivas. A través de un proceso minucioso se buscaron las relaciones entre los conceptos de Juego teóricos elaborados por distintos pensadores a partir de Kant y Schiller, que tuvieran una clara relación con los procesos proyectuales de los Arquitectos de la vanguardia en estudio. Dos factores son claves: el carácter de seriedad del Juego y la decisión de situar la investigación en el lugar del juego-play (juego libre y sin reglas). Se concluye sobre la estrecha relación Arquitectura y Juego en la vanguardia estudiada, profundizando en: el acto creativo del proyectar como proceso lúdico –por parte del Arquitecto–; el desarrollo de un homo ludens destinatario/usuario; las nuevas herramientas disciplinares desarrolladas: soporte topológico, plug-in, fragmentación, flexibilidad, on-off, transportabilidad. Una nueva arquitectura lúdica desde la que se profundiza en los aportes disciplinares teóricos y prácticos bajo este enfoque: la Arquitectura desde el automovimiento, lo efímero, el fragmento, el azar e indeterminación, lo ficticio, el vacío.

Design and Optimization of Power Delivery and Distribution Systems Using Evolutionary Computation Techniques

Nowadays computing platforms consist of a very large number of components that require to be supplied with diferent voltage levels and power requirements. Even a very small platform, like a handheld computer, may contain more than twenty diferent loads and voltage regulators. The power delivery designers of these systems are required to provide, in a very short time, the right power architecture that optimizes the performance, meets electrical specifications plus cost and size targets. The appropriate selection of the architecture and converters directly defines the performance of a given solution. Therefore, the designer needs to be able to evaluate a significant number of options in order to know with good certainty whether the selected solutions meet the size, energy eficiency and cost targets. The design dificulties of selecting the right solution arise due to the wide range of power conversion products provided by diferent manufacturers. These products range from discrete components (to build converters) to complete power conversion modules that employ diferent manufacturing technologies. Consequently, in most cases it is not possible to analyze all the alternatives (combinations of power architectures and converters) that can be built. The designer has to select a limited number of converters in order to simplify the analysis. In this thesis, in order to overcome the mentioned dificulties, a new design methodology for power supply systems is proposed. This methodology integrates evolutionary computation techniques in order to make possible analyzing a large number of possibilities. This exhaustive analysis helps the designer to quickly define a set of feasible solutions and select the best trade-off in performance according to each application. The proposed approach consists of two key steps, one for the automatic generation of architectures and other for the optimized selection of components. In this thesis are detailed the implementation of these two steps. The usefulness of the methodology is corroborated by contrasting the results using real problems and experiments designed to test the limits of the algorithms.

Advances in the SMS design method for imaging optics

In this work, two SMS algorithms are presented for an objective design with different selected ray-bundles: three meridian ray-bundles (3M) and one meridian and two skew ray-bundles (1M-2S), the latter from pin hole point of view, provides a better sampling of the phase space. Results obtained with different algorithms will be compared.

First results obtained using the CENBG nanobeam line: performances and applications

A high resolution focused beam line has been recently installed on the AIFIRA (“Applications Interdisciplinaires des Faisceaux d’Ions en Région Aquitaine”) facility at CENBG. This nanobeam line, based on a doublet–triplet configuration of Oxford Microbeam Ltd. OM-50™ quadrupoles, offers the opportunity to focus protons, deuterons and alpha particles in the MeV energy range to a sub-micrometer beam spot. The beam optics design has been studied in detail and optimized using detailed ray-tracing simulations and the full mechanical design of the beam line was reported in the Debrecen ICNMTA conference in 2008. During the last two years, the lenses have been carefully aligned and the target chamber has been fully equipped with particle and X-ray detectors, microscopes and precise positioning stages. The beam line is now operational and has been used for its firstapplications to ion beam analysis. Interestingly, this set-up turned out to be a very versatile tool for a wide range of applications. Indeed, even if it was not intended during the design phase, the ion optics configuration offers the opportunity to work either with a high current microbeam (using the triplet only) or with a lower current beam presenting a sub-micrometer resolution (using the doublet–triplet configuration). The performances of the CENBGnanobeam line are presented for both configurations. Quantitative data concerning the beam lateral resolutions at different beam currents are provided. Finally, the firstresults obtained for different types of application are shown, including nuclear reaction analysis at the micrometer scale and the firstresults on biological samples

Structural behaviour and design criteria of under-deck cable-stayed bridges subjected to seismic action

Under-deck cable-stayed bridges are very effective structural systems for which the strong contribution of the stay cables under live loading allows for the design of very slender decks for persistent and transient loading scenarios. Their behaviour when subjected to seismic excitation is investigated herein and a set of design criteria are presented that relate to the type and arrangement of bearings, the number and configuration of struts, and the transverse distribution of stay cables. The nonlinear behaviour of these bridges when subject to both near-field and far-field accelerograms has been thoroughly investigated through the use of incremental dynamic analyses. An intensity measure that reflects the pertinent contributions to response when several vibration modes are activated was proposed and is shown to be effective for the analysis of this structural type. The under-deck cable-stay system contributes in a very positive manner to reducing the response when the bridges are subject to very strong seismic excitation. For such scenarios, the reduction in the stiffness of the deck because of crack formation, when prestressed concrete decks are used, mobilises the cable system and enhances the overall performance of the system. Sets of natural accelerograms that are compliant with the prescriptions of Eurocode 8 were also applied to propose a set of design criteria for this bridge type in areas prone to earthquakes. Particular attention is given to outlining the optimal strategies for the deployment of bearings

An overview of the ciao multiparadigm language and program development environment and its design philosophy

We describe some of the novel aspects and motivations behind the design and implementation of the Ciao multiparadigm programming system. An important aspect of Ciao is that it provides the programmer with a large number of useful features from different programming paradigms and styles, and that the use of each of these features can be turned on and off at will for each program module. Thus, a given module may be using e.g. higher order functions and constraints, while another module may be using objects, predicates, and concurrency. Furthermore, the language is designed to be extensible in a simple and modular way. Another important aspect of Ciao is its programming environment, which provides a powerful preprocessor (with an associated assertion language) capable of statically finding non-trivial bugs, verifying that programs comply with specifications, and performing many types of program optimizations. Such optimizations produce code that is highly competitive with other dynamic languages or, when the highest levéis of optimization are used, even that of static languages, all while retaining the interactive development environment of a dynamic language. The environment also includes a powerful auto-documenter. The paper provides an informal overview of the language and program development environment. It aims at illustrating the design philosophy rather than at being exhaustive, which would be impossible in the format of a paper, pointing instead to the existing literature on the system.

An overview of ciao and its design philosophy

We provide an overall description of the Ciao multiparadigm programming system emphasizing some of the novel aspects and motivations behind its design and implementation. An important aspect of Ciao is that, in addition to supporting logic programming (and, in particular, Prolog), it provides the programmer with a large number of useful features from different programming paradigms and styles and that the use of each of these features (including those of Prolog) can be turned on and off at will for each program module. Thus, a given module may be using, e.g., higher order functions and constraints, while another module may be using assignment, predicates, Prolog meta-programming, and concurrency. Furthermore, the language is designed to be extensible in a simple and modular way. Another important aspect of Ciao is its programming environment, which provides a powerful preprocessor (with an associated assertion language) capable of statically finding non-trivial bugs, verifying that programs comply with specifications, and performing many types of optimizations (including automatic parallelization). Such optimizations produce code that is highly competitive with other dynamic languages or, with the (experimental) optimizing compiler, even that of static languages, all while retaining the flexibility and interactive development of a dynamic language. This compilation architecture supports modularity and separate compilation throughout. The environment also includes a powerful autodocumenter and a unit testing framework, both closely integrated with the assertion system. The paper provides an informal overview of the language and program development environment. It aims at illustrating the design philosophy rather than at being exhaustive, which would be impossible in a single journal paper, pointing instead to previous Ciao literature.