Analysis of Hail and Temperature Series for Peninsular Spain

Hail is a serious concern for agriculture on the Iberian Peninsula. Hailstorms affect crop yield and/or quality to a degree that depends on the crop species and the phenological time. In Europe, Spain is one of the countries that experience relatively high agricultural losses related to hailstorms. It is of high interest to study models that can support calculations of the probabilities of economic losses due to hail damage and of the tendency over time for such losses. Some studies developed in France and the Netherdlands show that the summer mean temperature was highly correlated with a yearly hail severity index developed from hailrelated parameters obtained for insurance purposes. Meanwhile, other studies in the USA point out that a highly significant correlation between both is not possible to find due to high climatic variability. The aim of this work is to test the correlation between average minimum temperatures and hail damage intensity over the Spanish Iberian Peninsula. With this purpose, correlation analyses on both variables were performed for the 47 Spanish provinces (as individuals and single set) and for all crops and four individual crops: grapes, wheat, barley and winter grains. Suitable crop insurance data are available from 1981 until 2007 and based on this period, temperature data were obtained. This study does not confirm the results previously obtained for France and the Netherlands that relate observed hail damage to the average minimum temperature. The reason for this difference and the nature of the cases observed are discussed.

Extreme temperature events analyzed with Fast Fourier Transform

Extreme weather and climate events have received increased attention in the last few years, due to the often large loss of agriculture business and exponentially increasing costs associated with them and insurance planning. This increased attention raises the question as to whether extreme weather and climate events are truly increasing, whether this is only a perceived increase exacerbated by enhanced media coverage, or both. There are a number of ways extreme climate events can be defined, such as extreme daily temperatures, extreme daily rainfall amounts, and large areas experiencing unusually warm monthly temperatures, among others. In this study, we will focus our attention in frost and heatstroke events measuring it as the number of days under 0 ºC and number of days with daily maximum over 30ºC monthly respectively. We have studied the trends in these extreme events applying a Fast Fourier Transform to the series to clarify the tendency. Lack of long-term climate data suitable for analysis of extremes is the single biggest obstacle to quantifying whether extreme events have changed over the twentieth century, including high temporal and spatial resolution observations of temperatures. However, several series have been grouped in different ways: chosen the longest series independently, by provinces, by main watersheds and altitude. On the other hand, synthetic series generated by Luna and Balairón (AEMet) were also analyzed. The results obtained by different pooling data are discussed concluding the difficulties to assess the extreme events tendencies and high regional variation in the trends.

Replacing bare fallow with cover crops in an irrigated cropping system: soil salinity and salt leaching

In irrigated areas where cover crop establishment can be assured, consequent soil or nutrient conservation could increase sustainability of cropping systems. Replacing bare fallow with cover crops may increase sustainability by enhancing soil aggregate stability, water retention capacity or controlling nitrate leaching. Nevertheless, adoption of cover crops increase evapotranspiration and reduce water percolation beyond the root systems; therefore, it could lead to salt accumulation in the upper soil layers. This study was conducted during four years to determine the effect of replacing bare fallow by a cover crop on soil salt accumulation and salt leaching in an irrigated maize production system.

Trace Elements Distribution in Red Soils under Semiarid Mediterranean Environment

This study states the potential trace elements (TE’s) content of red soils located at the centre region of Spain, characterized by low rainfall and slight acidity over prolonged weathering periods. For this purpose, three soil profiles from a catena were described, sampled and analyzed. The most notable characteristics are the low organic matter content and the predominantly acidic pH. Illite and kaolinite are the predominant clay minerals. The fertility of the soils is sufficient to provide most of the nutrients required, with very suitable potassium levels. The geochemical characters of this soil are: only few elements remain almost invariable across the profiles and over time, however the majority of them were directly linked with the clay content. These soils are characterized by relatively low levels of some trace elements such as Sr (64.35 mg?kg–1), Ba (303.67 mg?kg–1) and Sc (13.14 mg?kg–1); high levels of other trace elements such as V (103.92 mg?kg–1), Cr (79.9 mg?kg–1), Cu (15.18 mg?kg–1), Hf (10.26 mg?kg–1), Ni (38 mg?kg–1) and Zr (337 mg?kg–1); while the levels for rare earth elements (REE’s) such as La (48.36 mg?kg–1), Ce (95.07 mg?kg–1), Th (13.33 mg?kg–1) and Nd (42.65 mg?kg–1) are significantly high. The distribution of mayor and trace elements was directly re- lated to weathering processes, parent material and anthropogenic activities.

Shadow Analysis of Soil Surface Roughness Compared to the Chain Set Method and Direct Measurement of Micro-relief.

Erosion potential and the effects of tillage can be evaluated from quantitative descriptions of soil surface roughness. The present study therefore aimed to fill the need for a reliable, low-cost and convenient method to measure that parameter. Based on the interpretation of micro-topographic shadows, this new procedure is primarily designed for use in the field after tillage. The principle underlying shadow analysis is the direct relationship between soil surface roughness and the shadows cast by soil structures under fixed sunlight conditions. The results obtained with this method were compared to the statistical indexes used to interpret field readings recorded by a pin meter. The tests were conducted on 4-m2 sandy loam and sandy clay loam plots divided into 1-m2 subplots tilled with three different tools: chisel, tiller and roller. The highly significant correlation between the statistical indexes and shadow analysis results obtained in the laboratory as well as in the field for all the soil?tool combinations proved that both variability (CV) and dispersion (SD) are accommodated by the new method. This procedure simplifies the interpretation of soil surface roughness and shortens the time involved in field operations by a factor ranging from 12 to 20.

La recuperación de los murales de Rafael Troya

Rafael Troya (1845 - 1920), fue uno de los pintores ecuatorianos más destacados de su época; en el Gobierno de García Moreno, tras acompañar como ilustrador a una expedición de científicos alemanes, a varios puntos de la Sierra y el Oriente, logró plasmar muchos óleos con temas paisajísticos que, expuestos en el Palacio de Gobierno, le hicieron ganar la fama que trascendió su tiempo. Destacó también como retratista, labor que inició en Colombia, lugar en donde hizo historia con su obra. El presente artículo describe la recuperación de varios de sus murales ubicados en una casona del Centro Histórico de Quito, Patrimonio de la Humanidad desde 1978.

Impacto de las redes sociales digitales en la innovación y la ventaja competitiva : un estudio de casos

Internet y las Tecnologías de la Información y las Comunicaciones han transformado de manera notable la forma de relacionarse de las personas. Actualmente, la presencia de estas nuevas tecnologías está totalmente asumida e impacta en el día a día de millones de personas en todo el mundo. Dentro de este contexto se presentan las Redes Sociales Digitales como plataformas que han dado lugar a un cambio de mentalidad, creando una nueva forma de comprender y utilizar internet. En este proyecto se ha llevado a cabo un estudio del fenómeno de las redes sociales dentro del mundo empresarial con el fin especificar su viabilidad como herramienta profesional dentro del sector de las TIC en términos de innovación, ventaja competitiva, y riesgo. El desarrollo de este trabajo se ha abarcado en dos partes principales: en primer lugar, un análisis teórico a cerca de las ventajas competitivas que puede ofrecer esta tecnología y cómo se puede traducir en valor real para una empresa. Y en segundo lugar un estudio de casos práctico donde se ha estudiado la experiencia de distintas empresas en el uso del Social Media. Previo a la implementación de estos puntos, este estudio se ha enmarcado dentro del mundo de las TIC, presentando conceptos como la web 2.0, los tipos herramientas que pueden ser aplicadas por la empresa y modelos de negocio que se presentan en Internet. La finalidad de este trabajo consiste en presentar qué factores de los expuestos de manera teórica generan ventaja competitiva y beneficio o por el contrario, desventaja y riesgo a la empresa, apoyándose en las conclusiones obtenidas a través del estudio de casos. ABSTRACT Internet and Information and Communication Technologies have remarkably transformed the personal relationship. Thus, these technologies are completely assumed and affect to the daily life of millions of people. Under this context, is presented the Digital Social Media as platforms which have changed the global mindset triggering a new way of understanding and using the Internet. In this project, has been carried out a study of the Social Media within the professional TIC world, aimed to specify its viability as working tool in terms of innovation, competitive advantage and risk. The implementation has been covered in two main parts: First, a theoretical analysis about the competitive advantage which this technology could offer and how it can become into real value for a company. And secondly, a Case Study in order to analyze different company’s experiences in the use of Social Media and providing empirical support to the obtained conclusions in the theoretical part. In addition, before develop these two points, the project has been integrated in the TIC´s field, meeting concepts as Web 2.0, different kinds of internet-based tools which can be used by a company and business models based on the information technologies.

Quantitative characterization of five cover crop species

The introduction of cover crops in the intercrop period may provide a broad range of ecosystem services derived from the multiple functions they can perform, such as erosion control, recycling of nutrients or forage source. However, the achievement of these services in a particular agrosystem is not always required at the same time or to the same degree. Thus, species selection and definition of targeted objectives is critical when growing cover crops. The goal of the current work was to describe the traits that determine the suitability of five species (barley, rye, triticale, mustard and vetch) for cover cropping. A field trial was established during two seasons (October to April) in Madrid (central Spain). Ground cover and biomass were monitored at regular intervals during each growing season. A Gompertz model characterized ground cover until the decay observed after frosts, while biomass was fitted to Gompertz, logistic and linear-exponential equations. At the end of the experiment, carbon (C), nitrogen (N), and fibre (neutral detergent, acid and lignin) contents, and the N fixed by the legume were determined. The grasses reached the highest ground cover (83–99%) and biomass (1226–1928 g/m2) at the end of the experiment. With the highest C:N ratio (27–39) and dietary fibre (527–600 mg/g) and the lowest residue quality (~680 mg/g), grasses were suitable for erosion control, catch crop and fodder. The vetch presented the lowest N uptake (2·4 and 0·7 g N/m2) due to N fixation (9·8 and 1·6 g N/m2) and low biomass accumulation. The mustard presented high N uptake in the warm year and could act as a catch crop, but low fodder capability in both years. The thermal time before reaching 30% ground cover was a good indicator of early coverage species. Variable quantification allowed finding variability among the species and provided information for further decisions involving cover crop selection and management.

Effect of soiling in CPV systems

The effect of soiling in flat PV modules has been already studied, causing a reduction of the electrical output of 4% on average. For CPV's, as far as soiling produces light scattering at the optical collector surface, the scattered rays should be definitively lost because they cannot be focused onto the receivers again. While the theoretical study becomes difficult because soiling is variable at different sites, it becomes easier to begin the monitoring of the real field performance of concentrators and then raise the following question: how much does the soiling affect to PV concentrators in comparison with flat panels?? The answers allow to predict the PV concentrator electrical performance and to establish a pattern of cleaning frequency. Some experiments have been conducted at the IES-UPM and CSES-ANU sites, consisting in linear reflective concentration systems, a point focus refractive concentrator and a flat module. All the systems have been measured when soiled and then after cleaning, achieving different increases of ISC. In general, results show that CPV systems are more sensitive to soiling than flat panels, accumulating losses in ISC of about 14% on average in three different tests conducted at IESUPM and CSES-ANU test sites in Madrid (Spain) and Canberra (Australia). Some concentrators can reach losses up to 26% when the system is soiled for 4 months of exposure.

La arquitectura de José M. García de Paredes ideario de una obra

Acercarse a las obras de José M. García de Paredes, y mirarlas como un conjunto de ideas que nos indican una manera de pensar y de hacer arquitectura, nos explica un ideario que persiste en el tiempo. Tomando prestado el término “explicar” en el sentido que Stravinski le da en su Poética musical1: desplegar, desarrollar, describir una cosa, descubrir y aclarar su génesis, se comprueban las relaciones que cosas aparentemente dispersas tienen entre si, cómo se originan las obras para saber cómo determinan la arquitectura, una vez que ésta tiene vida propia y uso, pasado el tiempo. El motivo de esta tesis se encuentra en el orden, análisis y estudio de su archivo, realizado a partir del año 1990. García de Paredes, titulado en Madrid, fue arquitecto entre 1950 y 1990 y se inició en la arquitectura en un tiempo tan complejo como el actual. No fue un teórico de la arquitectura, si bien conoció en profundidad su teoría y dejó escritos y reflexiones sobre la manera de abordar el proyecto. Quizás no fue un arquitecto radicalmente innovador y sus obras son silenciosas, aunque muchas encierran planteamientos rotundos que permanecen voluntariamente en penumbra. Sin embargo sus obras son nítidas, tienen el valor de la coherencia y son valiosas por el conocimiento y por los valores que transmiten. Han cumplido su objetivo y ahora son parte de los lugares para los que se construyeron y parte de la vida de las personas para las que se proyectaron. En gran medida, poseen ya la pátina del tiempo. Su obra, no muy extensa, aúna ideas necesarias para abordar la práctica del proyecto y para llegar a ese voluntario resultado final en el que la arquitectura sea, además de una expresión personal, una actividad social capaz de hacer mejor la vida de las personas. Mirar la arquitectura de García de Paredes a través del estudio de todas las cuestiones que intervienen en ella y convertir su conocimiento en un instrumento útil de trabajo en el proyecto, es el objetivo de esta tesis. Así se analizan determinadas obras para exponer temas de antes y de ahora, ideas que son a la vez antiguas y contemporáneas. Este ideario sobre la arquitectura de García de Paredes no pertenece sólo a un tiempo, pues la bella utilidad social de la arquitectura y cómo llegar a ella a través del conocimiento y de la economía intelectual, sigue vigente. Y este objetivo tiene claramente una segunda lectura, pues al poner en valor el ideario de su obra, la presente tesis constituye tanto un homenaje como un agradecimiento al arquitecto. Sintetizar este ideario ha necesitado tanto del tiempo para organizar un archivo como de la práctica de la arquitectura para constatarlo. Durante una década, entre 1981 y 1990, trabajé en el estudio de José M. García de Paredes, con la mirada enfocada hacia los proyectos que entonces se desarrollaban en su estudio. En esos años, la música y las secciones de las salas de concierto llenaban las mesas de dibujo. En 1990, tras su inesperada marcha, me encontré con un legado de documentos que constituyen un fragmento de la arquitectura contemporánea española, que encierran la explicación de proyectos y planteamientos que son respuesta clara a la realidad de su momento. La preparación entonces de la documentación para las tres monografías sobre su obra me llevó a ordenar, clasificar y a documentar los fondos del estudio de manera sistemática y cronológicamente. Los documentos, conservados en archivadores y tubos sin numerar, desvelaban una obra en un momento en el cual el escenario de fondo del debate sobre arquitectura era ético. De manera casi artesanal y próximo de un grupo coherente de arquitectos, algunos vinculados también a las artes plásticas, García de Paredes utiliza los medios materiales a su alcance, interpretando la realidad de una forma personal, alejada de la frialdad del movimiento moderno estricto, con una voluntad de mejorarla y de prescindir de todo aquello que no fuera necesario. Las obras dan respuesta a esa realidad de tal manera que la transforman, como si de un “mágico realismo” se tratara. Estos documentos con olor a antiguo, más que narrar una historia, explican la manera en que se ha hecho esa historia, cómo las biografías y los acontecimientos se entrelazan para llegar al conocido resultado final. Y de un primer análisis, disponiéndolos a la vista de un mismo tiempo, va surgiendo otro interés que no es el de explicar su obra sino el de observar el proceso de trabajo de un arquitecto para desvelar un método de proyecto. Sobre el método de trabajo de un músico, Azorín se pregunta en su artículo “Vida imaginaria de Falla”: “Es fácil ver trabajar a un pintor, no es tan fácil ver enfrascado en su labor a un literato, aunque en las redacciones solamos ver cómo escribe un poeta que hace artículos para un periódico. ¿Pero cómo imaginamos a un músico en su tarea?. ¿Cómo escribe un músico?. ¿Es que siente de pronto un arrebato lírico y un poco desmelenado, los músicos deben llevar el pelo largo, se sienta al piano y comienza a tañer como una inspirada pitonisa?. ¿es que se levanta a media noche y, arrebatado por la inspiración y a la luz de la luna, si la hay, escribe febrilmente esas garrapatitas que vemos en los hilos telegráficos de la música?" Manuel de Falla en una carta le responde: “Nada de eso, mi querido amigo, mi trabajo de compositor no es tan misterioso como usted imagina: podría compararse al de un escritor que fuera a la vez arquitecto”. ¿Y cómo trabaja un arquitecto?. La complejidad del proceso arquitectónico nos presenta sin embargo resultados finales que sólo a través de una observación minuciosa permiten entrever el recorrido desde el pensamiento hasta la obra acabada. El escritor narra lo que ve o imagina y el arquitecto construye y da forma a esa realidad o a esos deseos y para ello debe mirar, escuchar y debe saber hacer. Analizar este proceso nos lleva inexorablemente a desvelar las claves que hacen valiosas determinadas arquitecturas. En junio de 1986 García de Paredes escribe el texto “Tres paisajes con arquitecturas”4. El texto describe tres paisajes culturales diferentes en distintos tiempos. El primero que describe es el Madrid neoclásico y el significado que tiene en este paisaje el Museo del Prado. El segundo paisaje se denomina “Alhambra versus Carlos V” y en él relata un delicado escenario donde se entrelazan distintas cuestiones relativas a la intervención en lugares históricos. En el tercer paisaje “Paisaje con Ruinas” tras describir las hermosas ruinas físicas del pasado concluye con una reflexión: “Hay ruinas y ruinas… Pero quizá no sean estas las verdaderas ruinas de nuestro tiempo. Qué clase de ruina producirá nuestra modesta arquitectura del siglo XX?. Nuestro legado no debería leerse en clave de piedras como las de otras épocas que no disponían de otro lenguaje que el de construir para los tiempos. Sin embargo es posible que surjan otras claves, quizá aún no bien conocidas, que sean para las generaciones futuras de tan clara lectura como la de este tercer Paisaje”. Encontrar esas claves contemporáneas, es el objeto de este paseo por las obras y escritos de García de Paredes. Mirar, suprimido el tiempo, los planos, dibujos, escritos, libros y fotografías del archivo del arquitecto, ordenando y comprendiendo los motivos que propiciaron cada obra, nos lleva a pensar que la arquitectura de cada momento es sólo un desplazamiento de los anteriores. Nada ahora es completamente distinto de lo que era entonces y la arquitectura de antes puede ser interpretada, más allá de aspectos formales, por otras generaciones, desdibujándose el tiempo donde pretendemos ordenarla. Este legado de claves conceptuales nos es útil ahora para conocer lo que permanece en la arquitectura pensando en cuestiones actuales a través de papeles antiguos. El legado de esa “modesta arquitectura” no se debe leer pues en clave de “piedras”, como expresaba García de Paredes. Gran parte de sus obras se construyen con materiales sencillos y la lectura de su valor no es directa. Sin embargo explican en qué momento la arquitectura pasa a ser un hecho capaz de transmitir intenciones ocultas y convertirse en una actividad social en sintonía con la realidad. Desvelar esta colección de ideas para enfocar cuestiones de arquitectura, en el convencimiento de que este ideario es tan válido hoy como entonces, nos acerca a ese utópico método de trabajo del arquitecto. En este ciclo abierto se han seleccionado determinadas obras que permiten plantear mejor las cuestiones que ilustran su razón de ser y así pues se suceden lugares y personas, números y geometrías, música, artes plásticas y arquitecturas. ABSTRACT Looking at the work of José M. García de Paredes as a set of ideas that outline a way of imagining and producing architecture, explains a vision that has persisted in time. Employing the word “explain” in the same sense as Stravinsky in his Poetics of Music: deploying, developing and describing something, discovering and clarifying its origins as a way of observing the relationships between things and the way designs originate in order to understand how they determine the architecture, once it has a life and use of its own after time has passed. This thesis is based on an analysis of the archives of José M. Garcia de Paredes, which began in 1990. After graduating from the Madrid School in 1950 —an equally complex time as today— he continued to practise architecture until 1990. He was not an architectural theorist but he had a deep understanding of theory and left essays and ideas on the way to tackle projects. Although he may not have been a radically innovative architect and his work may seem subdued, much of it embodies categorical approaches, which are deliberately overshadowed. Nevertheless, his work is sharp, consistent and is valuable for the knowledge and values it transmits. It has served its purpose, it now forms part of the places for which it was built and has become part of the lives of the people it was designed for. To a large extent, his buildings already show the patina of time. While not large in number, they bring together the ideas needed to put a project into practice and arrive at an end result in which the architecture is also a personal expression, a social activity that makes life better for people. The discourse takes a new look at the architecture of Garcia de Paredes through an analysis of all the issues involved in order to turn the resulting knowledge into a useful tool for project work. It therefore now, ideas that are old but at the same time contemporary. This vision time. The beautiful social utility of his architecture and the way he arrived at it through knowledge and intellectual economy still remain valid. The synthesis of this vision has required much time to organize the archive and also a professional architectural practice to put it into perspective. The preserved documents reveal a body of work that was designed at a time when ethics shaped the underlying scenario of the Relación de architectural debate. The architect used the material resources at his disposal in an almost craftsman-like way, in the company of a congruent group of architects. He interpreted reality in a personal way, removed from the coldness of the strict Modern Movement, striving to improve it and strip off anything that was unnecessary. His buildings responded to their context in such a way that transformed it, as if they were “magical realism”. Another line of analysis emerged from an initial analysis, with all the documents in view at the same time: not to explain his work but rather to study the design process of an architect in order to discover a method. In 1986, García de Paredes wrote “Three landscapes with architectures”, which describes three cultural landscapes in different times. After describing the beauty of the physical ruins of the past, the third landscape, “Landscape with Ruins”, concludes with this observation: “There are ruins and ruins ... But these might not be the real ruins of our time. What kind of ruin will be produced by our modest 20th century architecture? Our legacy should not be interpreted in the key of mere stones, like those of past eras which had access to no other language than construction for all times. Other keys, perhaps not yet familiar, may well emerge and be as legible for future generations as this third Landscape”. This tour of the work and writings of Garcia de Paredes is aimed at discovering these contemporary keys. The legacy of such keys can now help us to know what endures in architecture; thinking about current issues through the perspective of old papers. Having set aside the time factor, looking at the drawings, essays, books and photographs from the architect’s archives, organising and understanding the reasons that gave rise to each work, I now believe that the architecture of each moment is only previous work that has been shifted. Nothing is completely different now from what it was back then. The architecture of the past can be interpreted by other generations, looking beyond the aspects of form, blurring the time factor when we want to order it. For this purpose I have selected particular works that permit a better enunciation of the issues that illustrate their rationale, hence the succession of places and people, numbers and geometries, music, art and architectures.