Assessing construction and demolition waste on masonry works to avoid future generation

The difficulty of dealing with construction and demolition waste (CDW) on construction sites is not new and continues to be a significant environmental problem. Currently the CDW collection system in Spain is done in a decentralized manner by each sub-contracted company, being necessary to implement effective waste management measures ensuring a correct management and minimization. During the last years several measures have been launched in order to improve and encourage the reuse and recycling of CDW. A widespread solution for CDW recovery is using them as a landscaping aggregate or for road bases and sub-bases. However, measures encouraging onsite prevention still need to be enhanced. This paper studies the major work stage generating CDW and analyses the categories of CDW produced during its execution. For this, several real building sites have been analysed in order to quantify the estimation of CDW generated. Results of this study show that a significant contributor to the CDW generation on building construction sites in Spain are the masonry works. Finally, a Best Practices Manual (BPM) is proposed containing several strategies on masonry works aimed not only at CDW prevention, but also at improving their management and minimization. The use of this BPM together with the Study and Plan of CDW management --required by law--, promotes the environmental management of the company, favouring the cohesion of the construction process organization at all stages giving rise to establishing responsibilities in the field of waste and providing a greater control over the process. Keywords: construction and demolition waste, management, masonry works, good practice measures, prevention.

Health monitoring of web plastifying dampers subjected to cyclic loading through vibration tests

This article investigates experimentally the application of health monitoring techniques to assess the damage on a particular kind of hysteretic (metallic) damper called web plastifying dampers, which are subjected to cyclic loading. In general terms, hysteretic dampers are increasingly used as passive control systems in advanced earthquake-resistant structures. Nonparametric statistical processing of the signals obtained from simple vibration tests of the web plastifying damper is used here to propose an area index damage. This area index damage is compared with an alternative energy-based index of damage proposed in past research that is based on the decomposition of the load?displacement curve experienced by the damper. Index of damage has been proven to accurately predict the level of damage and the proximity to failure of web plastifying damper, but obtaining the load?displacement curve for its direct calculation requires the use of costly instrumentation. For this reason, the aim of this study is to estimate index of damage indirectly from simple vibration tests, calling for much simpler and cheaper instrumentation, through an auxiliary index called area index damage. Web plastifying damper is a particular type of hysteretic damper that uses the out-of-plane plastic deformation of the web of I-section steel segments as a source of energy dissipation. Four I-section steel segments with similar geometry were subjected to the same pattern of cyclic loading, and the damage was evaluated with the index of damage and area index damage indexes at several stages of the loading process. A good correlation was found between area index damage and index of damage. Based on this correlation, simple formulae are proposed to estimate index of damage from the area index damage.

Optimización de la agitación de un digestor anaerobio mediante mecánica de fluidos computacional

Debido al gran interés existente en el ahorro y recuperación de energía, y en el deseo de obtener productos que permitan usos beneficiosos del fango procedente de la depuración del agua residual, la digestión anaerobia es el proceso de estabilización de uso más extendido. El tiempo de retención de sólidos es un factor clave en el proceso de digestión anaerobia. En base al tiempo de retención de sólidos, se dimensiona el volumen de los digestores anaerobios para así obtener la reducción de materia orgánica deseada, con la correspondiente producción de biogás. La geometría del digestor y su sistema de agitación deben ser adecuados para alcanzar el tiempo de retención de sólidos de diseño. Los primeros trabajos sobre la agitación de los digestores realizaban únicamente experimentos con trazadores y otros métodos de medición. En otros casos, la mezcla era evaluada mediante la producción de biogás. Estas técnicas tenían el gran hándicap de no conocer lo que sucedía realmente dentro del digestor y sólo daban una idea aproximada de su funcionamiento. Mediante aplicación de la mecánica de fluidos computacional (CFD) es posible conocer con detalle las características del fluido objeto de estudio y, por lo tanto, simular perfectamente el movimiento del fango de un digestor anaerobio. En esta tesis se han simulado mediante CFD diferentes digestores a escala real (unos 2000 m3 de volumen) agitados con bomba/s de recirculación para alcanzar los siguientes objetivos: establecer la influencia de la relación entre el diámetro y la altura, de la pendiente de la solera, del número de bombas y del caudal de recirculación en dichos digestores, definir el campo de velocidades en la masa de fango y realizar un análisis energético y económico. Así, es posible conocer mejor cómo funciona el sistema de agitación de un digestor anaerobio a escala real equipado con bomba/s de recirculación. Los resultados obtenidos muestran que una relación diámetro/altura del digestor por encima de 1 empeora la agitación del mismo y que la pendiente en la solera del digestor favorece que la masa de fango esté mejor mezclada, siendo más determinante la esbeltez del tanque que la pendiente de su solera. No obstante, también es necesario elegir adecuadamente los parámetros de diseño del sistema de agitación, en este caso el caudal de recirculación de fango, para obtener una agitación completa sin apenas zonas muertas. En el caso de un digestor con una geometría inadecuada es posible mejorar su agitación aumentando el número de bombas de recirculación y el caudal de las mismas, pero no se llegará a alcanzar una agitación total de la masa de fango debido a su mal diseño original. Anaerobic digestion is the process for waste water treatment sludge stabilization of more widespread use due to the huge interest in saving and recovering energy and the wish to obtain products that allow beneficial uses for the sludge. The solids retention time is a key factor in the anaerobic digestion. Based on the solids retention time, volume anaerobic digester is sized to obtain the desired reduction in organic matter, with the corresponding production of biogas. The geometry of the digester and the stirring system should be adequate to achieve the design solid retention time. Early works on digesters stirring just performed tracer experiments and other measurement methods. In other cases, mixing was evaluated by biogas production. These techniques had the great handicap of not knowing what really happened inside the digester and they only gave a rough idea of its operation. By application of computational fluid dynamics (CFD), it is possible to know in detail the characteristics of the fluid under study and, therefore, simulate perfectly the sludge movement of an anaerobic digester. Different full-scale digesters (about 2000 m3 of volume) agitated with pump/s recirculation have been simulated by CFD in this thesis to achieve the following objectives: to establish the influence of the relationship between the diameter and height, the slope of the bottom, the number of pumps and the recirculation flow in such digesters, to define the velocity field in the mass of sludge and carry out an energy and economic analysis. Thus, it is possible to understand better how the agitation system of a full-scale anaerobic digester equipped with pump/s recirculation works. The results achieved show that a diameter/height ratio of the digester above 1 worsens its stirring and that the slope of the digester bottom favors that the mass of sludge is better mixed, being more decisive the tank slenderness than the slope of its bottom. However, it is also necessary to select properly the design parameters of the agitation system, in this case the sludge recirculation flow rate, for a complete agitation with little dead zones. In the case of a digester with inadequate geometry, its agitation can be improved by increasing the number of recirculation pumps and flow of them, but it will not reach a full agitation of the mass of sludge because of the poor original design.

Auto component supply chain: a path to global India

Supply chain management works to bring the supplier, the distributor, and the customer into one cohesive process. The Supply Chain Council defined supply chain as ‘Supply Chain: The flow and transformation of raw materials into products from suppliers through production and distribution facilities to the ultimate consumer., and then Sunil Chopra and Meindl, (2001) have define Supply chain management as ‘Supply Chain Management involves the flows between and among stages in a supply chain to maximize total profitability.’ After 1950, supply chain management got a boost with the production and manufacturing sector getting highest attention. The inventory became the responsibility of the marketing, accounting and production areas. Order processing was part of accounting and sales. Supply chain management became one of the most powerful engines of business transformation. It is the one area where operational efficiency can be gained. It reduces organizations costs and enhances customer service. With the liberalization of world trade, globalization, and emergence of the new markets, many organizations have customers and competitions throughout the world, either directly or indirectly. Business communities are aware that global competitiveness is the key to the success of a business. Competitiveness is ability to produce, distribute and provide products and services for the open market in competition with others. The supply chain, a critical link between supplier, producer and customer is emerged now as an essential business process and a strategic lever, potential value contributor a differentiator for the success of any business. Supply chain management is the management of all internal and external processes or functions to satisfy a customer’s order (from raw materials through conversion and manufacture through logistics delivery.). Goods-either in raw form or processed, whole sale or retailed distribution, business or technology services, in everyday life- in the business or household- directly or indirectly supply chain is ubiquitously associated in expanding socio-economic development. Supply chain growth competitive performance and supporting strong growth impulse at micro as well as micro economic levels. Keeping the India vision at the core of the objective, the role of supply chain is to take up social economic challenges, improve competitive advantages, develop strategies, built capabilities, enhance value propositions, adapt right technology, collaborate with stakeholders and deliver environmentally sustainable outcomes with minimum resources.

Knowledge pipeline in freight pipeline industry: competence- based model for open innovation

There is growing concern over the challenges for innovation in Freight Pipeline industry. Since the early works of Chesbrough a decade ago, we have learned a lot about the content, context and process of open innovation. However, much more research is needed in Freight Pipeline Industry. The reality is that few corporations have institutionalized open innovation practices in ways that have enabled substantial growth or industry leadership. Based on this, we pursue the following question: How does a firm’s integration into knowledge networks depend on its ability to manage knowledge? A competence-based model for freight pipeline organizations is analysed, this model should be understood by any organization in order to be successful in motivating professionals who carry out innovations and play a main role in collaborative knowledge creation processes. This paper aims to explain how can open innovation achieve its potential in most Freight Pipeline Industries.

La barrera del análisis estructural y la representación gráfica en el desarrollo de los proyectos arquitectónicos: el caso de la Ópera de Sidney

En numerosas ocasiones a lo largo de la historia la imaginación de los creadores ha ido por delante de las posibilidades técnicas de cada momento. Así, muchas de estas nuevas ideas han requerido largos periodos de tiempo para materializarse como realidad construida, hasta que el desarrollo tecnológico e industrial hubo alcanzado un grado de madurez suficiente. En el campo de la arquitectura, estas limitaciones técnicas se han ido acotando paulatinamente hasta desembocar en la situación actual en la que cualquier planteamiento formal puede ser representado gráficamente y analizado desde un punto de vista estructural, superádose de este modo la barrera existente históricamente en el tratamiento de las formas. A lo largo del presente tesis doctoral se analiza cómo la formulación del Método de los Elementos Finitos en la década de los cincuenta y las curvas de Bézier en la década de los sesenta del siglo pasado y la posterior generalización de los ordenadores personales y de los programas informáticos asociados (C.A.D. y F.E.M. principalmente) en los estudios de arquitectura e ingeniería a partir de la década de los noventa, posibilitó el desarrollo de cualquier propuesta arquitectónica, por compleja que ésta fuese, provocando una verdadera revolución a nivel formal en el mundo de la arquitectura, especialmente en el campo de la edificación singular o icónica. Se estudia este proceso a través de ocho edificios; cuatro anteriores y otros tantos posteriores a la desaparición de la barrera anteriormente referida, establecida de forma simbólica en la década de los años ochenta del siglo XX: Frontón de Recoletos en Madrid, Edificio Seagram en Nueva York, Habitat ’67 en Montreal, Ópera de Sídney, museo Guggenheim de Bilbao, ampliación del Victoria & Albert Museum en Londres, tanatorio “Meiso no Mori” en Gifu y nueva sede de la CCTV en Pekín. De entre ellos, la Ópera de Sídney, obra del arquitecto danés Jørn Utzon, condensa gran parte de los aspectos relevantes investigados en relación a la influencia que los métodos de representación y análisis estructural ejercen en la concepción y construcción de las obras de arquitectura. Por este motivo y por considerarse un hito de la arquitectura a nivel global se toma como caso de estudio. La idea general del edificio, que data de 1956, se enmarca en una época inmediatamente anterior a la del desarrollo científico y tecnológico anteriormente referido. Esta ausencia de herramientas de diseño disponibles acordes a la complejidad formal de la propuesta planteada condicionó enormente la marcha del proyecto, dilatándose dramáticamente en el tiempo y disparándose su coste hasta el punto de que el propio arquitecto danés fue separado de las obras antes de su conclusión. Además, la solución estructural finalmente construida de las cubiertas dista mucho de la prevista por Utzon inicialmente. Donde él había imaginado unas finas láminas de hormigón flotando sobre el paisaje se materializó una estructura más pesada, formada por costillas pretensadas de hormigón con unas secciones notablemente mayores. La forma también debió ser modificada de modo ostensible respecto a la propuesta inicial. Si este edificio se pretendiese construir en la actualidad, con toda seguridad el curso de los acontecimientos se desarrollaría por senderos muy diferentes. Ante este supuesto, se plantean las siguientes cuestiones: ¿sería posible realizar un análisis estructural de la cubierta laminar planteada por Utzon inicialmente en el concurso con las herramientas disponibles en la actualidad?; ¿sería dicha propuesta viable estructuralmente?. A lo largo de las siguientes páginas se pretende dar respuesta a estas cuestiones, poniendo de relieve el impacto que los ordenadores personales y los programas informáticos asociados han tenido en la manera de concebir y construir edificios. También se han analizado variantes a la solución laminar planteada en la fase de concurso, a través de las cuales, tratando en la medida de lo posible de ajustarse a las sugerencias que Ove Arup y su equipo realizaron a Jørn Utzon a lo largo del dilatado proceso de proyecto, mejorar el comportamiento general de la estructura del edificio. Por último, se ha pretendido partir de cero y plantear, desde una perspectiva contemporánea, posibles enfoques metodológicos aplicables a la búsqueda de soluciones estructurales compatibles con la forma propuesta originalmente por Utzon para las cubiertas de la Ópera de Sídney y que nunca llegó a ser construida (ni analizada), considerando para ello los medios tecnológicos, científicos e industriales disponibles en la actualidad. Abstract On numerous occasions throughout history the imagination of creators has gone well beyond of the technical possibilities of their time. Many new ideas have required a long period to materialize, until the technological and industrial development had time to catch up. In the architecture field, these technical limitations have gradually tightened leading to the current situation in which any formal approach can be represented and analyzed from a structural point of view, thus concluding that the structural analysis and the graphical representation’s barrier in the development of architectural projects has dissappeared. Throughout the following pages it is examined how the development of the Finite Element Method in the fifties and the Bezier curves in the sixties of the last century and the subsequent spread of personal computers and specialized software in the architectural and engineering offices from the nineties, enabled the development of any architectural proposal independently of its complexity. This has caused a revolution at a formal level in architecture, especially in the field of iconic building. This process is analyzed through eight buildings, four of them before and another four after the disappearance of the above mentioned barrier, roughly established in the eighties of the last century: Fronton Recoletos in Madrid, Seagram Building in New York Habitat '67 in Montreal, Sydney Opera House, Guggenheim Museum Bilbao, Victoria & Albert Museum extension in London, Crematorium “Meiso no Mori” in Gifu and the new CCTV headquarters in Beijing. Among them, the Sydney Opera House, designed by Danish architect Jørn Utzon, condenses many of the main aspects previously investigated regarding the impact of representation methods and structural analysis on the design and construction of architectural projects. For this reason and also because it is considered a global architecture milestone, it is selected as a case study. The building’s general idea, which dates from 1956, is framed at a time immediately preceding the above mentioned scientific and technological development. This lack of available design tools in accordance with the proposal’s formal complexity conditioned enormously the project’s progress, leading to a dramatic delay and multiplying the final budget disproportionately to the point that the Danish architect himself was separated from the works before completion. Furthermore, the built structure differs dramatically from the architect’s initial vision. Where Utzon saw a thin concrete shell floating over the landscape a heavier structure was built, consisting of prestressed concrete ribs with a significantly greater size. The geometry also had to be modified. If this building were to built today, the course of events surely would walk very different paths. Given this assumption, a number of questions could then be formulated: Would it be possible to perform a structural analysis of Utzon’s initially proposed competition-free-ways roof’s geometry with the tools available nowadays?; Would this proposal be structurally feasable?. Throughout the following pages it is intended to clarify this issues, highlighting personal computers and associated software’s impact in building design and construction procedures, especially in the field of iconic building. Variants have also been analyzed for the laminar solution proposed in the competition phase, through which, trying as far as possible to comply with the suggestions that Ove Arup and his team did to Jørn Utzon along the lengthy process project, improving the overall performance of the building structure. Finally, we have started from scratch and analyzed, from a contemporary perspective, possible structural solutions compatible with Utzon’s Opera House’s original geometry and vision –proposal that was never built (nor even analyzed)-, taking into consideration the technological, scientific and industrial means currently available.

State Convergence Theory Applied to a Delayed Teleoperation System

State convergence is a control strategy that was proposed in the early 2000s to ensure stability and transparency in a teleoperation system under specific control gains values. This control strategy has been implemented for a linear system with or without time delay. This paper represents the first attempt at demonstrating, theoretically and experimentantally, that this control strategy can also be applied to a nonlinear teleoperation system with n degrees of freedom and delay in the communication channel. It is assumed that the human operator applies a constant force on the local manipulator during the teleoperation. In addition, the interaction between the remote manipulator and the environment is considered passive. Communication between the local and remote sites is made by means of a communication channel with variable time delay. In this article the theory of Lyapunov-Krasovskii was used to demonstrate that the local-remote teleoperation system is asymptotically stable.

Idas y venidas. Los viajes de arquitectura en España entre 1920 y 1960

Esta tesis se propone indagar en las vias por las que la arquitectura española cambió en el periodo comprendido entre 1920 y 1960 y el papel que los viajes tuvieron en dicho cambio. La investigación busca demostrar que, junto a otros factores como la llegada de revistas y libros y las conferencias de arquitectos de la talla de Le Corbusier, Gropius, Mendelsohn, Neutra o Aalto, los viajes tuvieron un papel clave en el proceso de apertura de miras y que provocó que, bien a traves de lo publicado en las revistas por los “arquitectos viajeros” o por el reflejo que tuvo lo conocido fuera de nuestras fronteras en proyectos y obras concretas, un buen numero de arquitectos, que no tuvieron la posibilidad de viajar, pudieron conocer que existía una realidad muy distinta a la que los profesores en la Escuela les habían enseñado o a la que estaban acostumbrados a ver en otros arquitectos de generaciones anteriores basada, en buena medida, en la recuperación de un estilo propio nacional centrandose en los historicismos. A lo largo de la investigación trataremos de ver que efecto produjo la apertura de fronteras y que papel tuvieron los viajes en dicho proceso. También nos centraremos en comprobar hasta qué punto cambió la manera de ver la arquitectura de los protagonistas del viaje y de aquellos que recibieron la información por ellos encontrada. Veremos cómo dicha información es cuantificable, clasificable y demostrable en propuestas concretas. Será importante ver que motivó su salida, que buscaban y que encontraron así como, entre las influencias recibidas, cuales tuvieron un mayor calado: las propuestas europeas o las americanas, y dentro de las primeras, las holandesas, las alemanas o las francesas. Los objetivos que se persigue conseguir son: contribuir a un mayor conocimiento de la arquitectura entre 1920 y 1960 a través de las conexiones internacionales y el ensanchamiento de horizontes, recopilar, clasificar y analizar todo el material obtenido relacionando los viajes con las biografías de los arquitectos protagonistas, estudiar qué interesa a los arquitectos españoles cuando van fuera y porqué (será importante ver quiénes de entre los arquitectos son más abiertos a las corrientes europeas y que motivó su salida en busca de nuevos lenguajes), ordenar las reflexiones que exponen los arquitectos a la vuelta de sus viajes y ver en que propuestas y de qué forma los arquitectos plasman lo encontrado en su búsqueda en el extranjero. Para conseguir estos objetivos estructuraremos la investigación en tres bloques: En el primero de ellos nos centraremos en profundizar como era la arquitectura española a principios del siglo XX. Para poder entender mejor las transformaciones que los viajes provocaron será necesario conocer cuál era la arquitectura predominante en estos años que, como veremos, consistía en la búsqueda de un estilo nacional propio dirigiendo su mirada al pasado. También veremos cómo un grupo de arquitectos (Palacios, Flórez, Torres Balbás o Anasagasti) fueron pioneros en el deseo de mirar fuera de nuestras fronteras así como dedicaremos especial atención a cómo era la formación en la Escuela. El segundo capítulo, que abarca desde principios de los años 20 hasta la Guerra Civil, tratará de demostrar la importancia que tuvo en el proceso de permeabilidad frente a las corrientes extranjeras los viajes que los arquitectos realizaron y que, sumados a la llegada de revistas y las visitas de los principales arquitectos modernos, provocaron una primera apertura como respuesta a los historicismos predominantes. Entre los arquitectos viajeros destacaremos las figuras de Fernando García Mercadal (incidiendo en su importancia como difusor de la arquitectura moderna), Rafael Bergamín, Ramón Sánchez Arcas y Luis Lacasa. También nos detendremos en ver la importancia que tuvieron las exposiciones (con especial atención a la de Artes Decorativas de París de 1925 y la de la Deutscher Werkbund en Stuttgart en 1927) que se realizaron estos años y como llegó la información a nuestro país. El tercer y último capítulo arranca con el periodo de posguerra, una época de transición pues los viajes que se realizaron fueron escasos y en la mayoría de las ocasiones no se llevaron a cabo en busca de nuevos caminos. Veremos cómo tras la Guerra y de la mano de la dictadura se produce, de la misma forma que en la Alemania nazi, una vuelta al interés por los historicismos de principios de siglo. Para entender mejor este periodo haremos un repaso a la obra de Luis Gutiérrez Soto por ser explicativa de lo cambiante de las corrientes arquitectónicas de estos años. Tras el análisis de los sucedido en posguerra nos dedicaremos a analizar, de la misma forma que en el primer periodo, la manera en que se produjo el rechazo al estilo nacional de nuevo gracias a la llegada de libros y revistas, lo publicado por las revistas españolas, las visitas de arquitectos de prestigio así como los viajes de un grupo de arquitectos que, de manera individual, salieron al extranjero en busca de apoyo, de referencias en los que cimentar su arquitectura. De este grupo, por la importancia que los propios protagonistas dieron al hecho de viajar como complemento a su formación y por la manera en la que reflejaron lo aprendido en proyectos concretos destacamos a Francisco de Asís Cabrero, Miguel Fisac, Ramón Vázquez Molezún y Francisco Javier Sáenz de Oiza. De nuevo, igual que en el primer capítulo finalizaremos la investigación dedicando un apartado a las exposiciones (fundamentalmente la Interbau de Berlín de 1957) celebradas en estos años. Para finalizar estableceremos las conclusiones que nos llevarán a comprobar hasta qué punto la arquitectura española en los periodos previo y posterior a la guerra cambió y en qué medida tuvieron importancia los viajes que los arquitectos españoles realizaron al extranjero en dicho cambio… ABSTRACT This thesis aims to look at the ways which Spanish architecture changed in the period between 1920 and 1960, and the way it was effected by travelling . The research will demonstrate that, together with other factors, such as the arrival of magazines, books, conferences and architects like Le Corbusier, Gropius, Mendelsohn, Neutra or Aalto, travelling played a key role in architecture. Also, it changed the way we look at architecture. Travelling, thanks to the published journals by "travelling architects” and the influence that they had - known beyond our borders in projects and concrete works, caused the arrival of a new type of architects. Even those who were not able to travel, knew that there was a very different reality than the reality the teachers at the school had taught them. Also, the “new reality” was different from the one that they were used to seeing in other architects of earlier generations, based mainly on the recovery of a national style focused on historicism. Throughout the investigation I will try to show the effect that the opening of borders and travelling had on this process. We will also focus on checking how it changed the way we see the architecture, from the point of view of the protagonists of the travels and those who received the information . We will see how that information is quantifiable and demonstrably classifiable into concrete proposals. It will be important to see which led to their departure. They sought and found among the influences, which had a major impact: the proposed European or American, and within the first, Dutch, German or French. The objectives to be achieved are: To contribute to a better understanding of architecture between 1920 to 1960 by the international connections, and widening the horizon. To collect, classify and analyze all obtained materials related to travelling with biographies of architects protagonists. To study what the interests of the Spanish architects were when they went abroad and why ( it will be important to see who among those architects were more open to European trends and prompted their departures for new languages). To order reflections exhibited by architects around his travels and to see what proposals and how architects reflected what they found in their search abroad. To achieve these objectives we will structure this research in three areas: In the first one, we will focus on how the Spanish architecture in the early twentieth century was. To better understand the changes that travelling caused it is necessary to understand that the predominant architecture in these years was in pursuit of its own national style, directing its gaze to the past, like we shall see. We will also see how a group of architects (Palacios, Flórez, Torres Balbás or Anasagasti) pioneered by looking beyond our borders and devote special attention to how the training was in the School. The second chapter, ranging from early 20s to the Civil War, will try to demonstrate the importance that travelling had in the process of diffusion currents. That, together with the arrival of magazines and visits by leading modern architects, led to a first opening in architecture, in response to the prevailing historicism. Among the travelers we highlight architects like Fernando García Mercadal (stressing his importance as a disseminator of modern architecture), Rafael Bergamín, Ramón Sánchez Arcas and Luis Lacasa. We will also stop to see the importance of exhibitions (with special attention to the Decorative Arts in Paris in 1925 and the Deutscher Werkbund in Stuttgart in 1927) that were held over the years and how the information came to our country . The third and final chapter starts with the post war period, a time of transition for the travels, which were scarce and in most cases were not conducted on new roads. We will see that after the war and with the dictatorship, a return to interest in historicism of the century occurred, just as in Nazi Germany. For better understanding of this period we will review the work of Luis Gutiérrez Soto. His work is explanatory of the changing of architectural trends over these years. After analyzing the case in post war, we turn to analyze, in the same way as in the first period, the manner in which rejection occurred in national style again with the arrival of books and magazines. Visits by prestigious architects and group travels of architects who, individually, went abroad in search of support, references on which to base their architecture. In this group of architects, due to the importance that the protagonists gave to the act of traveling to improve their training and the way in which they reflected what they learned in practical projects, I include Francisco de Asís Cabrero, Miguel Fisac, Ramon Vazquez Molezún and Francisco Javier Saenz de Oiza. Again, as in the first chapter, we will conclude the investigation dedicating a section to the exhibitions held in these years (mainly Interbau Berlin, 1957). Finally establishing conclusions lead us to see how far the Spanish architecture in the pre- and post -war periods changed and how much the trips were important to Spanish architects who performed abroad on the change...

A supervised cooperative learning system for early detection of language disorders

The Quality of Life of a person may depend on early attention to his neurodevel-opment disorders in childhood. Identification of language disorders under the age of six years old can speed up required diagnosis and/or treatment processes. This paper details the enhancement of a Clinical Decision Support System (CDSS) aimed to assist pediatricians and language therapists at early identification and re-ferral of language disorders. The system helps to fine tune the Knowledge Base of Language Delays (KBLD) that was already developed and validated in clinical routine with 146 children. Medical experts supported the construction of Gades CDSS by getting scientific consensus from literature and fifteen years of regis-tered use cases of children with language disorders. The current research focuses on an innovative cooperative model that allows the evolution of the KBLD of Gades through the supervised evaluation of the CDSS learnings with experts¿ feedback. The deployment of the resulting system is being assessed under a mul-tidisciplinary team of seven experts from the fields of speech therapist, neonatol-ogy, pediatrics, and neurology.

The Use of Patents to Assess National Innovation Systems: Evidences from Spanish Biotechnology

Spain’s economy recorded a high rate of growth from the mid-1990s onwards. At the same time, the resources allocated to Research and Development (R&D) grew at a much faster pace than in other European Union (EU) countries. Spain’s growth recorded an average rate of 2.93% from the early 1990s to 2004. Over the same period, the average growth in the EU was 0.46%. This circumstance, together with several sound policy decisions implemented between 2004 and 2009, ushered in a “golden age of Spanish biotechnology”. In terms of the national patent licenses issued by the Spanish Patent and Trademark Office (SPTO) between 2004 and 2009, the number in biotechnology grew from 84 to 151. However, the current economic situation in Spain, along with a series of political decisions taken over the past two or three years to cut spending on R&D, predicts a sharp downturn in the performance of Spanish biotechnology. This scenario makes Spain one of the best places to study the successes and failures of the management of science and allows transfer this experience to the other international regions. We need to analyze the influence of political decisions as a major factor with a bearing on the quality of science. Using patents as an indicator of scientific development, this paper analyzes the evolution of the biotechnology sector in Spain and its relationship with scientific policy and the management of R&D.

La arquitectura religiosa de Luis Cubillo de Arteaga (1954-1974)

Esta Tesis Doctoral viene a cubrir el vacío existente referido a la arquitectura religiosa de Luis Cubillo de Arteaga, arquitecto conocido fundamentalmente por su aportación a la vivienda social madrileña en los años 50 y 60, pero con una abundante obra sacra. Para ello se ha estudiado la totalidad de su producción, que abarca desde 1954 hasta 1974. La Tesis analiza su arquitectura religiosa desde varios puntos de vista, que incluyen la implantación de los edificios y sus aspectos formales, constructivos y tipológicos, estos últimos especialmente destacados tras las directrices emanadas del Concilio Vaticano II. Previamente se analizan cuatro ámbitos relevantes en la arquitectura religiosa de Cubillo. En primer lugar se estudia la labor de la Dirección General de Asuntos Eclesiásticos, a la que estaba adscrito el arquitecto y para la que realizó sus primeros trabajos. Dentro de ella se expone la evolución del modelo de Seminario entre los años 40 y 60, para analizar la relevancia de la propuesta de Cubillo para el Seminario de Castellón. A continuación se trata la participación de Cubillo en la construcción de la periferia de Madrid, aunque no referida a sus conocidos trabajos sobre vivienda social, sino a los edificios dotacionales. Así mismo se expone una iniciativa hasta ahora inédita de la Comisaría de Ordenación Urbana de Madrid para dotar de centros parroquiales a los nuevos barrios. Un tercer bloque estudia un tema recurrente a finales de los años 50, la integración de las artes en la nueva arquitectura religiosa, propiciada principalmente por José Luis Fernández del Amo. En el caso de Cubillo, las colaboraciones más notables y objeto de estudio en esta Tesis, fueron las realizadas con los artistas Arcadio Blasco y José Luis Sánchez. Por último se describe la situación de la iglesia madrileña posconciliar y su plan de construcción de nuevos templos, en el que jugó un papel muy destacado Cubillo, convertido en arquitecto de confianza de la Oficina Técnica del Arzobispado-------------------------ABSTRACT------------------------------ This Doctoral Thesis fills the emptiness of knowledge about the religious architecture of Luis Cubillo de Arteaga, architect mainly known for his contribution to Madrid's social housing in the 50s and 60s, but with a wide sacred work. To this end it have been studied his entire production, ranging from 1954 to 1974. The thesis discusses his religious architecture from several points of view, including the implementation of the buildings and their formal, constructive and typological aspects, the latter especially important by following the guidelines issued by Vatican II. Previously, four relevant areas in Cubillo’s religious architecture are analyzed. First of all, it’s studied the work of the Department of Ecclesiastical Affairs, to which the architect was assigned and for whom he made his early works. As a part of it, is exposed the evolution of Seminar model between 40s and 60s, to discuss the relevance of Cubillo’s design for the Seminar of Castellón. Next, it´s studied the participation of Cubillo in the construction of the outskirts of Madrid, although not referring to his well known work on social housing, but to the design of the comunitary buildings. It’s also explained an unpublished initiative from Commissariat for Urban Planning of Madrid to provide parish centers to new neighborhoods. A third section examines a recurring theme in the late 50s, the integration of the arts in the new religious architecture, mainly leaded by José Luis Fernández del Amo. For Cubillo, the most notable collaborations, studied in this thesis, were with the artists Arcadio Blasco and José Luis Sánchez. Finally, it´s described the situation of the post-conciliar church in Madrid and its plan to build new temples, with a prominent role of Cubillo, that became in trusted architect of the Technical Office of the Archbishop.

Artefactos energéticos : de Fuller a Piñero (1961-1972) = Energetic artefacts : from Fuller to Piñero (1961-1972)

La obra de Emilio Pérez Piñero que se desarrolla entre los años 1961 y 1972 año en el que muere en un accidente de tráfico volviendo de Figueras, se centra principalmente en artefactos desplegables y desmontables, ejecutando prototipos que en el presente trabajo se han dividido en dos grupos; la cúpula reticular y la infraestructura. No pudo por tanto acudir al Congreso de 1972 de la UIA a recoger el premio Auguste Perret a la innovación tecnológica, que en años anteriores habían recibido Félix Candela, Jean Prouvé, Hans Scharoun o Frei Otto, y que en aquella ocasión tuvo que recoger su viuda. Parámetros como el de la movilidad, indeterminación, intercambiabilidad, obsolescencia y otros que se analizan en el presente trabajo, aparecen a lo largo de toda su obra ya que muchos de sus artefactos están ubicados en no-lugares y tienen un carácter itinerante y por tanto se hace indispensable su rápido montaje y desmontaje, que unas veces se resuelve mediante la desmontabilidad y otras con la plegabilidad de éstos. Aunque pueda parecer Piñero una figura autárquica, lo cierto es que durante la década donde concentra su trabajo se produce una explosión en torno a al arquetipo que será denominado de forma genérica `artefacto´, ligado conceptualmente a los parámetros que aquí se definen. Entendemos artefacto como objeto material realizado por una o varias personas para cumplir una función, es sinónimo de máquina y aparato y deriva de las palabras latinas ars o artis (técnica) y facto (hecho), para designar a los objetos cuya fabricación requiere alguna destreza. El término latino `ars´ engloba a las técnicas y a las artes, lo que no ocurre con el término castellano arte que deriva de él. Los movimientos utópicos que comparte la década con Piñero, utilizan el arquetipo infraestructural, ligero y high tech, para a través de una arquitectura más ligada a la ciencia ficción, realizar una crítica al Movimiento Moderno institucionalizado, todos ellos comparten cierta obsesión por la movilidad, ligada ésta a la idea de espacio flexible, dinámico, nómada. Este concepto de neo-nomadismo, que representa un habitar dinámico, aglutina las nuevas formas de vivir donde la movilidad social y geográfica son habituales. El nomadismo, por otra parte se entiende como sinónimo de democracia y libertad. La arquitectura pasa de ser pesada, estática, permanente a ser un elemento dinámico en continuo movimiento. A veces con connotaciones biológicas se asimilan los artefactos a organismos vivos y les confieren dichas propiedades de crecimiento y autonomía energética, acumulándose en torno a megaestructuras, donde quedan `enchufados´. En este intento de dotar movilidad a lo inmueble, se buscan estructuras vivas y modificables que crecen en una asimilación de las leyes naturales utilizando los parámetros de metamorfosis, simbiosis y cambio. Estos movimientos de vanguardia tienen también ciertas connotaciones políticas y sociales basadas en la libertad y la movilidad y reniegan del consumismo institucionalizado, de la arquitectura como instrumento de consumo, como objeto de usar en la cultura de masas. El carácter político de la autogestión, de la customización como parámetro proyectual, de la autosuficiencia energética, que anticipa la llegada de la crisis energética del año 1973. Objeto de este trabajo será relacionar los conceptos que aparecen fuertemente en el entorno de la década de los años sesenta del siglo XX, en el trabajo de Emilio Pérez Piñero. Parámetros encontrados como conceptos en los grupos de vanguardia y utopía a su vez fuertemente influenciados por las figuras del ingeniero Richard Buckminster Fuller y del arquitecto Konrad Wachsmann. Se analizará que posible influencia tiene la obra de Fuller, principalmente el prototipo denominado cúpula reticular, en la obra de Pérez Piñero y sus coetáneos analizando sus pensamientos teóricos en torno a parámetros como la energía, principalmente en las teorías relativas a Synergetics. El término inventado por Richard B. Fuller es una contracción de otro más largo que en inglés agrupa tres palabras; synergetic-energetic geometry. La definición de sinergia es la cooperación, es decir es el resultado de la acción conjunta de dos o más causas, pero con un efecto superior a la suma de estas causas. El segundo término, energetics geometry, que traducido sería geometría energética hace referencia en primer lugar a la geometría; ya que desarrolla el sistema de referencia que utiliza la naturaleza para construir sus sistemas y en segundo lugar a la energía; ya que además debe ser el sistema que establezca las relaciones más económicas utilizando el mínimo de energía. Por otro lado se analiza la repercusión del prototipo denominado Infraestructura, término acuñado por Yona Friedman y basado estructuralmente y conceptualmente en los desarrollos sobre grandes estructuras de Konrad Wachsmann. El arquitecto alemán divulga su conocimiento en seminarios impartidos por todo el mundo como el que imparte en Tokio y se denomina Wachsmann´s Seminar donde participan algunos de los componentes del grupo Metabolista que sorprenderán al mundo con sus realizaciones en la exposición de Osaka de 1970. El intervalo temporal entre 1961 hasta 1972 hace referencia a la horquilla donde Pérez Piñero realiza su obra arquitectónica, que comienza en 1961 cuando gana el concurso convocado en Londres por la UIA (Unión Internacional de Arquitectos) con el proyecto conocido como Teatro Ambulante, hasta 1972 que es cuando fallece volviendo de Figueras donde está realizando dos encargos de Salvador Dalí; la cubrición del escenario del futuro Teatro-Museo Salvador Dalí y la Vidriera Hipercúbica que debía cerrar la boca de tal escenario. Bajo el título de `Artefactos energéticos. De Fuller a Piñero (1961-1972)´, se presenta esta Tesis doctoral, que tiene la intención de vincular la obra de Emilio Pérez Piñero con la de las neo vanguardias producidas por una serie de arquitectos que operan en el ámbito internacional. Estas vinculaciones se producen de una forma general, donde a través de una serie de estrategias según la metodología que posteriormente se describe se buscan relaciones de la obra del autor español con algunos de los movimientos más significativos que aparecen en dicha década y de manera específica estableciendo relaciones con las obras y pensamientos de los autores que pertenecen a estos movimientos y donde estas relaciones se hacen más evidentes. El objeto del presente trabajo es analizar y explicar la obra del arquitecto Emilio Pérez Piñero, que espacialmente se localiza en el territorio español, desde el punto de vista de estos movimientos para posteriormente poder determinar si existen puntos en común y si el arquitecto español no solo comparte la década temporalmente sino también conceptualmente y por tanto utiliza el ideario que utilizan sus coetáneos que forman parte de las neovanguardias de los años sesenta de siglo XX. ABSTRACT ABSTRACT The Work of Emilio Perez Piñero was developed between the years 1961 and 1972 when he died in a car accident coming back from Figueres, where he was building a geodesic dome to close the building that enclose the Dali’s museum. All his Work is mainly centered in artifact that could be collapsible and removable, taking the two prototypes that are described in this work as a recurrent element in all his creation. These are the reticular dome and the infrastructure that are very influenced by the work from Richard B. Fuller and Konrad Wachsmann. Emilio Pérez Piñero could not receive the Auguste Perret Prize in 1972 awarded by the UIA that years before have received architects as Felix Candela, Jean Prouvé, Hans Scharoun or Frei Otto, and this time Pérez Piñero´s wife will accept it because of his death. Parameters like mobility, changeability, expendability, indetermination and others appear currently in his Work. All the inventions that Piñero had been patented and all of the artifacts that he created are usually located in no-places, because they do have a shifting identity. This kind of building has to be quickly set on site, and this problem has to be solved in term of foldability or demounting. In the decade where his work focuses, an explosion has occurred around this archetype to be generally called artifact that is usually linked to mobility. We understand artifact as a material object made by one or more people to work in a particular way. It is sometimes equated with the terms machinery and apparatus and it is derived from the Latin word `ars´ or `artis´, what means techniques and `facto´ (fact). And we use this term to refer to objects whose manufacture requires the same skill, in fact the Latin word `ars´ covers the techniques and arts, which does not occur with the Castillan term `arte´ that derives from it and means only art. The term neo-nomadic is a relatively new name used for a dynamic life, commonly referred to new forms of life where social and geographical mobility are common. On the other hand nomadic could be understood as a synonymous for democracy and freedom. The architecture is not going to be hard and static anymore but a dynamic element in the move. The Neo-avant-garde movement that shares the decade with Piñero uses this infrastructural archetype, which is light and high-tech, to criticize the institutionalized Modern Movement through architecture linked to science fiction. They all share an obsession with mobility, a concept that is connected to the terms `dynamic´, `nomadic´, `flexibile´, etc. Sometimes, with biological connotations, the utopian assimilate the artifacts to living organisms and give them these properties of growth and energy autonomy, and they apparently grow around megastructures where they are plugged. In this attempt to provide mobility to the inertness, living structures and possibility of change are sought in order to make them grow like a living organism and to assimilate the natural laws of growth. According to a definition from architecture provided by Fernández- Galiano who calls it `exosomatic artifact´, he understand architecture as artifact of the human environment that regulates natural energy flows and channels the energy stored in fuels for the benefit of living beings that inhabit. It is also true that during the sixties a new environmental awareness in public opinion is formed and that is due to the exploitation and disproportionate use of energy resources, acceleration of technological processes and mass consumption. Consequently a new concept is born: energy autonomy, it is very close to rational use of natural energy. Such a concept will be culturally assimilated with the requirement of independence not only in the management but also in the building construction until we arrive at energy autonomy. The individuals become energy consumer, which in turn can enter the energy produced in the system to `life in an eco-mode way´. The objectives of this research are analyzing all of these parameters and concepts that are coming into view in the surrounding of the decade and relate them with the Work of Pérez Piñero. Terms strongly present in the avant-garde movements around the decade, a young architect’s generation strongly influenced by Richard B. Fuller and Konrad Wachsmann. However, it will be analyzed how important the influence of Buckminster Fuller's Work was and his theoretical text about energy on the Work of Pérez Piñero and his fellows of the decade. The term Synergetic was invented by Fuller and came from the words synergy and energetic geometry. Synergy is the cooperation or interaction of two or more agents to produce a greater effect than the sum of their separate effects. Energetic geometry is related to the geometries that the Nature is using to build their construction but always using low energy consumption. On the other hand, the influences from Wachsmann around the prototype called Infrastructure have been analyzed. The German architect has developed knowledge around huge structures that he has spread all around the world through seminars that he has been conducted. One of these was the Wachsmann´s seminar in Tokyo, where same of the members of the Metabolist group were taking part of. Later these young architects will surprise the world with his artifacts at the World Exposition in Osaka in 1970. Between 1961 and 1972 Pérez Piñero produced his architectural work. It began in 1961 when he received the first prize with his project Mobile Theatre in the competition organized by the UIA in London. In 1972 the Auguste Perret Prize was granted by the UIA too. He could not accept it because he died before in a car accident when he was coming from Figueres, when he was designing two projects for Dali. With the title `Energetic Artifacts. From Fuller to Piñero (1961- 1972)´, this thesis relates the Work of Emilio Pérez Piñero with the neo avant-garde made by a young architects’ generation who is sharing the time with him. Several strategies have been used to formed relationships between them. They are described in the present work to set up a method that allows us to relate the work and ideas of the architects of the neo avant-garde with the ones from Piñero. This work is intended to analyze and explained the work of Pérez Piñero from the point of view of the international architects’ generation who is operating at the same time and finally to determinate if Piñero is not sharing the time with them but the concepts, ideas and architectural parameters.