Linked Data at the Spanish National Library and the application of IFLA RDFS models

The Spanish National Library (Biblioteca Nacional de España1. BNE) and the Ontology Engineering Group2 of Universidad Politécnica de Madrid are working on the joint project ?Preliminary Study of Linked Data?, whose aim is to enrich the Web of Data with the BNE authority and bibliographic records. To this end, they are transforming the BNE information to RDF following the Linked Data principles3 proposed by Tim Berners Lee.

Timed mind maps using MINDMANAGER & MS-PROJECT for educational innovation

The adaptation to the European Higher Education Area (EHEA) is becoming a great challenge for the University Community, especially for its teaching and research staff, which is involved actively in the teaching-learning process. It is also inducing a paradigm change for lecturers and students. Among the methodologies used for processes of teaching innovation, system thinking plays an important role when working mainly with mind maps, and is focused to highlighting the essence of the knowledge, allowing its visual representation. In this paper, a method for using these mind maps for organizing a particular subject is explained. This organization is completed with the definition of duration, precedence relationships and resources for each of these activities, as well as with their corresponding monitoring. Mind maps are generated by means of the MINDMANAGER package whilst Ms-PROJECT is used for establishing tasks relationships, durations, resources, and monitoring. Summarizing, a procedure and the necessary set of applications for self organizing and managing (timed) scheduled teaching tasks has been described in this paper.

Steps Ahead in the Few-Group CRoss-Section Library Generation at the Pin Level

There exists an interest in performing pin-by-pin calculations coupled with thermal hydraulics so as to improve the accuracy of nuclear reactor analysis. In the framework of the EU NURISP project, INRNE and UPM have generated an experimental version of a few group diffusion cross sections library with discontinuity factors intended for VVER analysis at the pin level with the COBAYA3 code. The transport code APOLLO2 was used to perform the branching calculations. As a first proof of principle the library was created for fresh fuel and covers almost the full parameter space of steady state and transient conditions. The main objective is to test the calculation schemes and post-processing procedures, including multi-pin branching calculations. Two library options are being studied: one based on linear table interpolation and another one using a functional fitting of the cross sections. The libraries generated with APOLLO2 have been tested with the pin-by-pin diffusion model in COBAYA3 including discontinuity factors; first comparing 2D results against the APOLLO2 reference solutions and afterwards using the libraries to compute a 3D assembly problem coupled with a simplified thermal-hydraulic model.

datos.bne.es and MARiMbA: an insight into Library Linked Data

Purpose – Linked data is gaining great interest in the cultural heritage domain as a new way for publishing, sharing and consuming data. The paper aims to provide a detailed method and MARiMbA a tool for publishing linked data out of library catalogues in the MARC 21 format, along with their application to the catalogue of the National Library of Spain in the datos.bne.es project. Design/methodology/approach – First, the background of the case study is introduced. Second, the method and process of its application are described. Third, each of the activities and tasks are defined and a discussion of their application to the case study is provided. Findings – The paper shows that the FRBR model can be applied to MARC 21 records following linked data best practices, librarians can successfully participate in the process of linked data generation following a systematic method, and data sources quality can be improved as a result of the process. Originality/value – The paper proposes a detailed method for publishing and linking linked data from MARC 21 records, provides practical examples, and discusses the main issues found in the application to a real case. Also, it proposes the integration of a data curation activity and the participation of librarians in the linked data generation process.

¿Es este un proyecto de Mies? / Is this a Mies s project?

Is this a Mies?s project? Disappearances, or the art of being a Mies project Angel Borrego Several years ago I had to solve the structure of Mies House of the Werkbund exhibition of 1931 as an exercise for a course named Structures Projects in the School of Architecture of Madrid. We were offered this house as an exercise because there had been some complaints about having to calculate and deal with ?bad, real, anonymous? architecture widely recognized as such, in so far as it has been widely published, that furthermore had some ideal quality to it, a quality reinforced by the fact that it was not there anymore, one could not go and see it, old and deteriorated, all images we have of it are of a shiny new object: in fact its ideal quality was even present in that it had not even been designed to be a completely real house, as nobody ever lived there and wasn?t supposed to. It was a three dimensional representation of a house, what gave it a further flair of ideality. And it was as well the representation of an idea, and we all liked that. Last but not least, it had Mies to back it up, which promised us the remote possibility of analyzing one of his works in depth, with proper tools (this was a structures course, and we had already read, or heard, something about the importance of structures in Mies?s work.) We were lured by the possibility of reconstructing, if not the pavilion, some of the ideas leading to it. Ideas that were themselves structural, like the ?perfectly regular all columnar structure?, an ideal structure. We had a sensation that we could somehow reproduce the process and thoughts of Mies leading to the solution of a particular work, investigate him in a cuasi archaeological manner, reconstruct the project, as if being able to reconstruct one work we could reconstruct the entire Mies, and placing ourselves in his position replace him, which was to know for once where we were (1). All these thoughts, passed through our minds more or less abstractly, believe it or not, before we realized that we were supposed to imagine that the roof was also supported by the walls and that the plan was lacking two columns, which was short. We could not believe that only to make the exercise more difficult, as it was admitted, the professors would mutilate a Mies work in such a way. The exercise had lost all interest to us and there were some timid protests. The surprise came when, though admitting that the supporting walls had been their idea, the professors said they had not manipulated the plan of the house at all. Some confusion followed, since that seemed quite incredible to us, even more to professors I guess. Two of us went to the library and checkout two books, one being the ?History of Modern Architecture? (the Benevolo as it was known), from where they said to have copied the plan of the house for the exercise, and another book on Mies that included the same project. The Benevolo was actually lacking the two columns, but the other book included them, making clear our point. We were able to reorient the exercise and calculate the house just as Mies had designed it. We, the students I mean, were really happy, since we had a voice in the discipline of architecture: our own discipline since we were the ones being disciplined, and we had been allowed to freely talk our way through it. I had the nice sensation that what happened was curiously and rewardingly similar to, or a kind of metaphor for, the flowing space of the free plan, that was allowed to move through the perfectly regular structure, a most disciplined structure. As Mark Wigley has noted, discipline is intimately related to prothesis. The concept of prothesis (pro-thesis) would be already architectural as ?the act of placing before?, referring to a structure that has to be placed before anything else; it is already a structure, rather than being something added that could be removed..

Strengthening and measuring project management competences of engineering students

Since 2010 the Industrial Engineering School at Universidad Politécnica de Madrid (ETSII UPM) has its Plan Study accredited by ABET. Since then a big motivation has been promoted from the management team encouraging teachers to work on the measurement and strengthening of student¿s competences. Generic skills or behavior acquired significant importance in the workplace, particularly in relation to project management. Because of this, and framed within the requirements of the European Higher Education Area (EHEA), the curriculum of the new degrees are being developed under the competence-based learning. This situation leads to the need to have a clear measurement tool skills as a basis for developing them within the curriculum. A group of multidisciplinary teachers have been working together during two years to design measuring instruments valid for engineering students.

Cooperative ITS communications architecture: the FOTsis project approach and beyond

With the continuous development in the fields of sensors, advanced data processing and communications, road transport oriented intelligent applications and services have reached a significant maturity and complexity. Cooperative ITS services, based on the idea of sharing accurate information among road entities, are currently being tested on a large scale by different initiatives. The field operational test (FOTsis) project contributes to the deployment environment with services that involve a significant number of entities out of the vehicle. This made necessary the specification of an architecture which, based on the ISO ITS station reference architecture for communications, could support the requirements of the services proposed in the project. During the project, internal implementation tests and external interoperability tests have resulted in the validation of the proposed architecture. At the same time, these tests have had as a result the awareness of areas in which the FOTsis architecture could be completed, mainly to take full advantage of all the emerging and foreseeable data sources which may be relevant in the road environment. In this study, the authors will outline an approach that, based on the current cooperative ITS architecture and the SmartCities and Internet Of Things (IoT) architectures, can provide a common convergence platform to maximise the information available for ITS purposes.

Diseño e implementación de persistencia en bases de datos basadas en Google App Engine

El mundo de la web admite actualmente los productos desarrollados tanto por desarrolladores profesionales como por usuarios finales con un conocimiento más limitado. A pesar de la diferencia que se puede suponer de calidad entre los productos de ambos, las dos soluciones pueden ser reconocidas y empleadas en una aplicación. En la Web 2.0, este comportamiento se observa en el desarrollo de componentes web. Lo que se persigue en el trabajo es desarrollar un modelo de persistencia que, apoyado por un lado servidor y por uno cliente, recoja las métricas de calidad de los componentes cuando los usuarios interaccionan con ellos. A partir de estas métricas, es posible mejorar la calidad de estos componentes. La forma en la que se van a recoger las métricas es a través de PicBit, la aplicación desarrollada para que los usuarios puedan interconectar diferentes componentes entre ellos sin restricciones, de forma que tras interactuar con ellos puedan expresar su grado de satisfacción, que se recoge para la evaluación de la calidad. Se definen también unas métricas intrínsecas al componente, no determinadas por el usuario y que sirven como referencia de la evaluación. Cuando se tienen tanto las métricas intrínsecas como procedentes del usuario, se realiza una correlación entre ellas que permite analizar las posibles desviaciones entre ellas y determinar la calidad propia del componente. Las conclusiones que se pueden obtener del trabajo es que cuando los usuarios pueden realizar pruebas de usabilidad de forma libre, sin restricciones, es mayor la posibilidad de obtener resultados favorables porque estos resultados muestran cómo usará un usuario final la aplicación. Este método de trabajo se ve favorecido por el número de herramientas que se pueden utilizar hoy para monitorizar el flujo de usuario en el servicio.---ABSTRACT---Nowadays, the web world deals with products developed both by professional developers and by end-users with some limited knowledge. Although the difference between both can be important in quality terms, both are accepted and included in web applications. In web 2.0, this behavior can be recognized in the web components development. The goal pursued in the work presented is to create a persistent model that, supported by an end and a back side, will pick the quality measures of the components when the users interact with them. These measures are the starting point for improving the components. The way in which the measures are going to be picked is through PicBit, the application we have developed in order to allow the users playing with the components without restrictions or rules, so after the interaction they can give their satisfaction mark with the application. This will be the value used to evaluate the quality. Some own measures are also defined, which does not depend on the user and which will be used as a reference point of the evaluation. When the measures from users and own ones are got, their correlation is analyzed to study the differences between them and to establish the quality of the component. The conclusion that can be gained from the project is the importance of giving freedom for users when doing usability tests because it increases the chance to get positive results, in the way the users execute the operations they want with the application. This method is fortunate for having such a number of tools to monitor the user flow when using the service.

Rem : a los dos lados del espejo = (Rem at both sides of the mirror)

Cuando se trata de Rem Koolhaas, su espejo no refleja una sola imagen sino múltiples, es un prisma poliédrico. Su espejo nos devuelve el Rem mediático, el intelectual, el conceptualizador, el constructor, el analista, el periodista, el actor... En el caso de esta investigación, fijamos el punto de mira en el Rem COMUNICADOR. “Rem a los dos lados del espejo” se enmarca en una investigación sobre los medios de comunicación de arquitectura, su reflejo en la producción arquitectónica y viceversa. Se trata de llegar a discernir si comunicación y producción arquitectónica colisionan y confluyen en el caso de grandes comunicadores como Rem Koolhaas, si el mensaje y el medio transmisor adquieren las mismas cualidades. Centrándose en la figura de Rem Koolhaas, la tesis aborda la evolución de su faceta comunicativa y las transformaciones sucesivas en el campo de la comunicación arquitectónica, en paralelo a su evolución conceptual a lo largo de su trayectoria. La investigación, por tanto, no se centra tanto en su componente teórica o en la práctica arquitectónica de OMA, sino en la exposición de su producción al mundo, especialmente a través de sus ensayos y libros. “Delirious New York” y “SMLXL” son un reflejo del momento conceptual en que se inscriben, y contienen mucha información sobre los referentes gráficos que irremediablemente han influido en su composición. Especialmente, la aparición de “SMLXL” supuso un revulsivo para el mundo de la comunicación arquitectónica, porque puso el foco sobre la importancia de dejar atrás un discurso narrativo linea y unifocal, para afrontar la comunicación barajando múltiples variables, y aproximaciones, en un proceso similar al desarrollo de un proyecto de arquitectura. Presenta un diseño muy novedoso y una edición extremadamente cuidada, que atiende a parámetros mucho más ambiciosos que los meramente narrativos. Profundiza en la necesidad de una temática global, planteando cuál es la aproximación más apropiada para cada uno de los proyectos que describe, transmitiendo al lector una percepción más allá de lo estrictamente visual, más próximo a lo sensorial. Además, su enorme repercusión a nivel internacional y el gran interés que despertó (no solamente entre los arquitectos, sino también entre diseñadores gráficos, publicistas, personas provenientes de todo tipo de tendencias artísticas y público en general), provocó la globalización del fenómeno de las publicaciones arquitectónicas y puso de manifiesto la importancia de la comunicación como una disciplina en sí misma, dentro de la producción arquitectónica en la era actual. A pesar de la importancia de “SMLXL” a todos los niveles, la presente tesis plantea que, donde realmente se culmina esa experiencia comunicativa, es en “Content”, al incluir nuevos parámetros relacionados con la fusión conceptual de continente y contenido. Es en esta publicación donde el objeto de la comunicación y la expresión de la misma se convierten en un único elemento, que se rige por leyes similares. En este caso, la ley fundamental es la aplicación hasta sus máximas consecuencias de la “cultura de la congestión”, tanto en el mensaje como en el medio, generando lo que hemos convenido en denominar “comunicación congestiva”. Esta concepción deviene en que necesariamente se materialice como un producto efímero, desechable, casi virtual, porque responde a las condiciones de un momento muy concreto y específico y fuera de ese contexto pierde su significación.. La “cultura de la congestión” empieza a surgir en los planteamientos de Koolhaas en la Architectural Association School of Architecture de Londres, bajo la tutela de Elia Zenghelis. Posteriormente se desarrolla en su manifiesto retroactivo sobre Manhattan, “Delirious New York”, donde declara la guerra abierta al urbanismo del movimiento moderno y afirma que la ciudad realmente contemporánea es aquella que es fruto de un desarrollo no planificado, hiperdensa y posible gracias a los avances tecnológicos de su era. Finalmente comienza a materializarse en la Diploma Unit 9 de la AA, donde entra como profesor en 1975, dejando una huella indeleble en las generaciones posteriores de arquitectos que pasaron dicha unidad. Rem Koolhaas es ante todo un intelectual y por ello, todo el constructo teórico sobre la metrópolis comienza a reflejarse en su obra a través de OMA desde el comienzo de su producción. Podemos decir a grandes rasgos que su carrera está marcada por dos hitos históricos fundamentales que determinan tres etapas diferenciadas en su producción. En sus primeros años de profesión, Koolhaas sigue fascinado por la metrópolis urbana y la aplicación del método paranoico crítico a su producción arquitectónica. Es un arquitecto profundamente surrealista. Entiende este método como una estrategia de conocimiento y aproximación al mundo que le rodea: “dejar salir el inconsciente pero sostenerlo con las muletas de la racionalidad”. Pero lo que en realidad le interesa es su aplicación a la gran escala, el “Bigness”, y por ello, participa en proyectos muy ambiciosos de los que surgen conceptos que, más allá de resultar premiados o no, han dejado una huella ideológica en el devenir de la arquitectura. Entre estos proyectos, cabe destacar su propuesta para el Parque de la Villette o la Très Grande Bibliotèque de París. Sus proyectos de esta época destilan una gran carga conceptual, que devienen en unos interiores sorprendentes pero una apariencia exterior sobria o incluso podríamos decir "povera", por el uso de materiales efímeros, poco habituales en la macro-arquitectura hasta ese momento. Súbitamente, en 1997, explotó el denominado “Efecto Bilbao”, de la mano de Frank Gehry (1). El Museo Guggenheim de Bilbao, con su espectacularidad, sus formas pregnantes e imposibles, impacta al mundo. Nace la era de la “Arquitectura del Espectáculo”; la transformación de la ciudad a través de ICONOS que actúen como nodos de atracción y concentración en torno a los cuales supuestamente se revitaliza la actividad económica, cultural y sociopolítica de la ciudad, como si a través de un único gesto se pudieran regenerar todos los tejidos internos de la urbe. Rem Koolhaas comprende rápidamente que la aproximación a la ciudad ha cambiado y, sobre todo, el mercado. En el mundo de la globalización, la única manera de llegar a materializar el “Bigness”, es encerrando sus ejercicios intelectuales en formas pregnantes, bellas, icónicas, espectaculares. Koolhaas encuentra su marca personal en la estética “Stealth”, proveniente de los aviones de combate facetados para evitar los radares, elaborados en los años 80. De esta época surgen proyectos como la Casa da Música de Oporto o la Biblioteca de Seattle; ambos edificios son iconos facetados, de belleza pregnante, que dejan una huella indeleble en la ciudad y provocan, al igual que el Guggenheim, un cierto efecto de recuperación y revitalización en el entorno en que se asientan, al menos de manera temporal. En cualquier caso, Koolhaas nunca abandona los ejercicios meramente teóricos, pero segrega su actividad en dos: OMA produce aquello que tiene vocación de ser construido y se rige por los parámetros del mercado global y AMO, la otra cara del espejo de Rem, aplica el pensamiento arquitectónico a campos no explorados, sin la dependencia de agentes externos, pudiendo permitirse ser un laboratorio puramente experimental. En este escenario, llega el 11 de septiembre de 2001 y el ataque a las Torres Gemelas de Nueva York tiene efectos devastadores a todos los niveles, significando, en un período de tiempo sorprendentemente corto, un cambio en el orden mundial. Rem Koolhaas da entonces un giro de 180 grados, dirige su mirada hacia China, donde entiende que sus aportaciones tienen un beneficio social más directo que en occidente. (2) Para presentar al mundo su nuevo cambio de rumbo y la creación del “Think Tank” AMO, plantea una gran exposición en la NeueGallerie de Berlín bajo el título de “Content”, experiencia paralela a la edición del libro con el mismo título, que inicialmente nace como “catálogo de la exposición, pero que internamente siempre se concibió como el documento más trascendente en el estudio desde “SMLXL”. Sin embargo, en muchos aspectos se trata de su opuesto: una publicación con formato revista, de tapa blanda, con paginado muy fino, formato de "folleto de supermercado" y contenido hiperdenso. Es un experimento efímero, fugaz, ligero, barato, de “usar y tirar”. De hecho, está fuera de stock, ya no se edita. Probablemente Rem Koolhaas desaprobaría que se hiciera una investigación que pusiera el foco sobre el mismo, porque diez años después de su publicación seguramente opine que su vigencia ha caducado. Sin embargo, muestra con una claridad meridiana el estado conceptual y vital de OMA en el momento de su publicación y representa, además un verdadero hito en la comunicación arquitectónica, un punto de no retorno, el máximo exponente de lo que hemos denominado “comunicación congestiva”. La presente tesis plantea que “Content” contiene la esencia de la mayor aportación de Rem Koolhaas al mundo de la arquitectura: la transformación profunda y definitiva de la comunicación arquitectónica mediante la convergencia del estado conceptual y la transmisión del mismo. Su legado arquitectónico y conceptual ha marcado a todas las generaciones posteriores de manera indeleble. Sus ensayos, sus teorías, sus proyectos y sus edificaciones ya pertenecen a la historia de la arquitectura, sin ninguna duda. Pero es su revisión del concepto de la comunicación en arquitectura lo que ha tenido y tendrá un reflejo inmediato en las generaciones futuras, no solamente en la comunicación sino en su arquitectura, a través de un intercambio biyectivo. El planteamiento a futuro sería determinar qué sucede tras “Content”, tras la hiperdensidad máxima, tras la cultura de la congestión visual; qué es lo que propone Koolhaas y qué se va a plantear también en el mundo de la comunicación arquitectónica. Para ello, estudiaremos en profundidad sus últimos proyectos relacionados con la comunicación, como su propuesta para la Biennale de Arquitectura de Venecia de 2014, su intensa investigación sobre el “Metabolismo” en “Project Japan: Metabolism Talks...”, o la dirección de sus últimos planteamientos territoriales. En los últimos tiempos Rem Koolhaas habla de “Preservación”, de “Sobriedad”, de “Esencialismo”, de “Performance”... El autor intelectual de la cultura de la congestión habla ahora de la “low density”...como no podía ser de otra manera en la otra cara del espejo. En definitiva, el color blanco como suma de todos los colores, todas las longitudes de onda del espectro visible recibidas al tiempo. ABSTRACT When talking about Rem Koolhaas, the mirror does not only reflect one but numerous images: it is nothing but a polyhedral prism. His mirror gives us the image of Rem the media celebrity, the intellectual, the conceptualizer, the builder, the analyst, the journalist, the actor... This research sets the spotlight on Rem the COMMUNICATOR. "Rem on both sides of the mirror" belongs to a research on architectural media, its influence on the architectural production and vice versa. It is aimed at getting to discern whether communication and architectural production collide and converge in the case of great communicators such as Rem Koolhaas, and whether the message and transmission media acquire the same features. Focusing on the figure of Rem Koolhaas, this thesis addresses the evolution of his communicative facet and the successive transformations in the field of architectural communication, parallel to the conceptual evolution he underwent throughout his career. Therefore, this research is not so much focused on his theoretical component or on the OMA’s architectural practice, but on the exhibition of his production to the world, especially through his essays and books. "Delirious New York" and "SMLXL" hold up a mirror to the conceptual moment they are part of, and contain a great deal of information about the graphic references that have inevitably influenced his work. Specially, the launch of "SMLXL" was a salutary shock for the architectural communication world, since it set the spotlight on the importance of leaving a linear and unifocal narrative behind in order to face communication considering multiple variables and approaches, based on a process similar to the development of an architectural project. It offers a very innovative design and an extremely careful editing, which deals with parameters much more ambitious than those merely narrative. It explores the need for a global subject and suggests the most appropriate approach for each of the projects described, giving the reader a closer insight to the sensory that goes beyond what’s strictly visual. In addition, its huge international impact and the great interest shown, not only by architects but also by graphic designers, publishers, people from all kinds of artistic trends and the general public, led to the globalisation of the architectural publications phenomenon and brought the importance of communication as a discipline in itself, within the architectural production in the age at hand, to light. Despite the importance of "SMLXL" at all levels, this thesis suggests that the communication experience really culminates in "Content", for it includes new conceptual parameters associated with the container-content conceptual fusion. It is in this book where the purpose of communication and the expression of such become a single element, ruled by similar laws. In this particular case, the fundamental law is to implement the "culture of congestion" to its extreme consequences in both the message and the media, leading to what we have agreed to refer to as "congestive communication”. This concept leads to its inevitable materialisation into an ephemeral, disposable, almost virtual product, because it meets the conditions of a very concrete and specific time, and outside that context it loses its significance. The "culture of congestion" emerged in Koolhaas’ approaches under the guidance of Elia Zenghelis, in the Architectural Association School of Architecture of London. Subsequently, his retroactive manifesto on Manhattan, "Delirious New York" developed it, waging an all-out war against the modern movement urbanism and maintaining that the really contemporary cities are those hyperdense ones that rise as a result of an unplanned development and thanks to the typical technological advances of their time. Finally it began to materialise in the Diploma Unit 9 of the AA, in which he started lecturing in 1975, leaving an indelible mark on subsequent generations of architects who passed that unit. First and foremost, Rem Koolhaas is an intellectual and, therefore, all the theoretical construct in the metropolis began to be reflected in his work through OMA since the beginnings of his production. Broadly speaking, we can say that his career is influenced by two essential historic events, which determine three different stages in his production. In the early years of his career, Koolhaas was still fascinated by the urban metropolis and the implementation of the paranoiac-critical method to his architectural production. He was then a deeply surreal architect. He understood this method as a knowledge strategy and an approach to the world around him: "let the subconscious out but hold it with the crutches of reasonableness”. However, he was actually interested in its implementation on a broad scale, the "Bigness", and therefore, he took part in ambitious projects that led to the accrual of concepts that, beyond being rewarded, left an ideological impression on the evolution of architecture. These projects included his proposal for the Parc de la Villette or the Très Grande Bibliotèque in Paris. The projects he carried out during this period showed a great conceptual background, which evolved into surprising interiors but a sober, or even "povera", exterior appearance, thanks to the use of ephemeral materials that were atypical in the macro-architecture field until that moment. Suddenly, in 1997, the so-called "Bilbao effect" boomed thanks to Frank Gehry (1). The Guggenheim Museum of Bilbao amazed the world with its spectacular nature and its pregnant and impossible shapes. It was the beginning of the era of “The architecture of spectacle”: the transformation of the city through ICONS that would act as nodes of attraction and gathering, around which the economic, cultural and socio-political activity of the city was supposed to be revitalized, as if through a single gesture all internal tissues of the city could be rebuilt. Rem Koolhaas quickly realized that the approach to the city, and especially to the global market, had changed. In the world of globalisation, the only way to get to materialise such "Bigness" was by keeping his intellectual exercises in pregnant, beautiful, iconic and spectacular shapes. Koolhaas found his personal brand in the Stealth aesthetic, resulting from the eighties American combat aircrafts whose shape was faceted in order to avoid radars. Projects such as the Casa da Música in Porto or the Seattle Library date from this period; both buildings are faceted icons of pregnant beauty that left an indelible mark on the city and caused, like the Guggenheim, some degree of recovery and revitalization on the environment in which they were based, at least temporarily. In any case, Koolhaas never gave the merely theoretical exercises up, but he segregated his work in two: OMA produced what was destined to be built and ruled by the parameters of the global market and AMO, Rem’s other side of the mirror, applied the architectural thought in unexplored fields, notwithstanding external agents and being able to work as a purely experimental laboratory. In light of this backdrop, September 11th 2001 came and the attacks on the Twin Towers in New York had devastating effects at all levels, leading to a change in the world order, in a surprisingly short period of time. Rem Koolhaas made a 180° turn directing his vision towards China, where he believed his contributions would have a more direct social benefit than in the Western world. (2) In order to introduce his new course of direction and the creation of the AMO "Think Tank", he planned a major exhibition in the Neue Nationalgalerie of Berlin under the title "Content", in parallel with edition of the book with the same title, which was at first the "exhibition catalog” but, deep down, was always conceived as the most important document of the Office since "SMLXL". However, in many ways it was just the opposite: a publication characterised by its magazine format, soft cover, very fine paging, "supermarket brochure" form and hyperdense content. It was an ephemeral, brief, light, cheap and "disposable" experiment. In fact, it is currently out of stock and out of print. Rem Koolhaas would probably disapprove of a research that sets the spotlight on him, for he would probably say that his validity has expired given that it has been ten years since its publication. However, it shows OMA’s conceptual and vital status at the time of its publication with crystalline clarity and it is also a true milestone in architectural communication. A point of no return. The epitome of the so-called "congestive communication ". This thesis suggests that "Content" contains the essence of Rem Koolhaas’ greatest contribution to the world of architecture: the deep and definitive transformation of architectural communication through the convergence of the conceptual state and the transmission thereof. His architectural and conceptual legacy has left an indelible mark on all subsequent generations. There is no doubt his essays, theories, projects and buildings already belong to the history of architecture. But it is his review on the concept of communication in architecture that has had and shall have an immediate influence on future generations, not only in their communication but also in their architecture, through a bijective exchange. Future approaches should try to determine what happens after "Content", after the maximum hyperdensity, after the visual culture of congestion; what shall Koolhaas suggest as well as what shall happen in the world of architectural communication. To this end, we shall study his latest communication-related projects, such as the design of the Venetian Architecture Biennale in 2014, his intensive research on the "Metabolism" in "Project Japan: Metabolism Talks ...", or the course of his latest territorial approaches in depth. Most recently, Rem Koolhaas has talked about "Preservation", "Sobriety" of "Essentialism", "Performance", etc. The mastermind of the culture of congestion now speaks of the "low density"... as it could not be otherwise, on the other side of the mirror. Summarizing, the white color as the sum of all colors; all wavelengths of the visible spectrum received at the same time.