Untainted puncturing for irregular low-density parity-check codes

Puncturing is a well-known coding technique widely used for constructing rate-compatible codes. In this paper, we consider the problem of puncturing low-density parity-check codes and propose a new algorithm for intentional puncturing. The algorithm is based on the puncturing of untainted symbols, i.e. nodes with no punctured symbols within their neighboring set. It is shown that the algorithm proposed here performs better than previous proposals for a range of coding rates and short proportions of punctured symbols.

Low-density InAs QDs with subcritical coverage obtained by conversion of In nanocrystals

We report growth of InAs/GaAs quantum dots (QDs) by molecular beam epitaxy with low density of 2 μm−2 by conversion of In nanocrystals deposited at low temperatures. The total amount of InAs used is about one monolayer, which is less than the critical thickness for conventional Stranski–Krastanov QDs. We also demonstrate the importance of the starting surface reconstruction for obtaining uniform QDs. The QD emission wavelength is easily tunable upon post-growth annealing with no wetting layer signal visible for short anneals. Microphotoluminescence measurements reveal well separated and sharp emission lines of individual QDs.

Efficient information reconciliation for Continuous-Variable QKD using Non-Binary Low-Density Parity-Check Codes

We present here an information reconciliation method and demonstrate for the first time that it can achieve efficiencies close to 0.98. This method is based on the belief propagation decoding of non-binary LDPC codes over finite (Galois) fields. In particular, for convenience and faster decoding we only consider power-of-two Galois fields.

Evapotranspiration of grapevine trained to a gable trellis system under netting and black plastic mulching

The evapotranspiration (ET c) of a table grape vineyard (Vitis vinifera, cv. Red Globe) trained to a gable trellis under netting and black plastic mulching was determined under semiarid conditions in the central Ebro River Valley during 2007 and 2008. The netting was made of high-density polyethylene (pores of 12 mm2) and was placed just above the ground canopy about 2.2 m above soil surface. Black plastic mulching was used to minimize soil evaporation. The surface renewal method was used to obtain values of sensible heat flux (H) from high-frequency temperature readings. Later, latent heat flux (LE) values were obtained by solving the energy balance equation. For the May–October period, seasonal ET c was about 843 mm in 2007 and 787 mm in 2008. The experimental weekly crop coefficients (K cexp) fluctuated between 0.64 and 1.2. These values represent crop coefficients adjusted to take into account the reduction in ET c caused by the netting and the black plastic mulching. Average K cexp values during mid- and end-season stages were 0.79 and 0.98, respectively. End-season K cexp was higher due to combination of factors related to the precipitation and low ET o conditions that are typical in this region during fall. Estimated crop coefficients using the Allen et al. (1998) approach adjusting for the effects of the netting and black plastic mulching (K cFAO) showed a good agreement with the experimental K cexp values.

Hydrodynamic stability theory of double ablation front structures in inertial confinement fusion.

The aim of inertial confinement fusion is the production of energy by the fusion of thermonuclear fuel (deuterium-tritium) enclosed in a spherical target due to its implosion. In the direct-drive approach, the energy needed to spark fusion reactions is delivered by the irradiation of laser beams that leads to the ablation of the outer shell of the target (the so-called ablator). As a reaction to this ablation process, the target is accelerated inwards, and, provided that this implosion is sufficiently strong a symmetric, the requirements of temperature and pressure in the center of the target are achieved leading to the ignition of the target (fusion). One of the obstacles capable to prevent appropriate target implosions takes place in the ablation region where any perturbation can grow even causing the ablator shell break, due to the ablative Rayleigh-Taylor instability. The ablative Rayleigh-Taylor instability has been extensively studied throughout the last 40 years in the case where the density/temperature profiles in the ablation region present a single front (the ablation front). Single ablation fronts appear when the ablator material has a low atomic number (deuterium/tritium ice, plastic). In this case, the main mechanism of energy transport from the laser energy absorption region (low density plasma) to the ablation region is the electron thermal conduction. However, recently, the use of materials with a moderate atomic number (silica, doped plastic) as ablators, with the aim of reducing the target pre-heating caused by suprathermal electrons generated by the laser-plasma interaction, has demonstrated an ablation region composed of two ablation fronts. This fact appears due to increasing importance of radiative effects in the energy transport. The linear theory describing the Rayleigh-Taylor instability for single ablation fronts cannot be applied for the stability analysis of double ablation front structures. Therefore, the aim of this thesis is to develop, for the first time, a linear stability theory for this type of hydrodynamic structures.

Estimación de variables dasométricas a partir de datos LiDAR y obtención de modelos de referencia para las distribuciones de alturas y diámetros del arbolado

La Gestión Forestal Sostenible se define como “la administración y uso de los bosques y tierras forestales de forma e intensidad tales que mantengan su biodiversidad, productividad, capacidad de regeneración, vitalidad y su potencial para atender, ahora y en el futuro, las funciones ecológicas, económicas y sociales relevantes a escala local, nacional y global, y que no causan daño a otros ecosistemas” (MCPFE Conference, 1993). Dentro del proceso los procesos de planificación, en cualquier escala, es necesario establecer cuál será la situación a la que se quiere llegar mediante la gestión. Igualmente, será necesario conocer la situación actual, pues marcará la situación de partida y condicionará el tipo de actuaciones a realizar para alcanzar los objetivos fijados. Dado que, los Proyectos de Ordenación de Montes y sus respectivas revisiones son herramientas de planificación, durante la redacción de los mismos, será necesario establecer una serie de objetivos cuya consecución pueda verificarse de forma objetiva y disponer de una caracterización de la masa forestal que permita conocer la situación de partida. Esta tesis se centra en problemas prácticos, propios de una escala de planificación local o de Proyecto de Ordenación de Montes. El primer objetivo de la tesis es determinar distribuciones diamétricas y de alturas de referencia para masas regulares por bosquetes, empleando para ello el modelo conceptual propuesto por García-Abril et al., (1999) y datos procedentes de las Tablas de producción de Rojo y Montero (1996). Las distribuciones de referencia obtenidas permitirán guiar la gestión de masas irregulares y regulares por bosquetes. Ambos tipos de masas aparecen como una alternativa deseable en aquellos casos en los que se quiere potenciar la biodiversidad, la estabilidad, la multifuncionalidad del bosque y/o como alternativa productiva, especialmente indicada para la producción de madera de calidad. El segundo objetivo de la Tesis está relacionado con la necesidad de disponer de una caracterización adecuada de la masa forestal durante la redacción de los Proyectos de Ordenación de Montes y de sus respectivas revisiones. Con el fin de obtener estimaciones de variables forestales en distintas unidades territoriales de potencial interés para la Ordenación de Montes, así como medidas de la incertidumbre en asociada dichas estimaciones, se extienden ciertos resultados de la literatura de Estimación en Áreas Pequeñas. Mediante un caso de estudio, se demuestra el potencial de aplicación de estas técnicas en inventario forestales asistidos con información auxiliar procedente de sensores láser aerotransportados (ALS). Los casos de estudio se realizan empleando datos ALS similares a los recopilados en el marco del Plan Nacional de Ortofotografía Aérea (PNOA). Los resultados obtenidos muestran que es posible aumentar la eficiencia de los inventarios forestales tradicionales a escala de proyecto de Ordenación de Montes, mediante la aplicación de estimadores EBLUP (Empirical Best Linear Unbiased Predictor) con modelos a nivel de elemento poblacional e información auxiliar ALS similar a la recopilada por el PNOA. ABSTRACT According to MCPFE (1993) Sustainable Forest Management is “the stewardship and use of forests and forest lands in a way, and at a rate, that maintains their biodiversity, productivity, regeneration capacity, vitality and their potential to fulfill, now and in the future, relevant ecological, economic and social functions, at local, national, and global levels, and that does not cause damage to other ecosystems”. For forest management planning, at any scale, we must determine what situation is hoped to be achieved through management. It is also necessary to know the current situation, as this will mark the starting point and condition the type of actions to be performed in order to meet the desired objectives. Forest management at a local scale is no exception. This Thesis focuses on typical problems of forest management planning at a local scale. The first objective of this Thesis is to determine management objectives for group shelterwood management systems in terms of tree height and tree diameter reference distributions. For this purpose, the conceptual model proposed by García-Abril et al., (1999) is applied to the yield tables for Pinus sylvestris in Sierra de Guadrrama (Rojo y Montero, 1996). The resulting reference distributions will act as a guide in the management of forests treated under the group shelterwood management systems or as an approximated reference for the management of uneven aged forests. Both types of management systems are desirable in those cases where forest biodiversity, stability and multifunctionality are pursued goals. These management systems are also recommended as alternatives for the production of high quality wood. The second objective focuses on the need to adequately characterize the forest during the decision process that leads to local management. In order to obtain estimates of forest variables for different management units of potential interest for forest planning, as well as the associated measures of uncertainty in these estimates, certain results from Small Area Estimation Literature are extended to accommodate for the need of estimates and reliability measures in very small subpopulations containing a reduced number of pixels. A case study shows the potential of Small Area Estimation (SAE) techniques in forest inventories assisted with remotely sensed auxiliary information. The influence of the laser pulse density in the quality of estimates in different aggregation levels is analyzed. This study considers low laser pulse densities (0.5 returns/m2) similar to, those provided by large-scale Airborne Laser Scanner (ALS) surveys, such as the one conducted by the Spanish National Geographic Institute for about 80% of the Spanish territory. The results obtained show that it is possible to improve the efficiency of traditional forest inventories at local scale using EBLUP (Empirical Best Linear Unbiased Predictor) estimators based on unit level models and low density ALS auxiliary information.

Structure of Alluvial Valleys from 3-D Gravity Inversion: The Low Andarax Valley (Almería, Spain) Test Case

This paper presents a gravimetric study (based on 382 gravimetric stations in an area about 32 km2) of a nearly flat basin: the Low Andarax valley. This alluvial basin, close to its river mouth, is located in the extreme south of the province of Almería and coincides with one of the existing depressions in the Betic Cordillera. The paper presents new methodological work to adapt a published inversion approach (GROWTH method) to the case of an alluvial valley (sedimentary stratification, with density increase downward). The adjusted 3D density model reveals several features in the topography of the discontinuity layers between the calcareous basement (2,700 kg/m3) and two sedimentary layers (2,400 and 2,250 kg/m3). We interpret several low density alignments as corresponding to SE faults striking about N140?145°E. Some detected basement elevations (such as the one, previously known by boreholes, in Viator village) are apparently connected with the fault pattern. The outcomes of this work are: (1) new gravimetric data, (2) new methodological options, and (3) the resulting structural conclusions.

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.