Diseño y acondicionamiento acústico y electroacústico de una sala de proyecciones en 3D

Este proyecto está orientado al diseño y el acondicionamiento de una sala de cine siguiendo las normas establecidas por el SMPTE. El primer paso a realizar será el diseño de la sala en el cual habrá que tener en cuenta la distribución de los asientos dentro de la misma, el dimensionado de la pantalla que servirá para establecer la forma y dimensiones del recinto, así como la correcta ubicación del proyector. Posteriormente se realizará el acondicionamiento acústico del cine, con la elección de los diferentes materiales que permitan la obtención de un tiempo de reverberación óptimo. A continuación se procederá a la selección de los equipos electroacústicos más adecuados y a su colocación a lo largo de la sala para posteriormente realizar un estudio de todos los parámetros de esta para garantizar la perfecta escucha dentro de la misma. Se elegirán, al igual que se ha hecho con los elementos electroacústicos, los equipos de video específicos, teniendo en cuenta el sistema de proyección 3D utilizado y se procederá a su instalación dentro de la sala. Se indicará de forma independiente cual será el esquema de conexionado correspondiente a cada una de las partes, tanto de audio como de video. Todos los equipos y parámetros ajustables de la sala, tanto de audio como de video, se realizaran siguiendo las recomendaciones establecidas por el SMPTE para una correcta visión y escucha, así como también el diseño de la sala. Para llevar a cabo todo lo anteriormente descrito se utilizara el programa de simulación EASE 4.3 con él que se ajustaran los parámetros más significativos para verificar que la sala cumple con las condiciones de escucha que determina la norma. Todo esto irá acompañado de un presupuesto detallado de cada uno de los equipos y materiales utilizados, así como de los costes derivados de la mano de obra. Se adjuntarán también los planos de la sala donde se indicarán todas las medidas establecidas a lo largo del proyecto. Para la realización de estos se utilizara el programa de diseño Google SkechUp. Por último se facilitarán las hojas de características de cada uno de los equipos instalados en la sala para conocer sus especificaciones y modo de funcionamiento. Abstract This project is orientated at designing and conditioning a cinema according to standards set by the SMPTE. First of all, the cinema hall needs to be designed, taking into consideration seat distribution and screen dimension, in order to establish the shape and dimensions of the room and the correct location for the projector. Later the acoustic conditioning of the cinema is covered, with the choice of appropriate materials in order to permit an optimum reverberation time. The next step is the selection of the most appropriate electro-acoustic equipment and its positioning throughout the room. A study is then carried out of all the parameters to ensure perfect hearing in the cinema. Then the specific video equipment is chosen, bearing in mind the 3D projection system used and is installed in the theatre. A wiring diagram is indicated for each element used, for both audio and video. All equipment and adjustable parameters of the room, both audio and video, are made according to the recommendations established by the SMPTE for correct viewing and listening, as is the design of the cinema. To carry out the steps described above the EASE 4.3 simulation program is used. This program adjusts all significant parameters to verify that the room complies with the listening conditions determined by the standard. A detailed budget is included for all equipment and materials used, as well as the labour costs. Plans of the room, showing all measurements taken during the project are indicated. This is done using the Google SkechUp program. Finally data sheets are provided for each piece of equipment installed in the room detailing specifications and operating mode.

Sewage sludge gasification. Dolomite performance under different operating conditions

Gasification is a technology that can replace traditional management alternatives used up to date to deal with this waste (landfilling, composting and incineration) and which fulfils the social, environmental and legislative requirements. The main products of sewage sludge gasification are permanent gases (useful to generate energy or to be used as raw material in chemical synthesis processes), liquids (tars) and char. One of the main problems to be solved in gasification is tar production. Tars are organic impurities which can condense at relatively high temperatures making impossible to use the produced gases for most applications. This work deals with the effect of some primary tar removal processes (performed inside the gasifier) on sewage sludge gasification products. For this purpose, analysis of the gas composition, tar production, cold gas efficiency and carbon conversion were carried out. The tests were performed with air in a laboratory scale plant consisting mainly of a bubbling bed gasifier. No catalyzed and catalyzed (10% wt of dolomite in the bed and in the feeding) tests were carried out at different temperatures (750ºC, 800ºC and 850ºC) in order to know the effect of these parameters in the gasification products. As far as tars were concerned, qualitative and quantitative tar composition was determined. In all tests the Equivalence Ratio (ER) was kept at 0.3. Temperature is one of the most influential variables in sewage sludge gasification. Higher temperatures favoured hydrogen and CO production while CO2 content decreased, which might be partially explained by the effect of the cracking, Boudouard and CO2 reforming reactions. At 850ºC, cold gas efficiency and carbon conversion reached 49% and 76%, respectively. The presence of dolomite as catalyst increased the production of H2 reaching contents of 15.5% by volume at 850 °C. Similar behaviour was found for CO whereas CO2 and CnHm (light hydrocarbons) production decreased. In the presence of dolomite, a tar reduction of up to 51% was reached in comparison with no catalyzed tests, as well as improvements on cold gas efficiency and carbon conversion. Several assays were developed in order to test catalyst performance under more rough gasification conditions. For this purpose, the throughput value (TR), defined as kg sludge “as received” fed to the gasifier per hour and per m2 of cross sectional area of the gasifier, was modified. Specifically, the TR values used were 110 (reference value), 215 and 322 kg/h·m2. When TR increased, the H2, CO and CH4 production decreased while the CO2 and the CnHm production increased. Tar production increased drastically with TR during no catalysed tests what is related to the lower residence time of the gas inside the reactor. Nevertheless, even at TR=322 kg/h·m2, tar production decreased by nearly 50% with in-bed use of dolomite in comparison with no catalyzed assays under the same operating conditions. Regarding relative tar composition, there was an increase in benzene and naphthalene content when temperature increased while the content of the rest of compounds decreased. The dolomite seemed to be effective all over the range of molecular weight studied showing tar removal efficiencies between 35-55% in most cases. High values of the TR caused a significant increase in tar production but a slight effect on tar composition.

On track for solar grade silicon through a siemens process-type laboratory reactor: operating conditions and energy savings

Polysilicon cost impacts significantly on the photovoltaics (PV) cost and on the energy payback time. Nowadays, the besetting production process is the so called Siemens process, polysilicon deposition by chemical vapor deposition (CVD) from Trichlorosilane. Polysilicon purification level for PV is to a certain extent less demanding that for microelectronics. At the Instituto de Energía Solar (IES) research on this subject is performed through a Siemens process-type laboratory reactor. Through the laboratory CVD prototype at the IES laboratories, valuable information about the phenomena involved in the polysilicon deposition process and the operating conditions is obtained. Polysilicon deposition by CVD is a complex process due to the big number of parameters involved. A study on the influence of temperature and inlet gas mixture composition on the polysilicon deposition growth rate, based on experimental experience, is shown. Moreover, CVD process accounts for the largest contribution to the energy consumption of the polysilicon production. In addition, radiation phenomenon is the major responsible for low energetic efficiency of the whole process. This work presents a model of radiation heat loss, and the theoretical calculations are confirmed experimentally through a prototype reactor at our disposal, yielding a valuable know-how for energy consumption reduction at industrial Siemens reactors.

Analysis of the operating efficiency of mobile operators during the 2002 to 2008 period

This article aims to quantify the efficiency of mobile operators in Spain and other European countries such as France and Germany. The period considered is from 2002 to 2008. Linear regression is used to analyze the relationship between growth in revenue and gross operating margin (EBITDA) generated by the relevant operators and the aggregate industry in each country. At the industry level, it is shown that (i) there is a strong correlation between revenue and margin; and (ii) this correlation weakens when competitive intensity grows. At the operator level, those which achieved larger increases in revenues did not sacrifice their margins, but offset the additional investments and costs required to achieve said growth through economies of scale.

Impact of new technologies and social networks on a secondary education theatre project

This paper describes the potential impact of social media and new technologies in secondary education. The case of study has been designed for the drama and theatre subject. A wide set of tools like social networks, blogs, internet, multimedia content, local press and other promotional tools are promoted to increase students’ motivation. The experiment was developed at the highschool IES Al-Satt located in Algete in the Comunidad de Madrid. The students included in the theatre group present a low academic level, 80% of them had previously repeated at least one grade, half of them come from programs for students with learning difficulties and were at risk of social exclusion. This action is supported by higher and secondary education professors and teachers who look forward to implanting networked media technologies as new tools to improve the academic results and the degree of involvement of students. The results of the experiment have been excellent, based on satisfactory opinions obtained from a survey answered by students at the end of the course, and also revealed by the analytics taken from different social networks. This project is a pioneer in the introduction and usage of new technologies in secondary high-schools in Spain.

Active learning and generic competences in an operating systems course

The Bologna Declaration and the implementation of the European Higher Education Area are promoting the use of active learning methodologies. The aim of this study is to evaluate the effects obtained after applying active learning methodologies to the achievement of generic competences as well as to the academic performance. This study has been carried out at the Universidad Politécnica de Madrid, where these methodologies have been applied to the Operating Systems I subject of the degree in Technical Engineering in Computer Systems. The fundamental hypothesis tested was whether the implementation of active learning methodologies (cooperative learning and problem based learning) favours the achievement of certain generic competences (‘teamwork’ and ‘planning and time management’) and also whether this fact improved the academic performance of our students. The original approach of this work consists in using psychometric tests to measure the degree of acquired student’s generic competences instead of using opinion surveys, as usual. Results indicated that active learning methodologies improve the academic performance when compared to the traditional lecture/discussion method, according to the success rate obtained. These methods seem to have as well an effect on the teamwork competence (the perception of the behaviour of the other members in the group) but not on the perception of each students’ behaviour. Active learning does not produce any significant change in the generic competence ‘planning and time management'.

Optimization methods for the operating room management under uncertainty: stochastic programming vs. decomposition approach

The operating theatres are the engine of the hospitals; proper management of the operating rooms and its staff represents a great challenge for managers and its results impact directly in the budget of the hospital. This work presents a MILP model for the efficient schedule of multiple surgeries in Operating Rooms (ORs) during a working day. This model considers multiple surgeons and ORs and different types of surgeries. Stochastic strategies are also implemented for taking into account the uncertain in surgery durations (pre-incision, incision, post-incision times). In addition, a heuristic-based methods and a MILP decomposition approach is proposed for solving large-scale ORs scheduling problems in computational efficient way. All these computer-aided strategies has been implemented in AIMMS, as an advanced modeling and optimization software, developing a user friendly solution tool for the operating room management under uncertainty.

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.