Assessing the landscape value of public works: validation of the method in the lowlands of the middle section of the Tajo river (Spain)

This paper proposes a method of landscape characterisation and assessment of public works associated with fluvial landscapes, which is validated in the middle section of the Tajo River. In this method, a set of criteria is identified that unifies various characteristics of the landscape associated to the infrastructures. A specific weight is then assigned to each criterion in such a way as to produce a semi-quantitative value ranging from a minimum value of 0 to a maximum value of 10. Taken together, these criteria enable us to describe and assess the value of the public works selected for study, in this case helping us to evaluate the sections of the River Tajo analysed in our study area. Accordingly, the value of all the infrastructures associated to a stretch of the river covering several hundred kilometres was determined and after dividing this stretch into sections, they were compared under equivalent conditions to provide a hierarchal ranking.

3-dimensional binaural sound rendering using acoustic measurements stored in the SOFA format

Several groups all over the world are researching in several ways to render 3D sounds. One way to achieve this is to use Head Related Transfer Functions (HRTFs). These measurements contain the Frequency Response of the human head and torso for each angle. Some years ago, was only possible to measure these Frequency Responses only in the horizontal plane. Nowadays, several improvements have made possible to measure and use 3D data for this purpose. The problem was that the groups didn't have a standard format file to store the data. That was a problem when a third part wanted to use some different HRTFs for 3D audio rendering. Every of them have different ways to store the data. The Spatially Oriented Format for Acoustics or SOFA was created to provide a solution to this problem. It is a format definition to unify all the previous different ways of storing any kind of acoustics data. At the moment of this project they have defined some basis for the format and some recommendations to store HRTFs. It is actually under development, so several changes could come. The SOFA[1] file format uses a numeric container called netCDF[2], specifically the Enhaced data model described in netCDF 4 that is based on HDF5[3]. The SoundScape Renderer (SSR) is a tool for real-time spatial audio reproduction providing a variety of rendering algorithms. The SSR was developed at the Quality and Usability Lab at TU Berlin and is now further developed at the Institut für Nachrichtentechnik at Universität Rostock [4]. This project is intended to be an introduction to the use of SOFA files, providing a C++ API to manipulate them and adapt the binaural renderer of the SSR for working with the SOFA format. RESUMEN. El SSR (SoundScape Renderer) es un programa que está siendo desarrollado actualmente por la Universität Rostock, y previamente por la Technische Universität Berlin. El SSR es una herramienta diseñada para la reproducción y renderización de audio 2D en tiempo real. Para ello utiliza diversos algoritmos, algunos orientados a sistemas formados por arrays de altavoces en diferentes configuraciones y otros algoritmos diseñados para cascos. El principal objetivo de este proyecto es dotar al SSR de la capacidad de renderizar sonidos binaurales en 3D. Este proyecto está centrado en el binaural renderer del SSR. Este algoritmo se basa en el uso de HRTFs (Head Related Transfer Function). Las HRTFs representan la función de transferencia del sistema formado por la cabeza y el torso del oyente. Esta función es medida desde diferentes ángulos. Con estos datos el binaural renderer puede generar audio en tiempo real simulando la posición de diferentes fuentes. Para poder incluir una base de datos con HRTFs en 3D se ha hecho uso del nuevo formato SOFA (Spatially Oriented Format for Acoustics). Este nuevo formato se encuentra en una fase bastante temprana de su desarrollo. Está pensado para servir como formato estándar para almacenar HRTFs y cualquier otro tipo de medidas acústicas, ya que actualmente cada laboratorio cuenta con su propio formato de almacenamiento y esto hace bastante difícil usar varias bases de datos diferentes en un mismo proyecto. El formato SOFA hace uso del contenedor numérico netCDF, que a su vez esta basado en un contenedor más básico llamado HRTF-5. Para poder incluir el formato SOFA en el binaural renderer del SSR se ha desarrollado una API en C++ para poder crear y leer archivos SOFA con el fin de utilizar los datos contenidos en ellos dentro del SSR.

Geodetic works carried out in the Strait of Gibraltar

The proximity between Europe and Africa and the fact that the Strait of Gibraltar has historically acted as a link between races, cultures and religions have made absolutely necessary to establish a relationship between the Northern African coast and the Southern European equivalent. From the Nineteenth Century the possibility of building a permanent link between both continents through the Strait of Gibraltar has been taken into account. In order to establish that relationship it is necessary to have coastal zones completely geo-referenced, under the same geodetic system and with a unique projection system. The paper describes the work carried out in the Strait of Gibraltar for this purpose.

The nature of gypsum mortars for external rendering in Spain. Traditional manufacture and mineralogy

The present work focuses on gypsum mortar manufactu red in traditional kilns and used historically as exterior rendering. A documentation survey has been carried out followed by an experimental analysis using geological techniques. Conclusion shows that traditional gypsum is formed by anhydrite and inert active impurities (crystalline amorphous silica; cl ays and hydraulic phases) produced by the craft manufacture process of the system, in a kiln with a 200ºC to 1000ºC temperature interval, and continuo us fuel supply during 36 hours. Anhydrite together wit h the hydraulic phases set at consecutive time peri ods and with the presence of moisture improve the physi cal and mechanical properties of the final product. The hydration system is of great complexity and sho ws a very slow kinetics when in presence of impurities

Stabilization works at Olvés Church (Zaragoza-Spain)

The Olvés Church is a Lhree naves basilica. From its construction in 1767, it sufTercd important damages and successivc reparations. The church is built on a claycy hillock on top of the village with vcry fort slopcs. The retaining walls Lhat surround the church havc sufTered movements. A soil sludy was done to know its propcrtics and the reason of the movement. Also, the structural roof is broken and it is not fixed to thc walls that can movc. Thc first phase is done, with a pavcd squa rc ovcr an ancient cemetery. The next phase is a new roof structure to support the lean walls. Al'ter that done, the repair inside can start.

Blended learning in the design of collective protections in building works

The design of collective protections of construction works is a topic that is integrated within one of the MBTI subjects. This paper presents an experience for teaching the design of collective protection in building works. Teaching has been done in a bended way. This subject is taught as part of the content of a wider subject included in the Master "Building Technological Innovation" (MBTI) of the Universidad Politécnica de Madrid (UPM). This Master's degree is a postgraduate of research nature. Graduating in MBTI implies that students are in a position to begin their PhD thesis. At this stage, often students are not able to follow the rigour established by the schedule of classes. For this reason it is interesting that part of the teaching is developed in a non-classroom based way.

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

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

Repair works at Saint Claire Convent in Chinchón (Madrid, Spain)

The Chinchón Saint Claire Convent is a Count Foundation of 1653. Some repair works were made around 1965, but some important cracks were remained. This paper describes the soil study made to know, its properties, the reason of these movements and its consequences to the convent and the repair works done. A high swelling phenomenon has been detected. The convent is on a high plasticity clayey soil with soil sandy insertions. The soil water has a high content of sulphates. In addition, some sewer system piping was broken around the convent and frequently flooded the convent crypt. A micropiles underpinning was made and the water leaked has lead to the sewer system to avoid the crypt flooding, also a drainage system has been made and the ground around the church has been paved.

Lime rendering of the houses of historical core of Maracaibo, Venezuela

An advance of the study undertaken of the plastering of the few dwellings that still exist in the historical area of Maracaibo is presented, with a base of restoration mortar of the plastering of sandstone known as “piedra de ojo”. The mortars are made of lime with a ferruginous stone aggregate that gives them a pinkish color, with additions of ceramics, bamboo, sand, wood and straw, and kneaded with salty water from Lake Maracaibo

Histograms of oriented gradients for fast on-board vehicle verification

Histograms of Oriented Gradients (HoGs) provide excellent results in object detection and verification. However, their demanding processing requirements bound their applicability in some critical real-time scenarios, such as for video-based on-board vehicle detection systems. In this work, an efficient HOG configuration for pose-based on-board vehicle verification is proposed, which alleviates both the processing requirements and required feature vector length without reducing classification performance. The impact on classification of some critical configuration and processing parameters is in depth analyzed to propose a baseline efficient descriptor. Based on the analysis of its cells contribution to classification, new view-dependent cell-configuration patterns are proposed, resulting in reduced descriptors which provide an excellent balance between performance and computational requirements, rendering higher verification rates than other works in the literature.

Escaparates de la modernidad : la tienda como laboratorio de arquitectura

El proyecto de una tienda concentra un poco de todo aquello que interesa al arquitecto: conforma una suerte de encrucijada en la que se dan cita, junto a cuestiones disciplinares que la hacen muy atractiva y ponen a prueba su habilidad como proyectista, la necesidad de aunar recursos compositivos procedentes de otros terrenos periféricos a la arquitectura para dar una respuesta adecuada a los requerimientos específicos de imagen y persuasión que la actividad comercial comporta. Las difíciles condiciones de partida, habitualmente configuraciones espaciales no excesivamente favorables, donde las preexistencias y los contornos coartan y encierran un espacio al que hay que dotar de un nuevo orden; el tamaño reducido y las posibilidades de control total de la obra que de éste se derivan; el corto plazo de tiempo y la rapidez de respuesta que la estrategia comercial impone; su posición estratégica, en relación directa con la calle, y la mayor evidencia que, por tanto, se le asigna a la fachada y al escaparate como ‘primeros anuncios’ de la actividad; la integración y el comentario recíproco entre arquitectura y objeto que tiene lugar en su seno…, son algunas de las razones que explican este interés y justifican que la tienda −ese espacio acotado tan apto para el invento y la innovación−, constituya un banco de pruebas donde poder ensayar nuevos conceptos de la arquitectura al reunir espacial y temporalmente los condicionantes ideales requeridos para la experimentación y la comprobación de hallazgos. Aunque escasas, existen en la arquitectura contemporánea tiendas que han logrado ocupar por méritos propios un lugar destacado dentro de la obra de sus autores. Entre las merecedoras de ese reconocimiento habría que citar la ‘mítica’ sastrería Kniže proyectada por Adolf Loos a comienzos del siglo XX en Viena, el Negozio Vitrum que Giuseppe Terragni diseñara en Como en los años treinta, o la sucursal londinense de las líneas aéreas de Iraq construida en los sesenta por Alison y Peter Smithson. La elección, lejos de ser gratuita, obedece a razones fundadas. Dentro de las circunstancias temporales en las que se gestaron −las tres fueron proyectadas y construidas a lo largo del pasado siglo en un arco que abarca algo más de cincuenta años (1907-1961)−, los ejemplos seleccionados aúnan toda una serie de ‘coincidencias’ entre las que no resulta difícil establecer ciertos paralelismos: las tres marcan la talla de unos creadores que fueron capaces de dedicar la misma intensidad creativa a estos temas ‘menores’, corroborando que el carácter de la arquitectura también puede hacerse grande en lo pequeño; las tres, debido al momento de madurez en el que se abordó su diseño, reflejan su condición de laboratorio experimental al servicio de los intereses proyectuales que en ese momento ocupaban la mente de los arquitectos; las tres corroboran hipótesis ya apuntadas en arquitecturas anteriores, prueban líneas de trabajo no materializadas por falta de oportunidad y testan de manera menos comprometida soluciones que luego se trasladarán a obras con mayor vocación de permanencia; obras −y esto es algo especialmente sorprendente− con las que mantuvieron una estrecha relación en el espacio y en el tiempo, convirtiéndose incluso en plataformas de experimentación paralelas: baste en este sentido con apuntar la cercanía física −a ‘metros’ de distancia− y temporal −realizadas en los mismos años− entre la sastrería Kniže (1907- 1913;1928) y la Casa en la Michaelerplatz (1910-11); la tienda Vitrum (1930) y la Casa del Fascio (1929; 1932-36) o las oficinas de venta de las Iraqi Airways (1960-61) y la sede del The Economist (1959-64). Esta potencialidad que la tienda encierra para erigirse en laboratorio de experimentación y ensayo de la arquitectura, constituye la clave de la investigación que la tesis propone. ABSTRACT A little of everything that interests the architect is concentrated in the designing of a shop: it forms a kind of crossroads bringing together, apart from certain disciplinary questions rendering it particularly attractive and testing one’s ability as a designer, the need to coordinate compositional resources from fields peripheral to architecture in order to devise an adequate response to the specific requirements of image and persuasion that are part and parcel of business activity. The difficult start-up conditions, the generally not overly favourable spatial configurations ‒where the pre-existing conditions and shape of the site encroach on and enclose a space which has to be given a new order‒, the reduced size and possibilities afforded in terms of controlling the work, the short time frame and the rapid response imposed by the business tactics and its strategic position and direct frontal relationship with the street, make the shopfront and the display window are the ‘first advertisements” of the activity, or the integration and the reciprocal commentary between architecture and what takes place within: these are but some of the reasons explaining this interest and justifying the claim that the shop –a dimensional space so well suited to invention and innovation− constitutes a test-bed for trying out new concepts of architecture, combining in space and time the ideal conditions for experiment and the examination of its findings. Albeit not numerous, there are shops in contemporary architecture which have managed on their own merit to obtain a special place among the works of their authors. Among those earning such recognition, one should mention the ‘mythical’ Kniže tailoring establishment designed by Adolf Loos at the beginning of the 20th century in Vienna, the Negozio Vitrum designed by Giuseppe Terragni in Como in the thirties, or the London offices of Iraqi Airways built in the sixties by Alison and Peter Smithson. This selection, far from gratuitous, is based on well-founded reasons. Within the circumstances of the time-frame in which they were developed −the three were designed and built during the 20th century in a period that spans just over fifty years (1907-1961)− the chosen examples bring together a whole series of ‘coincidences’ where it is not difficult to draw certain parallels: the three bear witness to the stature of creators who were capable of devoting the same creative intensity to these ‘minor’ themes, thus corroborating the fact that the nature of the architecture can also be great in less important works; the three, thanks to the moment of maturity in which their design was carried out, reflect their condition as an experimental laboratory at the service of the particular designing interests which at the time occupied the minds of these architects; the three confirm hypotheses already displayed in previous architectures, they test lines of work which had not materialised through lack of opportunity, and in a less comprised manner check solutions that were later transferred to works with a greater vocation for permanence; works −and this is something especially surprising – with which they maintained a close relationship in time and space, even becoming parallel experimental platforms: in this sense, we need only to mention the physical proximity –just metres away− and proximity in time –built within the same years− between the Kniže shop (1907-1913; 1928) and the House of Michaelerplatz (1910-11); the Vitrum shop (1930) and the Casa del Fascio (1929;1932-36); and the Iraqi Airways sales offices (1960-61) and the headquarters of The Economist (1959-64). The potential of the shop to set itself up as an experimental laboratory and architectural rehearsal constitutes the main focus of the research put forward by this thesis.