Dynamic Studies of Shell and Spatial Structures

For the past 20 years, dynamic analysis of shells has been one of the most fascinating fields for research. Using the new light materials the building engineer soon discovered that the subsequent reduction of gravity forces produced not only the desired shape freedom but the appearance of ecologic loads as the first factor of design; loads which present strong random properties and marked dynamic influence. On the other hand, the technological advance in the aeronautical and astronautical field placed the engineers in front of shell structures of nonconventional shape and able to sustain substantialy dynamic loads. The response to the increasingly challenger problems of the last two decades has been very bright; new forms, new materials and new methods of analysis have arosen in the design of off-shore platforms, nuclear vessels, space crafts, etc. Thanks to the intensity of the lived years we have at our disposition a coherent and homogeneous amount of knowledge which enable us to face problems of inconceivable complexity when IASS was founded. The open minded approach to classical problems and the impact of the computer are, probably, important factors in the Renaissance we have enjoyed these years, and a good proof of this are the papers presented to the previous IASS meetings as well as that we are going to consider in this one. Particularly striking is the great number of papers based on a mathematical modeling in front of the meagerness of those treating laboratory experiments on physical models. The universal entering of the computer into almost every phase of our lifes, and the cost of physical models, are –may be- reasons for this lack of experimental methods. Nevertheless they continue offering useful results as are those obtained with the shaking-table in which the computer plays an essential role in the application of loads as well as in the instantaneous treatment of control data. Plates 1 and 2 record the papers presented under dynamic heading, 40% of them are from Japan in good correlation with the relevance that Japanese research has traditionally showed in this area. Also interesting is to find old friends as profesors Tanaka, Nishimura and Kostem who presented valuable papers in previous IASS conferences. As we see there are papers representative of all tendencies, even purely analytical! Better than discuss them in detail, which can be done after the authors presentation, I think we can comment in the general pattern of the dynamical approach are summarized in plate 3.

Integrating periurban agrarian ecosystem services into spatial planning to cope with urban pressure

According to Corine Land Cover databases, in Europe between 1990 and 2000,77% of new artificial surfaces were built on previous agrarian areas. Urban sprawl ¡s far from being under control, between 2000 and 2006 new artificial land has grown in larger proportion than the decade before. In Spain, like in most countries, the impact of urban sprawl during the last decades has been especially significant in periurban agrarian spaces: between 2000 and 2006, 73% of new artificial surfaces were built on previous agrarian areas. The indirect impact of this trend has been even more relevant, as the expectations of appreciation in the value of land after new urban developments reinforce the ongoing trend of abandonment of agricultural land. In Madrid between 1980 and 2000 the loss of agricultural land due to abandonment of exploitation was 2-fold that due to transformation into urban areas. By comparing four case studies: Valladolild, Montpellier.Florence and Den Haag, this paper explores if urban and territorial planning may contribute to reduce urban pressure on the hinterland. In spite of their diversity, these regions have in common a relative prosperity arising from their territorial endowments, though their landscapes are still under pressure. The three last ones have been working for years on mainstream concepts like multifunctional agriculture. The systematic comparison and the analysis of successful approaches provide some clues on how to reconsider urban planning in order to preserve agricultural land. The final remarks highlight the context in which public commitment, legal protection instruments and financial strategies may contribute to the goals of urban, peri-urban or regional planning about fostering agrarian ecosystem services

Methodology for registration of distended recutms in pelvic CT studies

Purpose: Accurate delineation of the rectum is of high importance in off-line adaptive radiation therapy since it is a major dose-limiting organ in prostate cancer radiotherapy. The intensity-based deformable image registration (DIR) methods cannot create a correct spatial transformation if there is no correspondence between the template and the target images. The variation of rectal filling, gas, or feces, creates a noncorrespondence in image intensities that becomes a great obstacle for intensity-based DIR. Methods: In this study the authors have designed and implemented a semiautomatic method to create a rectum mask in pelvic computed tomography (CT) images. The method, that includes a DIR based on the demons algorithm, has been tested in 13 prostate cancer cases, each comprising of two CT scans, for a total of 26 CT scans. Results: The use of the manual segmentation in the planning image and the proposed rectum mask method (RMM) method in the daily image leads to an improvement in the DIR performance in pelvic CT images, obtaining a mean value of overlap volume index = 0.89, close to the values obtained using the manual segmentations in both images. Conclusions: The application of the RMM method in the daily image and the manual segmentations in the planning image during prostate cancer treatments increases the performance of the registration in presence of rectal fillings, obtaining very good agreement with a physician's manual contours.

Methodology for registration of distended rectums in pelvic CT studies

Purpose: Accurate delineation of the rectum is of high importance in off-line adaptive radiation therapy since it is a major dose-limiting organ in prostate cancer radiotherapy. The intensity-based deformable image registration (DIR) methods cannot create a correct spatial transformation if there is no correspondence between the template and the target images. The variation of rectal filling, gas, or feces, creates a noncorrespondence in image intensities that becomes a great obstacle for intensity-based DIR. Methods: In this study the authors have designed and implemented a semiautomatic method to create a rectum mask in pelvic computed tomography (CT) images. The method, that includes a DIR based on the demons algorithm, has been tested in 13 prostate cancer cases, each comprising of two CT scans, for a total of 26 CT scans. Results: The use of the manual segmentation in the planning image and the proposed rectum mask method (RMM) method in the daily image leads to an improvement in the DIR performance in pelvic CT images, obtaining a mean value of overlap volume index = 0.89, close to the values obtained using the manual segmentations in both images. Conclusions: The application of the RMM method in the daily image and the manual segmentations in the planning image during prostate cancer treatments increases the performance of the registration in presence of rectal fillings, obtaining very good agreement with a physician's manual contours.

Mapping Genetic Diversity of Cherimoya (Annona cherimola Mill.): Application of Spatial Analysis for Conservation and Use of Plant Genetic Resources.

There is a growing call for inventories that evaluate geographic patterns in diversity of plant genetic resources maintained on farm and in species' natural populations in order to enhance their use and conservation. Such evaluations are relevant for useful tropical and subtropical tree species, as many of these species are still undomesticated, or in incipient stages of domestication and local populations can offer yet-unknown traits of high value to further domestication. For many outcrossing species, such as most trees, inbreeding depression can be an issue, and genetic diversity is important to sustain local production. Diversity is also crucial for species to adapt to environmental changes. This paper explores the possibilities of incorporating molecular marker data into Geographic Information Systems (GIS) to allow visualization and better understanding of spatial patterns of genetic diversity as a key input to optimize conservation and use of plant genetic resources, based on a case study of cherimoya (Annona cherimola Mill.), a Neotropical fruit tree species. We present spatial analyses to (1) improve the understanding of spatial distribution of genetic diversity of cherimoya natural stands and cultivated trees in Ecuador, Bolivia and Peru based on microsatellite molecular markers (SSRs); and (2) formulate optimal conservation strategies by revealing priority areas for in situ conservation, and identifying existing diversity gaps in ex situ collections. We found high levels of allelic richness, locally common alleles and expected heterozygosity in cherimoya's putative centre of origin, southern Ecuador and northern Peru, whereas levels of diversity in southern Peru and especially in Bolivia were significantly lower. The application of GIS on a large microsatellite dataset allows a more detailed prioritization of areas for in situ conservation and targeted collection across the Andean distribution range of cherimoya than previous studies could do, i.e. at province and department level in Ecuador and Peru, respectively.

Urbanism and dictatorship: perspectives of the field of urban studies

In 1933 public letter to Wilhelm Furtwängler, Joseph Goebbels synthesized the official understanding of the link between politics, art and society in the early steps of the Third Reich. By assuming the ethos of art, politics acquired a plastic agency to mold its objects —population and the state— as a unified entity in the form of a ‘national-popular community’ (Volksgemeinschaft); in turn, by infusing art with a political valence, it became part of a wider governmental apparatus that reshaped aesthetic discourses and practices. Similar remarks could be made about the ordering of cities and territories in this period. Dictatorial imaginations mobilized urbanism —including urban theory, urban design and planning— as a fundamental tool for social organization. Under their aegis the production of space became a moment in a wider production of society. Many authors suggest that this political-spatial nexus is intrinsic to modernity itself, beyond dictatorial regimes. In this light, I propose to use dictatorial urbanisms as an analytical opportunity to delve into some concealed features of modern urban design and planning. This chapter explores some of these aspects from a theoretical standpoint, focusing on the development of dictatorial planning mentalities and spatial rationalities and drawing links to other historical episodes in order to inscribe the former in a broader genealogy of urbanism. Needless to say, I don’t suggest that we use dictatorships as mere templates to understand modern productions of space. Instead, these cases provide a crude version of some fundamental drives in the operationalization of urbanism as an instrument of social regulation, showing how far the modern imagination of sociospatial orderings can go. Dictatorial urbanisms constituted a set of experiences where many dreams and aspirations of modern planning went to die. But not, as the conventional account would have it, because the former were the antithesis of the latter, but rather because they worked as the excess of a particular orientation of modern spatial governmentalities — namely, their focus on calculation, social engineering and disciplinary spatialities, and their attempt to subsume a wide range of everyday practices under institutional structuration by means of spatial mediations. In my opinion the interest of dictatorial urbanisms lies in their role as key regulatory episodes in a longer history of our urban present. They stand as a threshold between the advent of planning in the late 19th and early 20th century, and its final consolidation as a crucial state instrument after World War II. We need, therefore, to pay attention to these experiences vis-à-vis the alleged ‘normal’ development of the field in contemporary democratic countries in order to develop a full comprehension thereof.

Spatial analysis of geometric design consistency and road sight distance

Because of the high number of crashes occurring on highways, it is necessary to intensify the search for new tools that help in understanding their causes. This research explores the use of a geographic information system (GIS) for an integrated analysis, taking into account two accident-related factors: design consistency (DC) (based on vehicle speed) and available sight distance (ASD) (based on visibility). Both factors require specific GIS software add-ins, which are explained. Digital terrain models (DTMs), vehicle paths, road centerlines, a speed prediction model, and crash data are integrated in the GIS. The usefulness of this approach has been assessed through a study of more than 500 crashes. From a regularly spaced grid, the terrain (bare ground) has been modeled through a triangulated irregular network (TIN). The length of the roads analyzed is greater than 100 km. Results have shown that DC and ASD could be related to crashes in approximately 4% of cases. In order to illustrate the potential of GIS, two crashes are fully analyzed: a car rollover after running off road on the right side and a rear-end collision of two moving vehicles. Although this procedure uses two software add-ins that are available only for ArcGIS, the study gives a practical demonstration of the suitability of GIS for conducting integrated studies of road safety.

Luz industrial e imagen tecnificada: de Moholy Nagy al C.A.V.S. (Center for Advanced Visual Studies)

El desarrollo de la tecnología de la luz implicará la transformación de la vida social, cultural y económica. Tanto las consideraciones espaciales del Movimiento Moderno, como los efectos producidos por la segunda Guerra Mundial, tendrán efectos visibles en las nuevas configuraciones espaciales y en la relación simbiótica y recíproca que se dará entre ideología y tecnología. La transformación en la comprensión de la articulación espacial, asociada al desarrollo tecnológico, afectará al modo en que este espacio es experimentado y percibido. El espacio expositivo y el espacio escénico se convertirán en laboratorio práctico donde desarrollar y hacer comprensible todo el potencial ilusorio de la luz, la proyección y la imagen, como parámetros modificadores y dinamizadores del espacio arquitectónico. Esta experimentación espacial estará precedida por la investigación y creación conceptual en el mundo plástico, donde los nuevos medios mecánicos serán responsables de la construcción de una nueva mirada moderna mediatizada por los elementos técnicos. La experimentación óptica, a través de la fotografía, el cine, o el movimiento de la luz y su percepción, vinculada a nuevos modos de representación y comunicación, se convertirá en elemento fundamental en la configuración espacial. Este ámbito de experimentación se hará patente en la Escuela de la Bauhaus, de la mano de Gropius, Schlemmer o Moholy Nagy entre otros; tanto en reflexiones teóricas como en el desarrollo de proyectos expositivos, arquitectónicos o teatrales, que evolucionarán en base a la tecnología y la modificación de la relación con el espectador. El espacio expositivo y el espacio escénico se tomarán como oportunidad de investigación espacial y de análisis de los modos de percepción, convirtiéndose en lugares de experimentación básicos para el aprendizaje. El teatro se postula como punto de encuentro entre el arte y la técnica, cobrando especial importancia la intersección con otras disciplinas en la definición espacial. Las múltiples innovaciones técnicas ligadas a los nuevos fundamentos teatrales en la modificación de la relación con la escena, que se producen a principios del siglo XX, tendrán como consecuencia la transformación del espacio en un espacio dinámico, tanto física como perceptivamente, que dará lugar a nuevas concepciones espaciales, muchas de ellas utópicas. La luz, la proyección y la creación de ilusión en base a estímulos visuales y sonoros, aparecen como elementos proyectuales efímeros e inmateriales, que tendrán una gran incidencia en el espacio y su modo de ser experimentado. La implicación de la tecnología en el arte conllevará modificaciones en la visualización, así como en la configuración espacial de los espacios destinados a esta. Destacaremos como propuesta el Teatro Total de Walter Gropius, en cuyo desarrollo se recogen de algún modo las experiencias espaciales y las investigaciones desarrolladas sobre la estructura formal de la percepción realizadas por Moholy Nagy, además de los conceptos acerca del espacio escénico desarrollados en el taller de Teatro de la Bauhaus por Oskar Schlemmer. En el Teatro Total, Gropius incorporará su propia visión de cuestiones que pertenecen a la tradición de la arquitectura teatral y las innovaciones conceptuales que estaban teniendo lugar desde finales del s.XIX, tales como la participación activa del público o la superación entre escena y auditorio, estableciendo en el proyecto una nueva relación perceptual entre sala, espectáculo y espectador; aumentando la sensación de inmersión, a través del uso de la física, la óptica, y la acústica, creando una energía concéntrica capaz de extenderse en todas direcciones. El Teatro Total será uno de los primeros ejemplos en los que desde el punto de partida del proyecto, se conjuga la imagen como elemento comunicativo con la configuración espacial. Las nuevas configuraciones escénicas tendrán como premisa de desarrollo la capacidad de transformación tanto perceptiva, como física. En la segunda mitad del s.XX, la creación de centros de investigación como el CAVS (The Center for Advanced Visual Studies,1967), o el EAT (Experiments in Art and Technology, 1966), favorecerán la colaboración interdisciplinar entre arte y ciencia, implicando a empresas de carácter tecnológico, como Siemens, HP, IBM o Philips, facilitando soporte técnico y económico para el desarrollo de nuevos sistemas. Esta colaboración interdisciplinar dará lugar a una serie de intervenciones espaciales que tendrán su mayor visibilidad en algunas Exposiciones Universales. El resultado será, en la mayoría de los casos, la creación de espacios de carácter inmersivo, donde se establecerá una relación simbiótica entre espacio, imagen, sonido, y espectador. La colocación del espectador en el centro de la escena y la disposición dinámica de imagen y sonido, crearán una particular narrativa espacial no lineal, concebida para la experiencia. Desde las primeras proyecciones de cine a la pantalla múltiple de los Eames, las técnicas espaciales de difusión del sonido en Stockhausen, o los experimentos con el movimiento físico interactivo, la imagen, la luz en movimiento y el sonido, quedan inevitablemente convertidos en material arquitectónico. ABSTRACT. Light technology development would lead to a social, cultural and economic transformation. Both spatial consideration of “Modern Movement” and Second World War effects on technology, would have a visible aftereffect on spatial configuration and on the symbiotic and mutual relationship between ideology & technology. Comprehension adjustment on the articulation of space together with technology development, would impact on how space is perceived and felt. Exhibition space and scenic space would turn into a laboratory where developing and making comprehensive all illusory potential of light, projection and image. These new parameters would modify and revitalize the architectonic space. as modifying and revitalizing parameters of architectonic space. Spatial experimentation would be preceded by conceptual creation and investigation on the sculptural field, where new mechanic media would be responsible for a fresh and modern look influenced by technical elements. Optical experimentation, through photography, cinema or light movement and its perception, would turn into essential components for spatial arrangement linked to new ways of performance and communication. This experimentation sphere would be clear at The Bauhaus School, by the hand of Gropius, Schlemmer or Moholy Nag among others; in theoretical, theatrical or architectural performance’s projects, that would evolve based on technology and also based on the transformation of the relationship with the observer. Exhibition and perfor-mance areas would be taken as opportunities of spatial investigation and for the analysis of the different ways of perception, thus becoming key places for learning. Theater is postulated as a meeting point between art and technique, taking on a new significance at its intersection with other disciplines working with spatial definition too. The multiple innovation techniques linked to the new foundations for the theater regarding stage relation, would have as a consequence the regeneration of the space. Space would turn dynamic, both physically and perceptibly, bringing innovative spatial conceptions, many of them unrealistic. Light, projection and illusory creation based on sound and visual stimulus would appear as intangible and momentary design components, which would have a great impact on the space and on the way it is experienced. Implication of technology in art would bring changes on the observer as well as on the spatial configuration of the art spaces2. It would stand out as a proposal Walter Groupis Total Theater, whose development would include somehow the spatial experiments and studies about formal structure of perception accomplished by Moholy Nagy besides the concepts regarding stage space enhanced at the Bauhaus Theater Studio by Oskar Schlemmer. Within Total Theater, Groupis would incorporate his own view about traditional theatric architecture and conceptual innovations that were taking place since the end of the nineteenth century, such as active audience participation or the diffusing limits between scene and audience, establishing a new perception relationship between auditorium, performance and audience, improving the feeling of immersion through the use of physics, optics and acoustics, creating a concentric energy capable of spreading in all directions. Total Theater would be one of the first example in which, from the beginning of the Project, image is combined as a communicating element with the spatial configuration. As a premise of development, new stage arrangement would have the capacity of transformation, both perceptive and physically. During the second half or the twentieth century, the creation of investigation centers such as CAVS (Center for Advanced Visual Studies, 1967) or EAT (Experiments in Art and Technology, 1966), would help to the interdisciplinary collaboration between art and science, involving technology companies like Siemens, HP, IBM or Philips, providing technical and economic support to the development of new systems. This interdisciplinary collaboration would give room to a series of spatial interventions which would have visibility in some Universal Exhibitions. The result would be, in most cases, the creation of immersive character spaces, where a symbiotic relationship would be stablished between space, image, sound and audience. The new location of the audience in the middle of the display, together with the dynamic arrangement of sound and image would create a particular, no lineal narrative conceived to be experienced. Since the first cinema projections, the multiple screen of Eames, the spatial techniques for sound dissemination at Stockhausen or the interactive physical movement experimentation, image, motion light and sound would turn inevitably into architectural material.