Habitar al borde del agua : villas del siglo XX

Las casas del siglo XX construidas al borde del mar –escenario único y origen de su expresión- siguen la topografía del suelo que habitan en su descenso al agua, y organizan espacios que obtienen miradas al horizonte marino. El horizonte nos confronta a lo desconocido. La vista del mar incita al deseo de recorrerlo, al deseo de viajar. Con origen en el otium romano, la presencia del agua define un modo de vida apacible –epicúreo- que los viajeros de la arquitectura -que nos acompañan en la tesis- traducen en sus refugios más íntimos. Experimentan con los cambios en los conceptos y en las técnicas, que se trasladan fácilmente a la arquitectura de la casa al borde del agua desde los inicios del Movimiento Moderno. Sus espacios del habitar frente al mar nos permiten descubrir estrategias comunes en sus respuestas más modernas. El arquitecto ante el proyecto frente al mar llega a la ubicación elegida, mira hacia el horizonte, y desplazándose ladera arriba se coloca en un punto estratégico que elige; después, delante de su tablero, recorre el camino inverso, coloca el lugar y sobre él dibuja los elementos que configurarán los espacios de la casa buscando esa mirada al mar. Las situaciones y ubicaciones posibles son infinitas; se definen algunas consonancias espaciales comunes en los suelos que se ocupan debidas a la presencia del mar que asociamos entre sí. De la comparación entre todas las casas -emblemas del XX-, surgen múltiples variantes de la mirada y de espacios al abierto, y modos de fabricar entornos con criterios comunes para dominar la visión del mar. Interiores que se abren al panorama, espacios cuyas ventanas buscan su mirada en la extensión del horizonte, rescisiones y aperturas. Reconocemos condicionantes en el territorio a los que las villas responden, categorías arquitectónicas que dan respuesta frente al mar en la búsqueda del moderno, la topografía, la mirada y el espacio al abierto. Las casas comparten la idea del dominio del paisaje desde el punto más alto, y en algunos suelos se invierte la tipología por la topografía, confirmando así un criterio común basado en la lectura del suelo como consecuencia de la búsqueda del espacio de la mirada. Los espacios al abierto se significan en todas ellas, son espacios al -aire libre- abiertos, unos envueltos, otros porticados, puertas del horizonte que se abren al exterior, en el techo de la casa, otros cubiertos y abiertos, espacios entre interior y exterior, en plataformas con bancales o patios envolventes, recintos o habitaciones abiertas. Descubrimos un logro del XX en los espacios positivos o negativos que traducen o juegan con el entorno, que ocupan o sustraen de los contornos construidos y que obtienen espacios intermedios en la búsqueda de la relación con el mar. Las herramientas que se utilizan son los dibujos de los autores, de las casas visitadas, el elenco de viajeros y sus viajes, el conocimiento desde el estudio de los proyectos. A través de la comparación por aproximaciones parciales, los dibujos nos definen la mirada al mar, el modo de ocupación y la forma de relación con el paisaje. La arquitectura del habitar frente al mar en el XX, hecha para y por arquitectos, topografía el suelo y construye la mirada, fabricando espacios al abierto en la relación entre la casa y el entorno marítimo. ABSTRACT Houses of the 20th century built by the sea – a unique setting which gives rise to their expression – follow the topography of the land they occupy in its descent towards the sea, and they organize spaces which give views of the maritime horizon. The horizon brings us face to face with the unknown. The sea view provokes a desire to cross it, to travel. The presence of the sea defines a peaceful, epicurean way of life, with origins in the Roman otium, which architectural travellers – who accompany us through the thesis – translate into their most intimate retreats. They experiment with changes in concepts and techniques, which are easily transferred to the architecture of the seaside house since the beginnings of the Modern Movement. Their living spaces allow us to discover common strategies in the most modern responses. The architect with a seaside project arrives at the site, looks towards the horizon, then walks uphill and chooses a strategic point; then with his drawing board he retraces his steps, he sets the position and then draws in the elements that make up the house that seeks a sea view. The number of potential situations and locations is infinite; certain common spatial accordances are defined in land which is occupied due to the presence of the sea. Comparison of all the houses – 20th century emblems – throws up multiple variations of view and open spaces, and ways of creating settings with common criteria so as to command the vision of the sea. Interiors which open up to the panorama, spaces whose windows seek their view in the expanse of the horizon, openings and closures. We recognise determinant factors in the territory to which the villas respond, architectural categories which give a seaside solution to the search for the modern, the topography, the view, and the open space. The houses share the idea of dominating the landscape from the highest point, and in some areas typology and topography are inverted, thus confirming a common criteria based on the reading of the ground as a conse quence of the search for the view space. Open spaces stand out in all the villas – spaces open to the outdoor air - some are wrapped, some arcaded, doors to the horizon which open up to the exterior, on the roof of the house. There are open and covered spaces, spaces between the exterior and interior, on platforms with banks and surrounding patios, enclosures and open rooms. We discover an achievement of the 20th century in the positive and negative spaces which translate and play with the setting, which occupy or are extracted from built contours and which obtain intermediate spaces in the search for the relationship with the sea. The tools used are the author’s drawings of the houses visited, the cast of travelling companions and their travels, the knowledge gained from study of the projects. Through comparison by means of partial approaches, the drawings define the view of the sea, the occupation mode and the way of relating to the landscape. Architecture for living by the sea in the 20th century, carried out both by and for the architects, shapes the land and constructs the view, creating open spaces in the relationship between the house and the sea surroundings.

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

Homography-based ground plane detection using a single on-board camera

This study presents a robust method for ground plane detection in vision-based systems with a non-stationary camera. The proposed method is based on the reliable estimation of the homography between ground planes in successive images. This homography is computed using a feature matching approach, which in contrast to classical approaches to on-board motion estimation does not require explicit ego-motion calculation. As opposed to it, a novel homography calculation method based on a linear estimation framework is presented. This framework provides predictions of the ground plane transformation matrix that are dynamically updated with new measurements. The method is specially suited for challenging environments, in particular traffic scenarios, in which the information is scarce and the homography computed from the images is usually inaccurate or erroneous. The proposed estimation framework is able to remove erroneous measurements and to correct those that are inaccurate, hence producing a reliable homography estimate at each instant. It is based on the evaluation of the difference between the predicted and the observed transformations, measured according to the spectral norm of the associated matrix of differences. Moreover, an example is provided on how to use the information extracted from ground plane estimation to achieve object detection and tracking. The method has been successfully demonstrated for the detection of moving vehicles in traffic environments.

El dibujo y la vida de los edificios. Drawing and Building Life.

En la encrucijada y debate actual sobre la aplicación de los nuevos medios en la documentación de la Arquitectura, se destaca la necesidad de preservar los valores de la tradición del dibujo arquitectónico, proponiendo su papel nuclear en el concepto de Vida Gráfica como lugar de integración de los nuevos medios y los añejos fines para el progreso en el conocimiento y difusión de la Arquitectura.

Development and Assessment of the Competence Creativity Applied to Technical Drawing

The results obtained after incorporating the competence “creativity” to the subject Technical Drawing of the first course of the Degree in Forestry, Technical University of Madrid, are presented in this study.At first, learning activities which could serve two functions at the same time -developing students’ creativity and developing other specific competences of the subject- were considered. Besides, changes in the assessment procedure were made and a method which analyzes two aspects of the assessment of the competence creativity was established. On the one hand, the products are evaluated by analyzing the outcomes obtained by students in the essays suggested and by establishing a parameter to assess the creativity expressed in those essays. On the other, an assessment of the student is directly carried out through a psychometric test which has been previously chosen by the team.Moreover, these results can be applied to similar or could be of general application

In situ acoustic methods to estimate the physical and mechanical aging of oriented strand board

Following the success achieved in previous research projects usin non-destructive methods to estimate the physical and mechanical aging of particle and fibre boards, this paper studies the relationships between aging, physical and mechanical changes, using non-destructive measurements of oriented strand board (OSB). 184 pieces of OSB board from a French source were tested to analyze its actual physical and mechanical properties. The same properties were estimated using acoustic non-destructive methods (ultrasound and stress wave velocity) during a physical laboratory aging test. Measurements were recorded of propagation wave velocity with the sensors aligned, edge to edge, and forming an angle of 45 degrees, with both sensors on the same face of the board. This is because aligned measures are not possible on site. The velocity results are always higher in 45 degree measurements. Given the results of statistical analysis, it can be concluded that there is a strong relationship between acoustic measurements and the decline in physical and mechanical properties of the panels due to aging. The authors propose several models to estimate the physical and mechanical properties of board, as well as their degree of aging. The best results are obtained using ultrasound, although the difference in comparison with the stress wave method is not very significant. A reliable prediction of the degree of deterioration (aging) of board is presented.

On-board and Ground Visual Pose Estimation Techniques for UAV Control

In this paper, two techniques to control UAVs (Unmanned Aerial Vehicles), based on visual information are presented. The first one is based on the detection and tracking of planar structures from an on-board camera, while the second one is based on the detection and 3D reconstruction of the position of the UAV based on an external camera system. Both strategies are tested with a VTOL (Vertical take-off and landing) UAV, and results show good behavior of the visual systems (precision in the estimation and frame rate) when estimating the helicopter¿s position and using the extracted information to control the UAV.

Energy/power consumption model for an embedded processor board

This dissertation, whose research has been conducted at the Group of Electronic and Microelectronic Design (GDEM) within the framework of the project Power Consumption Control in Multimedia Terminals (PCCMUTE), focuses on the development of an energy estimation model for the battery-powered embedded processor board. The main objectives and contributions of the work are summarized as follows: A model is proposed to obtain the accurate energy estimation results based on the linear correlation between the performance monitoring counters (PMCs) and energy consumption. the uniqueness of the appropriate PMCs for each different system, the modeling methodology is improved to obtain stable accuracies with slight variations among multiple scenarios and to be repeatable in other systems. It includes two steps: the former, the PMC-filter, to identify the most proper set among the available PMCs of a system and the latter, the k-fold cross validation method, to avoid the bias during the model training stage. The methodology is implemented on a commercial embedded board running the 2.6.34 Linux kernel and the PAPI, a cross-platform interface to configure and access PMCs. The results show that the methodology is able to keep a good stability in different scenarios and provide robust estimation results with the average relative error being less than 5%. Este trabajo fin de máster, cuya investigación se ha desarrollado en el Grupo de Diseño Electrónico y Microelectrónico (GDEM) en el marco del proyecto PccMuTe, se centra en el desarrollo de un modelo de estimación de energía para un sistema empotrado alimentado por batería. Los objetivos principales y las contribuciones de esta tesis se resumen como sigue: Se propone un modelo para obtener estimaciones precisas del consumo de energía de un sistema empotrado. El modelo se basa en la correlación lineal entre los valores de los contadores de prestaciones y el consumo de energía. Considerando la particularidad de los contadores de prestaciones en cada sistema, la metodología de modelado se ha mejorado para obtener precisiones estables, con ligeras variaciones entre escenarios múltiples y para replicar los resultados en diferentes sistemas. La metodología incluye dos etapas: la primera, filtrado-PMC, que consiste en identificar el conjunto más apropiado de contadores de prestaciones de entre los disponibles en un sistema y la segunda, el método de validación cruzada de K iteraciones, cuyo fin es evitar los sesgos durante la fase de entrenamiento. La metodología se implementa en un sistema empotrado que ejecuta el kernel 2.6.34 de Linux y PAPI, un interfaz multiplataforma para configurar y acceder a los contadores. Los resultados muestran que esta metodología consigue una buena estabilidad en diferentes escenarios y proporciona unos resultados robustos de estimación con un error medio relativo inferior al 5%.

Integrated phased array transducer for on-board structural health monitoring

Permanently bonded onto a structure, an integrated Phased Array (PhA II) transducer that can provide reliable electromechanical connection with corresponding sophisticated miniaturized ?all in one? SHM electronic device installed directly above it, without need for any interface cabling, during all aerospace structure lifecycle phases and for a huge variety of real harsh service environments of structures to be monitored is presented. This integrated PhA II transducer [1], as a key component of the PAMELA SHM? (Phased Array Monitoring for Enhanced Life Assessment) system, has two principal tasks at the same time, reliably transceive elastic waves in real aerospace service environments and serves as a reliable sole carrier or support for associated integrated on-board SHM electronic device attached above. The PhA II transducer successfully accomplished both required task throughout extensive test campaigns which included low to high temperature tests, temperature cycling, mechanical loading, combined thermo- mechanical loading and vibration resistance, etc. both with and without SHM device attached above due to RTCA DO-160F.

A hierarchical strategy for real-time tracking on-board UAVs

In this paper, we present a real-time tracking strategy based on direct methods for tracking tasks on-board UAVs, that is able to overcome problems posed by the challenging conditions of the task: e.g. constant vibrations, fast 3D changes, and limited capacity on-board. The vast majority of approaches make use of feature-based methods to track objects. Nonetheless, in this paper we show that although some of these feature-based solutions are faster, direct methods can be more robust under fast 3D motions (fast changes in position), some changes in appearance, constant vibrations (without requiring any specific hardware or software for video stabilization), and situations where part of the object to track is out the field of view of the camera. The performance of the proposed strategy is evaluated with images from real-flight tests using different evaluation mechanisms (e.g. accurate position estimation using a Vicon sytem). Results show that our tracking strategy performs better than well known feature-based algorithms and well known configurations of direct methods, and that the recovered data is robust enough for vision-in-the-loop tasks.

A proposed bare tether experiment on board a sounding rocket

A sounding rocket experiment is proposed to carry out two experiments by the conductive bare-tether; 1) the test of the OML (Orbital-Motion-Limited) theory to collect electron, and II) the test of techniques to determine (neutral) density profile in critical E-layer. The main driver of the mission is provide a space tether technology experiment in low-Earth-Orbit (LEO) deploying a long tape tether in space and verify the performance of the bare electrodynamic tape tether. The sounding rocket experiment will show no danger to other satellites as the tether missions YES1, SEDSAT, and ProCEDS, which is cancelled just for afraid of collision with the ISS orbit. Also, the sounding rocket mission is possible to demonstrate the bare tether technology in low cost, simple mission concept, fast realization for space structures. The present sounding rocket experiment is expected to be the first conductive bare tether experiment.

Tutorial 2.0 on Technical Drawing 3D and Visualization

In recent years, the continuous incorporation of new technologies in the learning process has been an important factor in the educational process [1]. The Technical University of Madrid (UPM) promotes educational innovation processes and develops projects related to the improvement of the education quality. The experience that we present fits into the Educational Innovation Project (EIP) of the E.U. of Agricultural Engineering of Madrid. One of the main objectives of the EIP is to "Take advantage of the new opportunities offered by the Learning and Knowledge Technologies in order to enrich the educational processes and teaching management" [2].

Evolution of microstructure, macrotexture and mechanical properties of commercially pure Ti during ECAP-conform processing and drawing

Long-length ultrafine-grained (UFG) Ti rods are produced by equal-channel angular pressing via the conform scheme (ECAP-C) at 200 °C, which is followed by drawing at 200 °C. The evolution of microstructure, macrotexture, and mechanical properties (yield strength, ultimate tensile strength, failure stress, uniform elongation, elongation to failure) of pure Ti during this thermo-mechanical processing is studied. Special attention is also paid to the effect of microstructure on the mechanical behavior of the material after macrolocalization of plastic flow. The number of ECAP-C passes varies in the range of 1–10. The microstructure is more refined with increasing number of ECAP-C passes. Formation of homogeneous microstructure with a grain/subgrain size of 200 nm and its saturation after 6 ECAP-C passes are observed. Strength properties increase with increasing number of ECAP passes and saturate after 6 ECAP-C passes to a yield strength of 973 MPa, an ultimate tensile strength of 1035 MPa, and a true failure stress of 1400 MPa (from 625, 750, and 1150 MPa in the as-received condition). The true strain at failure failure decreases after ECAP-C processing. The reduction of area and true strain to failure values do not decrease after ECAP-C processing. The sample after 6 ECAP-C passes is subjected to drawing at 200¯C resulting in reduction of a grain/subgrain size to 150 nm, formation of (10 1¯0) fiber texture with respect to the rod axis, and further increase of the yield strength up to 1190 MPa, the ultimate tensile strength up to 1230 MPa and the true failure stress up to 1600 MPa. It is demonstrated that UFG CP Ti has low resistance to macrolocalization of plastic deformation and high resistance to crack formation after necking.

A Hierarchical Tracking Strategy for Vision-Based Applications On-Board UAVs

In this paper, we apply a hierarchical tracking strategy of planar objects (or that can be assumed to be planar) that is based on direct methods for vision-based applications on-board UAVs. The use of this tracking strategy allows to achieve the tasks at real-time frame rates and to overcome problems posed by the challenging conditions of the tasks: e.g. constant vibrations, fast 3D changes, or limited capacity on-board. The vast majority of approaches make use of feature-based methods to track objects. Nonetheless, in this paper we show that although some of these feature-based solutions are faster, direct methods can be more robust under fast 3D motions (fast changes in position), some changes in appearance, constant vibrations (without requiring any specific hardware or software for video stabilization), and situations in which part of the object to track is outside of the field of view of the camera. The performance of the proposed tracking strategy on-board UAVs is evaluated with images from realflight tests using manually-generated ground truth information, accurate position estimation using a Vicon system, and also with simulated data from a simulation environment. Results show that the hierarchical tracking strategy performs better than wellknown feature-based algorithms and well-known configurations of direct methods, and that its performance is robust enough for vision-in-the-loop tasks, e.g. for vision-based landing tasks.

Vibration reduction for vision systems on board unmanned aerial vehicles using a neuro-fuzzy controller

In this paper, an intelligent control approach based on neuro-fuzzy systems performance is presented, with the objective of counteracting the vibrations that affect the low-cost vision platform onboard an unmanned aerial system of rotating nature. A scaled dynamical model of a helicopter is used to simulate vibrations on its fuselage. The impact of these vibrations on the low-cost vision system will be assessed and an intelligent control approach will be derived in order to reduce its detrimental influence. Different trials that consider a neuro-fuzzy approach as a fundamental part of an intelligent semi-active control strategy have been carried out. Satisfactory results have been achieved compared to those obtained by means of vibration reduction passive techniques.