Study of the Influence of Reference System in Surface Finishing Parameters Evaluation.

In the present paper the influence of the reference system with regard to the characterization of the surface finishing is analyzed. The effect of the reference system’s choice on the most representative surface finishing parameters (e.g. roughness average Ra and root mean square values Rq) is studied. The study can also be applied to their equivalent parameters in waviness and primary profiles. Based on ISO and ASME standards, three different types of regression lines (central, mean and orthogonal) are theoretically and experimentally analyzed, identifying the validity and applicability fields of each one depending on profile’s geometry. El presente trabajo realiza un estudio de la influencia que supone la elección del sistema de referencia en la determinación los valores de los parámetros más relevantes empleados en la caracterización del acabado superficial tales como la rugosidad media aritmética Ra o la rugosidad media cuadrática Rq y sus equivalentes en los perfiles de ondulación y completo. Partiendo de la definición establecida por las normas ISO y ASME, se analizan tres tipos de líneas de regresión cuadrática (línea central, línea media y línea ortogonal), delimitando los campos de validez y de aplicación de cada una de ellas en función de la geometría del perfil. Para ello se plantean diversos tipos de perfiles y se desarrolla un estudio teórico y experimental de los mismos.

Descriptive study of production factors affecting performance traits in growing-finishing pgis in Spain.

The objective of this study was to build up a data set including productive performance and production factors data of growing-finishing (GF) pigs in Spain in order to perform a representative and reliable description of the traits of Spanish growing-finishing pig industry. Data from 764 batches from 452 farms belonging to nine companies (1,157,212 pigs) were collected between 2008 and 2010 through a survey including five parts: general, facilities, feeding, health status and performance. Most studied farms had only GF pigs on their facilities (94.7%), produced ‘industrial’ pigs (86.7%), had entire male and female (59.5%) and Pietrain-sired pigs (70.0%), housed between 13-20 pigs per pen (87.2%), had  50% of slatted floor (70%), single-space dry feeder (54.0%), nipple drinker (88.7%) and automatic ventilation systems (71.2%). A 75.0% of the farms used three feeding phases using mainly pelleted diets (91.0%), 61.3% performed three or more antibiotic treatments and 36.5% obtained water from the public supply. Continuous variables studied had the following average values: number of pigs placed per batch, 1,515 pigs; initial and final body weight, 19.0 and 108 kg; length of GF period, 136 days; culling rate, 1.4%; barn occupation, 99.7%; feed intake per pig and fattening cycle, 244 kg; daily gain, 0.657 kg; feed conversion ratio, 2.77 kg kg-1 and mortality rate, 4.3%. Data reflecting the practical situation of the Spanish growing and finishing pig production and it may contribute to develop new strategies in order to improve the productive and economic efficiency of GF pig units.

Comparative study about the use of two and three-dimensional methods in surface finishing characterization

The increasing number of works related to the surface texture characterization based on 3D information, makes convenient rethinking traditional methods based on two-dimensional measurements from profiles. This work compares results between measurements obtained using two and three-dimensional methods. It uses three kinds of data sources: reference surfaces, randomly generated surfaces and measured. Preliminary results are presented. These results must be completed trying to cover a wider number of possibilities according to the manufacturing process and the measurement instrumentation since results can vary quite significantly between them.

Management factors affecting mortality, feed intake, and feed conversion ratio of grow-finishing pigs

The aim of this study was to determine the effect of animal management and farm facilities on total feed intake (TFI), feed conversion ratio (FCR) and mortality rate (MORT) of grower-finishing pigs. In total, 310 batches from 244 grower-finishing farms, consisting of 454 855 Pietrain sired pigs in six Spanish pig companies were used. Data collection consisted of a survey on management practices (season of placement, split-sex by pens, number of pig origins, water source in the farm, initial or final BW) and facilities (floor, feeder, ventilation or number of animals placed) during 2008 and 2009. Results indicated that batches of pigs placed between January and March had higher TFI (P=0.006), FCR (P=0.005) and MORT (P=0.03) than those placed between July and September. Moreover, batches of pigs placed between April and June had lower MORT (P=0.003) than those placed between January and March. Batches which had split-sex pens had lower TFI (P=0.001) and better FCR (P<0.001) than those with mixed-sex in pens; pigs fed with a single-space feeder with incorporated drinker also had the lowest TFI (P<0.001) and best FCR (P<0.001) in comparison to single and multi-space feeders without a drinker. Pigs placed in pens with <50% slatted floors presented an improvement in FCR (P<0.05) than pens with 50% or more slatted floors. Batches filled with pigs from multiple origins had higher MORT (P<0.001) than those from a single origin. Pigs housed in barns that performed manual ventilation control presented higher MORT (P<0.001) in comparison to automatic ventilation. The regression analysis also indicated that pigs which entered to grower-finisher facilities with higher initial BW had lower MORT (P<0.05) and finally pigs which were sent to slaughterhouse with a higher final BW presented higher TFI (P<0.001). The variables selected for each dependent variable explained 61.9%, 24.8% and 20.4% of the total variability for TFI, FCR and MORT, respectively. This study indicates that farms can increase growth performance and reduce mortality by improving farm facilities and/or modifying management practices.

Effects of nutrition on digestión efficicency and gaseous emissions from slurry in growing-finishing pigs. I. Influence of the inclusión of two levels of orange pulp and carb meal in isofibrous diets

An experiment was conducted to investigate the effects of increasing the level of two sources of fibrous by-products, orange pulp (OP) and carob meal (CM), in iso-NDF growing-finishing pig diets on nutrient balance, slurry composition and potential ammonia (NH3) and methane (CH4) emissions. Thirty pigs (85.4 ± 12.3 kg) were fed five iso-nutritive diets: a commercial control wheat/barley (C) and four experimental diets including two sources of fibrous by-products (OP and CM) and two dietary levels (75 and 150 g/kg) in a 2 × 2 factorial arrangement. After a 14-day adaptation period, faeces and urine were collected separately for 7 days to measure nutrient digestibility and the excretory patterns of N from pigs (6 replicates per diet) housed individually in metabolic pens. For each animal, the derived NH3 and CH4 emissions were measured in samples of slurry over an 11- and 100-day storage periods, respectively. Source and level of the fibrous by-products affected digestion efficiency in a different way as the coefficients of total tract apparent digestibility (CTTAD) for dry matter (DM), organic matter (OM), fibre fractions and gross energy increased with OP but decreased with CM (P < 0.05). Crude protein CTTAD decreased with the inclusion of both sources of fibre, being lower at the highest dietary level. Faecal concentration of fibre fractions increased (P < 0.05) with the level of inclusion of CM but decreased with that of OP (P < 0.01). High dietary level for both sources of fibre increased (P < 0.02) CP faecal content but urine N content decreased (from 205 to 168 g/kg DM, P < 0.05) in all the fibre-supplemented compared to C diet. Additionally, the proportions of undigested dietary, water soluble, and bacterial and endogenous debris of faecal N excretion were not affected by treatments. The initial slurry characteristics did not differ among different fibre sources and dietary levels, except pH, which decreased at the highest by-product inclusion levels. Ammonia emission per kg of slurry was lower in all the fibre-supplemented diets than in C diet (from 2.44 to 1.81 g, P < 0.05). Additionally, slurries from the highest dietary level of by-products tended (P < 0.06) to emit less NH3 per kg of initial total Kjeldahl N and showed a lower B0, independently of the fibre source. Thus, the fibre sources and their dietary levels affected pig nutrient digestion and composition of urine and faeces, showing potential to decrease NH3 and CH4 emissions at high levels of inclusion, independently of type of fibre.

Effects of nutrition on digestión efficicency and gaseous emissions from slurry in growing-finishing pigs. II. Effect of protein source in practical diets.

Uso de diferentes fuentes de proteína en la alimentación de cerdos en fase de cebo y su relación con las emisiones de gases amoniaco y metano.

Qualidade de sementes de algodâo submetidas aos procesos de encapsulamento com e sem corante

Objetivou-se estudar a qualidade fisiológica de sementes de algodão quando submetidas aos processos de encapsulamento com e sem corante em comparação com as sementes apenas tratadas com fungicidas (carboxin e thiran 200 Sc) e inseticida (pirimiphos methyl) - testemunha. A betoneira grande (capacidade de 40 L) recebeu sementes deslintadas + tratadas para serem submetidas ao processo de encapsulação (coating e finishing) com e sem corante, além de uma testemunha não encapsulada, estabelecendo-se os seguintes tratamentos: 1- sementes deslintadas e tratadas com fungicidas (carboxin e thiran 200 Sc) e inseticidas (pirimiphos methyl) (testemunha); 2- sementes deslintadas, tratadas e encapsuladas (coating e finishing) sem corante; e 3- sementes deslintadas, tratadas e encapsuladas com corante. Foi adotado o delineamento inteiramente casualizado com três tratamentos e quatro repetições. As variáveis analisadas foram percentagem de germinação, comprimento de plântulas e massa de 100 sementes. Observou-se que o processo de recobrimento de sementes de algodão deslintadas, tratadas com fungicidas e inseticida e encapsuladas não ocasiona redução na qualidade fisiológica das sementes, e o uso de corante em sementes encapsuladas não altera a sua qualidade.

An educational initiative between the Universidad Politécnica de Madrid and Spanish Young Generation in Nuclear (Jóvenes Nucleares): The Seminar of Nuclear Safety in Advanced Reactors

Jóvenes Nucleares (Spanish Young Generation in Nuclear, JJNN) is a non-profit organization and a commission of the Spanish Nuclear Society (SNE). The Universidad Politécnica de Madrid (Technical University of Madrid, UPM) is one of the most prestigious technical universities of Spain, and has a very strong curriculum in nuclear engineering training and research. Finishing 2009, JJNN and the UPM started to plan a new and first-of-a-kind Seminar in Nuclear Safety focused on the Advanced Reactors (Generation III, III+ and IV). The scope was to make a general description of the safety in the new reactors, comparing them with the built Generation II reactors from a technical point of view but simple and without the need of strong background in nuclear engineering to try to be interesting for the most number of people possible.

Service needs forecasting: an approach for the automotive industry using analogies with medical ER management models.

During the past years, the industry has shifted position and moved towards “the luxury universe” whose customers are demanding, treating individuals as unique and valued customer for the business, offering vehicles produced with the state of the art technologies and implementing the highest finishing standards. Due to the competitive level in the market, car makers enable processes which equalizes customer services to E.R. management, being dealt with the maximum urgency that allows the comparison between both, car workshops and emergency rooms, where workshop bays or ramps will be equal to emergency boxes and skilled technicians are equivalent to the health care specialist, who will carry out tests and checks prior to afford any final operation, keeping the “patient” under control before it is back to normal utilization. This paper establishes a valid model for the automotive industry to estimate customer service demand forecasting under variable demand conditions using analogies with patient demand models used for the medical ER.

SERVICE NEEDS FORECASTING: An Approach for the Motor Industry Using Analogies with Medical ER Management Models.

During the past years, the industry has shifted position and moved towards “the luxury universe” whose customers are demanding, treating individuals as unique and valued customer for the business, offering vehicles produced with the state of the art technologies and implementing the highest finishing standards. Due to the competitive level in the market, motor makers enable processes which equalizes customer services to E.R. management, being dealt with the maximum urgency that allows the comparison between both, car workshops and emergency rooms, where workshop bays or ramps will be equal to emergency boxes and skilled technicians are equivalent to the health care specialist, who will carry out tests and checks prior to afford any final operation, keeping the “patient” under control before it is back to normal utilization. This paper ratify a valid model for the automotive industry to estimate customer service demand forecasting under variable demand conditions using analogies with patient demand models used for the medical ER

Estudio de la influencia del sistema de referencia en la evaluación de parámetros de acabado superficial

In the present paper the influence of the reference system with regard to the characterization of the surface finishing is analyzed. The effect of the reference system’s choice on the most representative surface finishing parameters (e.g. roughness average Ra and root mean square values Rq) is studied. The study can also be applied to their equivalent parameters in waviness and primary profiles. Based on ISO and ASME standards, three different types of regression lines (central, mean and orthogonal) are theoretically and experimentally analyzed, identifying the validity and applicability fields of each one depending on profile’s geometry

Multi-criteria selection of structural adhesives to bond ABS parts obtained by rapid prototyping

One of the most used methods in rapidprototyping is Fused Deposition Modeling (FDM), which provides components with a reasonable strength in plastic materials such as ABS and has a low environmental impact. However, the FDM process exhibits low levels of surface finishing, difficulty in getting complex and/or small geometries and low consistency in “slim” elements of the parts. Furthermore, “cantilever” elements need large material structures to be supported. The solution of these deficiencies requires a comprehensive review of the three-dimensional part design to enhance advantages and performances of FDM and reduce their constraints. As a key feature of this redesign a novel method of construction by assembling parts with structuraladhesive joints is proposed. These adhesive joints should be designed specifically to fit the plastic substrate and the FDM manufacturing technology. To achieve this, the most suitable structuraladhesiveselection is firstly required. Therefore, the present work analyzes five different families of adhesives (cyanoacrylate, polyurethane, epoxy, acrylic and silicone), and, by means of the application of technical multi-criteria decision analysis based on the analytic hierarchy process (AHP), to select the structuraladhesive that better conjugates mechanical benefits and adaptation to the FDM manufacturing process

Simulation of academic performance rates, estimation of indicators of subjects and of a complete degree

The purpose of this paper is to present a program written in Matlab-Octave for the simulation of the time evolution of student curricula, i.e, how students pass their subjects along time until graduation. The program computes, from the simulations, the academic performance rates for the subjects of the study plan for each semester as well as the overall rates, which are a) the efficiency rate defined as the ratio of the number of students passing the exam to the number of students who registered for it and b) the success rate, defined as the ratio of the number of students passing the exam to the number of students who not only registered for it but also actually took it. Additionally, we compute the rates for the bachelor academic degree which are established for Spain by the National Quality Evaluation and Accreditation Agency (ANECA) and which are the graduation rate (measured as the percentage of students who finish as scheduled in the plan or taking an extra year) and the efficiency rate (measured as the percentage of credits which a student who graduated has really taken). The simulation is done in terms of the probabilities of passing all the subjects in their study plan. The application of the simulator to Polytech students in Madrid, where requirements for passing are specially stiff in first and second year subjects, is particularly relevant to analyze student cohorts and the probabilities of students finishing in the minimum of four years, or taking and extra year or two extra years, and so forth. It is a very useful tool when designing new study plans. The calculation of the probability distribution of the random variable "number of semesters a student has taken to complete the curricula and graduate" is difficult or even unfeasible to obtain analytically, and this is even truer when we incorporate uncertainty in parameter estimation. This is why we apply Monte Carlo simulation which not only provides illustration of the stochastic process but also a method for computation. The stochastic simulator is proving to be a useful tool for identification of the subjects most critical in the distribution of the number of semesters for curriculum vitae (CV) completion and subsequently for a decision making process in terms of CV planning and passing standards in the University. Simulations are performed through a graphical interface where also the results are presented in appropriate figures. The Project has been funded by the Call for Innovation in Education Projects of Universidad Politécnica de Madrid (UPM) through a Project of its school Escuela Técnica Superior de Ingenieros Industriales ETSII during the period September 2010-September 2011.

Effect of the Reference Line on Main Roughness Parameters

In the present paper the influence of the reference system with regard to the characterization of the surface finishing is analyzed. The effect of the reference system’s choice on the most representative surface finishing parameters (e.g. roughness average Ra and root mean square values Rq) is studied. The study can also be applied to their equivalent parameters in waviness and primary profiles. Based on ISO and ASME standards, three different types of regression lines (center, mean and orthogonal) are theoretically and experimentally analyzed, identifying the validity and applicability fields of each one depending on profile’s geometry.

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.