Physical and chemical evaluation of furniture waste briquettes

Furniture waste is mainly composed of wood and upholstery foam (mostly polyurethane foam). Both of these have a high calorific value, therefore, energy recovery would be an appropriate process to manage these wastes. Nevertheless, the drawback is that the energy content of these wastes is limited due to their low density mainly that of upholstery foam. Densification of separate foam presents difficulties due to its elastic character. The significance of this work lies in obtaining densified material by co-densification of furniture wood waste and polyurethane foam waste. Densification of furniture wood and the co-densification of furniture wood waste with polyurethane foam have been studied. On the one hand, the parameters that have an effect on the quality of the furniture waste briquettes have been analysed, i.e., moisture content, compaction pressure, presence of lignin, etc. The maximum weight percentage of polyurethane foam that can be added with furniture wood waste to obtain durable briquettes and the optimal moisture were determined. On the other hand, some parameters were analysed in order to evaluate the possible effect on the combustion. The chemical composition of waste wood was compared with untreated wood biomass; the higher nitrogen content and the concentration of some metals were the most important differences, with a significant difference of Ti content.

The episcopal complex of Eio-El Tolmo de Minateda (Hellín, Albacete, Spain). Architecture and spatial organization. 7th to 8th centuries AD

The episcopal complex of Eio, located in El Tolmo de Minateda, was built between the end of the 6th century and the beginning of the 7th century, possibly as a political decision taken by the ecclesiastical authority in the capital of the Visigothic kingdom (Toletum). With the comprehensive study of the whole complex presented below (construction cycles, furniture, decoration and location of spaces), we can interpret the function of each space in the basilica and the domus episcopi, the liturgical and general movement routes, the existence of some hierarchical environments, and specify the chronological development of the buildings. After the Arab-Berber conquest of Hispania in the early 8th century, the whole complex will experience a series of transformations that will convert the religious and monumental public area into a private, residential and industrial Islamic quarter.

Elogio del cuadrado: cuadrícula, cuadro, cuatro, cubo

Un recorrido por la producción de Le Corbusier evidencia la insistente presencia del cuadrado como base de las composiciones en diversos campos (urbanismo, arquitectura, pintura, mobiliario...) y en diferentes formatos (en planta, alzado y sección, o como marco, módulo y cuadrícula). La presente comunicación realiza un análisis formal (gráfico y simbólico) de sus proyectos y obras, rastreando los modos en que se utiliza el cuadrado permaneciendo en el tiempo como una constante recurrente. Para ello se recorren cuatro áreas temáticas que descienden en escala y en dimensiones: 1) capitolios, 2) museos, 3) pabellones y 4) casas, estudiando una serie de ejemplos en cada área a partir de los planos de la Fundación Le Corbusier, generando discursos que reconstruyen un hilo del tiempo en la evolución de los procesos compositivos. De este modo, se desgrana el empleo del cuadrado, en correspondencia con las áreas de estudio, como: 1º) perímetro de la plaza pública donde insertar las arquitecturas representativas, 2º) marco o caja-fuerte donde encerrar los tesoros artísticos (o sagrados), 3º) volumen cúbico abierto y desmontable y 4º) caja definida por la retícula de la estructura. El cuadrado es siempre un medio y no un fin. Persiste un intento de sugerir algunos de los orígenes en su formación clasicista, sus viajes y sus pinturas.

Technologies for Seduction: The “Espacio Doméstico” VideoArt Center in Blanca [EDOM]

Sustainability, understood in its beginnings as a common horizon for multiple practices and fields of study, has gradually given way to the development of increasingly sophisticated tools, with distinct dominant meanings established for each discipline. Within the field of material technologies for architectural production, sustainability seems to have found its most fertile ground in topics such as recycling, the use of "bio" materials, or energetic efficiency. However, to improve the understanding of the impact of technology on our ways of living, it appears increasingly necessary to move from the deterministic logic of sustainability into the relational domain of ecology, where the use and deployment of technologies can be observed through the multiplicity of its effects and the diversity of actors involved. In this paper we will address the case of the rehabilitation of several traditional houses located in the Murcian town of Blanca to host the “Espacio Doméstico” VideoArt Center (EDOM). In this action the selection and implementation of technologies have been aimed at impacting on diverse aspects including local communities, digital manufacturing, recycling, and policies regarding the rehabilitation of heritage buildings. While the initial approach was to address housing recovery as a heterogeneous accumulation of stories, technologies or material deployments of the domestic, our intervention strategies ascribed to the different technologies the role of mediating with existing elements through the incorporation of the very different visions of sustainability. Thus, we displayed artifacts produced by digitally manufactured methacrylate assembled on IKEA structures, fluorescent power lines supported by insulators on the wall, fluorescent tattoos on walls and ceilings that guide and extend the configuration of existing flooring, esparto furniture and fabrics produced by the esparto women workers’ and village women’s associations, re-appropriations of old furniture through the implementation of new media technologies, etc. If we can see seduction as the process of converting affinities and disagreements into affirmative communication, then the EDOM proposal can be seen as an active seduction process between technologies and users who approach this kind of cultural artifacts. Through these permanently active processes, art technologies will refer the viewer to complex sensory experiences, where a combination of parody, memory and sound pushes the user to the limit of mere comprehension of works of art. This more relational approach to the issue of heritage rehabilitation, technology or art institutions is offered as an area of controversy and debate on the scope of political ecology and its potential impact on the architect’s professional practice.

Contributions to 3D Data Registration and Representation

Nowadays, new computers generation provides a high performance that enables to build computationally expensive computer vision applications applied to mobile robotics. Building a map of the environment is a common task of a robot and is an essential part to allow the robots to move through these environments. Traditionally, mobile robots used a combination of several sensors from different technologies. Lasers, sonars and contact sensors have been typically used in any mobile robotic architecture, however color cameras are an important sensor due to we want the robots to use the same information that humans to sense and move through the different environments. Color cameras are cheap and flexible but a lot of work need to be done to give robots enough visual understanding of the scenes. Computer vision algorithms are computational complex problems but nowadays robots have access to different and powerful architectures that can be used for mobile robotics purposes. The advent of low-cost RGB-D sensors like Microsoft Kinect which provide 3D colored point clouds at high frame rates made the computer vision even more relevant in the mobile robotics field. The combination of visual and 3D data allows the systems to use both computer vision and 3D processing and therefore to be aware of more details of the surrounding environment. The research described in this thesis was motivated by the need of scene mapping. Being aware of the surrounding environment is a key feature in many mobile robotics applications from simple robotic navigation to complex surveillance applications. In addition, the acquisition of a 3D model of the scenes is useful in many areas as video games scene modeling where well-known places are reconstructed and added to game systems or advertising where once you get the 3D model of one room the system can add furniture pieces using augmented reality techniques. In this thesis we perform an experimental study of the state-of-the-art registration methods to find which one fits better to our scene mapping purposes. Different methods are tested and analyzed on different scene distributions of visual and geometry appearance. In addition, this thesis proposes two methods for 3d data compression and representation of 3D maps. Our 3D representation proposal is based on the use of Growing Neural Gas (GNG) method. This Self-Organizing Maps (SOMs) has been successfully used for clustering, pattern recognition and topology representation of various kind of data. Until now, Self-Organizing Maps have been primarily computed offline and their application in 3D data has mainly focused on free noise models without considering time constraints. Self-organising neural models have the ability to provide a good representation of the input space. In particular, the Growing Neural Gas (GNG) is a suitable model because of its flexibility, rapid adaptation and excellent quality of representation. However, this type of learning is time consuming, specially for high-dimensional input data. Since real applications often work under time constraints, it is necessary to adapt the learning process in order to complete it in a predefined time. This thesis proposes a hardware implementation leveraging the computing power of modern GPUs which takes advantage of a new paradigm coined as General-Purpose Computing on Graphics Processing Units (GPGPU). Our proposed geometrical 3D compression method seeks to reduce the 3D information using plane detection as basic structure to compress the data. This is due to our target environments are man-made and therefore there are a lot of points that belong to a plane surface. Our proposed method is able to get good compression results in those man-made scenarios. The detected and compressed planes can be also used in other applications as surface reconstruction or plane-based registration algorithms. Finally, we have also demonstrated the goodness of the GPU technologies getting a high performance implementation of a CAD/CAM common technique called Virtual Digitizing.