Modern techniques for the analysis of chromatin and nuclear organization in C. elegans.

In recent years, Caenorhabditis elegans has emerged as a new model to investigate the relationships between nuclear architecture, cellular differentiation, and organismal development. On one hand, C. elegans with its fixed lineage and transparent body is a great model organism to observe gene functions in vivo in specific cell types using microscopy. On the other hand, two different techniques have been applied in nematodes to identify binding sites for chromatin-associated proteins genome-wide: chromatin immunoprecipitation (ChIP), and Dam-mediated identification (DamID). We summarize here all three techniques together as they are complementary. We also highlight strengths and differences of the individual approaches.

A Fast Reconfigurable 2D HW Core Architecture on FPGAs for Evolvable Self- Adaptive Systems

Modern FPGAs with Dynamic and Partial Reconfiguration (DPR) feature allow the implementation of complex, yet flexible, hardware systems. Combining this flexibility with evolvable hardware techniques, real adaptive systems, able to reconfigure themselves according to environmental changes, can be envisaged. In this paper, a highly regular and modular architecture combined with a fast reconfiguration mechanism is proposed, allowing the introduction of dynamic and partial reconfiguration in the evolvable hardware loop. Results and use case show that, following this approach, evolvable processing IP Cores can be built, providing intensive data processing capabilities, improving data and delay overheads with respect to previous proposals. Results also show that, in the worst case (maximum mutation rate), average reconfiguration time is 5 times lower than evaluation time.

Run-time Scalable Architecture for Deblocking Filtering in H.264/AVC-SVC Video Codecs

Systems relying on fixed hardware components with a static level of parallelism can suffer from an underuse of logical resources, since they have to be designed for the worst-case scenario. This problem is especially important in video applications due to the emergence of new flexible standards, like Scalable Video Coding (SVC), which offer several levels of scalability. In this paper, Dynamic and Partial Reconfiguration (DPR) of modern FPGAs is used to achieve run-time variable parallelism, by using scalable architectures where the size can be adapted at run-time. Based on this proposal, a scalable Deblocking Filter core (DF), compliant with the H.264/AVC and SVC standards has been designed. This scalable DF allows run-time addition or removal of computational units working in parallel. Scalability is offered together with a scalable parallelization strategy at the macroblock (MB) level, such that when the size of the architecture changes, MB filtering order is modified accordingly

Insignificance and Minor Architecture

The fragmented condition of our everyday brings us closer to the risks of hyper-expression. Against it two positions unfold to help us face a world that escapes our capacities: familiarity and poetic recognition. In the latter it is crucial the role of the insignificant as dynamic and relational instigator of a conscious threading of reality through the actions of the Poeta Faber and his careful look onto the world. / The production of the common as the material and symbolic fabric of the city, unstable reality in a perpetual becoming, leads us to a new and much needed reconsideration of the public/private division born from the modern state. Immersed in the confusion between public and common, we have not perceived that through the expropriation of the first we have been prepared for the willing surrendering of the second. / From insignificance to rebellion as affirmative going into action related to the idea of minor architecture as common and intensely political production, born from the inside of a society that has no more outsides.

Generic multisensor multitarget bias estimation architecture

Current bias estimation algorithms for air traffic control (ATC) surveillance are focused on radar sensors, but the integration of new sensors (especially automatic dependent surveillance-broadcast and wide area multilateration) demands the extension of traditional procedures. This study describes a generic architecture for bias estimation applicable to multisensor multitarget surveillance systems. It consists on first performing bias estimations using measurements from each target, of a subset of sensors, assumed to be reliable, forming track bias estimations. All track bias estimations are combined to obtain, for each of those sensors, the corresponding sensor bias. Then, sensor bias terms are corrected, to subsequently calculate the target or sensor-target pair specific biases. Once these target-specific biases are corrected, the process is repeated recursively for other sets of less reliable sensors, assuming bias corrected measures from previous iterations are unbiased. This study describes the architecture and outlines the methodology for the estimation and the bias estimation design processes. Then the approach is validated through simulation, and compared with previous methods in the literature. Finally, the study describes the application of the methodology to the design of the bias estimation procedures for a modern ATC surveillance application, specifically for off-line assessment of ATC surveillance performance.

Máquinas o atmósferas: La estética de la energía en la arquitectura, 1750-2000 = From Machines to Atmospheres: The Aesthetics of Energy in Architecture, 1750-2000

La energía es ya un tema arquitectónico, pero su incorporación al proyecto ha sido hasta ahora fundamentalmente técnica, dando pie a una especie de funcionalismo ecológico cuyo destino es acaso repetir los errores de los viejos funcionalismos en su confianza de encontrar modos ‘objetivos’ de transmutar la energía en forma construida, pero sin que en tal proceso parezca haber hueco para mediaciones de tipo estético. Sin embargo, son precisamente tales mediaciones las que necesitan analizarse para que la adopción de los temas energéticos resulte fructífera en la arquitectura, y asimismo para dar cuenta de otras perspectivas complementarias —filosóficas, científicas, artísticas— que hoy forman el complejo campo semántico de la energía. Partiendo de la fecha de 1750 —que da comienzo simbólicamente al proceso de contaminaciones ‘modernas’ entre la arquitectura y otras disciplinas—, esta tesis analiza los diferentes modos con los que proyectos y edificios han expresado literal y analógicamente ciertos temas o ideales energéticos, demostrando la existencia de una ‘estética de la energía’ en la arquitectura y también de una tradición proyectual e intelectual sostenida en ella. Con este fin, se han seleccionados siete metáforas que vinculan tanto técnica como ideológicamente a la arquitectura con la energía: la metáfora de la máquina, asociada al ideal de movimiento y la autorregulación; las metáforas del arabesco, del cristal y del organismo, afines entre sí en su modo de dar cuenta del principio de la morfogénesis o energía creadora de la naturaleza; la metáfora de la actividad interna de los materiales; la metáfora del gradiente, que expresa la condición térmica y climática de la arquitectura, y, finalmente, la de la atmósfera que, recogiendo los sentidos anteriores, los actualiza en el contexto de la estética contemporánea. La selección de estas siete metáforas se ha llevado a cabo después de un barrido exhaustivo de la bibliografía precedente, y ha estructurado un relato cuyo método combina la perspectiva general —que permite cartografiar las continuidades históricas— con la cercana —que atiende a las problemas específicos de cada tema o metáfora—, complementándolas con una aproximación de sesgo iconográfico cuyo propósito es incidir en los vínculos que se dan entre lo ideológico y lo morfológico. El análisis ha puesto de manifiesto cómo detrás de cada una de estas metáforas se oculta un principio ideológico común —la justificación de la arquitectura desde planteamientos externos procedentes de la ciencia, la filosofía y el arte—, y cómo en cada uno de los casos estudiados las asimilaciones más fructíferas de la energía se han producido según mecanismos de mímesis analógica que inciden más en los procesos que en las formas que estos generan, y que en último término son de índole estética, lo cual constituye un indicio de los métodos de la arquitectura por venir. ABSTRACT Although it is already an architectural theme, the matter of incorporating energy into projects has up to now been mainly technical, giving rise to a kind of ecological functionalism which may be bound to old funcionalist mistakes in hopes of finding “objective” ways of transmuting energy into built forms without aesthetic considerations. However, it is precisely such considerations that need to be analyzed if the adoption of energy issues in architecture is to bear fruit and also to account for other complementary perspectives – philosophical, scientific, artistic – which today form the complex fabric of the energy semantic field. Beginning in 1750 – symbolic start of ‘modern’ contaminations between architecture and other disciplines –, this thesis analyzes the different ways in which projects and buildings have literally and analogically expressed certain subjects or ideals on energy, and demonstrates the existence of an “aesthetics of energy” in architecture, as well as of an intellectual and design tradition based on such aesthetics. For this purpose, seven metaphors are selected to link energy to architecture both technically and ideologically: the machine’s metaphor, associated with the ideal of mouvement and self-regulation; the arabesque, glass and the organism’s metaphors, which account for the morphogenesis principle, i.e. creative energy of nature; the metaphor linked to matter and the ideal of internal activity; the gradient’s metaphor, which expressed the thermal and climatic condition of architecture, and, finally, that of the atmosphere which, collecting the above meanings, updates them in the context of contemporary aesthetics. The selection of these seven metaphors was carried out after a thorough scan of the preceding literature, and has structured a reasoning that combines the overview method – which accounts for historical continuities – with the nearby one – which meets the specifics problems of each theme or metaphor –, both supplemented with an iconographic bias, the purpose of which is to visually express the links existing between the ideological and the morphological. So presented, the analysis shows how, behind each of these metaphors, lies a common ideological principle – the justification of architecture from scientific, philosophical and artistic “external” angles –, and how in each of the studied cases the most successful assimilation of energy were those produced by aesthetic mechanisms of analogical mimesis not focused in forms but in processes that generate them: an indication of the methods of architecture to come.

Networked Utopia : the Architecture and Urbanism of the Bata Shoe Company Satellite Cities = Utopia en red : arquitectura y urbanismo en las ciudades satélite de la Bata Shoe Company, 1930 al presente

From its humble beginnings as a small workshop established by Tomáš Baťa in 1874, the Bata Shoe Company became a gigantic concern in the 1920s, built on the principles of scientific management and welfare capitalism. The growth of the company engulfed Zlín (in today’s Czech Republic), its hometown, and transformed it into a modern industrial garden city satisfying the needs of both a growing industrial population, and those of the company itself. As a reaction to the aftermath of the crisis of 1929, the enterprise began a strategy of decentralization and international expansion characterized by the design and construction of a series of modern industrial towns that replicated the model of Zlín around the globe. This study is an exhaustive survey of these cities, their rationale, design, and their postindustrial conditions; it is a comparative work that has used field trips, photography, interviews, and archival material to explain the logics behind Bata’s project, to document the design and implementation of the model to multiple contexts and geographies, and to evaluate of the urban legacy of this undertaking. Finally, the research explores the question of what can the design disciplines, and other parties involved, learn from a full synthesis on the history and urbanism of the Bata satellite cities with regard to the re-imagination and sustainability of contemporary industry-sponsored interventions in developing geographies. RESUMEN Con origen en un humilde y pequeño taller fundado en 1874 por Tomáš Baťa, la Bata Shoe Company creció hasta convertirse en una gigantesca empresa en los anos 20, fundada en principios de control científico de la producción y capitalismo de bienestar. El crecimiento de la compañía se extendió por Zlín (en la actual República Checa), su pueblo de nacimiento, y la transformó en una moderna ciudad jardín industrial capaz de satisfacer las necesidades tanto de una población en alza como de la propia empresa. Como reacción a la crisis de 1929, Bata inició una estrategia de descentralización y expansión internacional caracterizada por el proyecto y construcción de modernas ciudades industriales que replicaron el modelo de Zlín por el mundo. Esta tesis es un estudio exhaustivo de estas ciudades: las razones detrás del proyecto, su diseño, y su condición post-industrial; es un estudio comparativo que se ha servido de trabajo de campo, documentación fotográfica, entrevistas y materiales de archivo para explicar la lógica detrás del proyecto de Bata, documentar el diseño e implementación de tal modelo en múltiples contextos y geografías, y valorar el legado urbano de esta empresa. Finalmente, la investigación evalúa qué podrían aprender las disciplinas del diseño y otras partes implicadas de una síntesis completa de la historia y el urbanismo de las ciudades satélite de Bata, en lo relativo a la reinvención y sostenibilidad de proyectos contemporáneos de la industria en geografías en desarrollo.

Architecture of a Bench-Type Carbonate Lake Margin and Its Relation to Fluvially Dominated Deltas, Las Minas Basin, Upper Miocene, Spain

The Upper Miocene stratigraphic succession of the Las Minas Basin, located at the external zone of the Betic Chain in SE Spain, preserves several examples of lake carbonate bench deposits. Excellent exposures of the carbonate benches allow detailed observation of the architecture of these sediments and provide new insights for the ‘‘steep-gradient bench margin–low energy’’ model proposed by Platt and Wright (1991). The lake carbonate benches developed in close association with fluvially dominated shallow deltas that exhibit typical Gilbert-type profiles. The delta sequences comprise bottomset prodelta marl facies, distal to proximal foreset facies, deposited mainly in a delta-front environment, and topset facies, the latter reflecting both subaqueous delta-front and subaerial delta-plain environments. The development of the carbonate benches was constrained by the convexupward morphology of the deltaic deposits, which led to the available accommodation space for the growth of the steep-gradient platforms. The benches display a progradational pattern characterized by sigmoid-oblique internal geometries and offlap upper boundary relationships, which suggests that the carbonate benches developed under slow though continuous lake-level rise. Both the dimensions of the benches and the dominant carbonate components (i.e., encrusted charophyte stems and calcified cyanobaterial remains), allow comparisons with the progradational marl benches recognized in modern temperate hardwater lakes. Accordingly, the case study presented here provides a good ancient sedimentary analog for low-energy lake carbonate benches. Moreover, the evolutionary trend inferred from the fossil example offers new insights into the depositional conditions of this type of sediment and allows recognition of the transitional pattern from bench to ramp carbonate lake margins.

Modern Classics : Andy Warhol and the Renaissance Masters

"This paper explores Warhol’s final and largest series entitled the Last Supper series in which the artist appropriated the work of Leonardo da Vinci’s original fifteenth century painting, replicating the image through repetition, radical cropping, and washes of neon color. While many scholars conclude this group of works is inspired by Warhol’s religious beliefs, others interpret these paintings as typical Warhol appropriation without religious association, but consistent with the artist’s interest in the cultural commodity of famous images"

Spanish Architecture 1992-2008

Architecture in Spain 1992-2008. This Conference (in image format) performs a synthetic tour of the architectural production in Spain during the period that opens with the events of 1992 (Olympics Games and World Expo in Seville) and closed in 2008 (exhibition of MoMA, Global Crisis and Universal Expo of Zaragoza). On the one hand shows the world and Spanish socio-economic context and is a selection of different architectures, grouped into six streams.

Pocas, pero contundentes palabras en la obra de Mendes da Rocha

La extensa producción arquitectónica de Mendes da Rocha resulta difícil de clasificar bajo el reduccionismo de los ‘ismos’ porque supone una revisión crítica y de síntesis de una modernidad replanteada. Se abordan tres aproximaciones al conjunto de su obra. Primera: la nueva tradición moderna de la arquitectura brasileña atendiendo a la implicación urbana de sus obras y a la escala de intervención (objeto, contexto, territorio). Segunda: la simbiosis entre arte y técnica desde una poética que tiende a la reducción de los elementos y a la simbolización de arquetipos. Tercera: la relativa al modo en que el maestro se enfrenta a las obras de intervención en el patrimonio recurriendo a una estética de la pobreza. Pocas, pero contundentes palabras: sencillez y humildad como atributos de la rotundidad.