Domestic and international border effects

Previous studies in the border-effect literature surprisingly found that domestic border effects are larger than international border effects (e.g., in the United States or Brazil). One interpretation of this result is that these estimates include the effects of producer agglomeration. Therefore, in this study, we estimate those border effects exclusively for transactions for final consumption, in which such agglomeration forces will be weak, in China and Japan. As a result, we found larger international border effects and could not find a significant role for producer agglomeration in the estimates of border effects. We also found that China's accession to the World Trade Organization reduces border effects in trading between China and Japan but does not decrease domestic border effects.

Analysis and comparison of the national and regional emission inventories for the Greater Madrid Region through air quality simulations

Este trabajo presenta un an��lisis y una metodolog��a para la armonizaci��n de inventarios de emisiones utilizados en modelos de calidad del aire.

An approach to stakeholders involvement in the preparedness for nuclear and radiological emergency response & recovery in Spain

The elaboration of a generic decision-making strategy to address the evolution of an emergency situation, from the stages of response to recovery, and including a planning stage, can facilitate timely, effective and consistent decision making by the response organisations at every level within the emergency management structure and between countries, helping to ensure optimal protection of health, environment, and society. The degree of involvement of stakeholders in this process is a key strategic element for strengthening the local preparedness and response and can help a successful countermeasures strategy. A significant progress was made with the multi-national European project EURANOS (2004-2009) which brought together best practice, knowledge and technology to enhance the preparedness for Europe's response to any radiation emergency and long term contamination. The subsequent establishment of a European Technology Platform and the recent launch of the research project NERIS-TP ("Towards a self sustaining European Technology Platform (NERIS-TP) on Preparedness for Nuclear and Radiological Emergency Response and Recovery") are aimed to continue with the remaining tasks for gaining appropriate levels of emergency preparedness at local level in most European countries. One of the objectives of the NERIS-TP project is: Strengthen the preparedness at the local/national level by setting up dedicated fora and developing new tools or adapting the tools developed within the EURANOS projects (such as the governance framework for preparedness, the handbooks on countermeasures, the RODOS system, and the MOIRA DSS for long term contamination in catchments) to meet the needs of local communities. CIEMAT and UPM in close interaction with the Nuclear Safety Council will explore, within this project, the use and application in Spain of such technical tools, including other national tools and information and communication strategies to foster cooperation between local, national and international stakeholders. The aim is identify and involve relevant stakeholders in emergency preparedness to improve the development and implementation of appropriate protection strategies as part of the consequence management and the transition to recovery. In this paper, an overview of the "state of the art" on this area in Spain and the methodology and work Plan proposed by the Spanish group within the project NERIS to grow the stakeholder involvement in the preparedness to emergency response and recovery is presented.

Building the qualification and a skill development program within the ENEN-III European Project

The ENEN III project covers the structuring, organization, coordination and implementation of training schemes in cooperation with local, national and international training organizations, to provide training to professionals active in nuclear organizations or their contractors and sub-contractors. The training schemes provide a portfolio of courses, training sessions, seminars, and workshops for continuous learning for upgrading knowledge and developing skills. The training schemes allow individuals to acquire qualifications and skills, as required by the specific positions in the nuclear sector which will be documented in a training passport. The essence of such passport is to be recognized within the EU by the whole nuclear sector which provides mobility to the individual looking for employment and an EU wide recruitment field for the nuclear employers.

Los agentes de la edificaci��n desde el punto de vista de la Gesti��n Integral de Proyectos: diferencias y semejanzas entre la Legislaci��n Espa��ola y los Est��ndares Internacionales = Expert agents in the Global Development of a building project: differences and similarities between Spanish and International contexts.

Desde los a��os 60, crece en Europa y Estados Unidos la preocupaci��n y la necesidad de mejorar los procesos de gerencia de los proyectos de construcci��n al volverse estos m��s complejos. Esto ha llevado a la continua aparici��n de nuevos profesionales desde la fecha citada hasta nuestros d��as. De ah�� la complejidad de conocer las cualidades de cada uno de ellos, as�� como las funciones a realizar o la formaci��n que deben tener para poder desarrollar el puesto de trabajo seg��n el papel que desempe��an para cada actividad. Muchos agentes son los que pueden intervenir en la edificaci��n, muchas son las funciones que llevan a cabo estos agentes, muchas son las habilidades que se necesitan para realizar estas misiones, y una buena gesti��n de la edificaci��n es la que hay que desarrollar para lograr el gran ��xito. El presente trabajo fin de m��ster, dirigido a arquitectos, arquitectos t��cnicos, ingenieros, abogados, economistas y todos los profesionales del sector inmobiliario y de la construcci��n, trata de resolver todas aquellas dudas sobre los diferentes sujetos que estar��n presentes desde la definici��n del proyecto en la fase inicial hasta el final de la obra, pasando por las fases de pre-construcci��n, construcci��n y post-construcci��n. (ENGLISH VERSION) Since the 1960s, most construction projects have become more and more complex, and new concerns and necessities related to the management of a project have been on the rise in Europe and in the United States. Thence, the need for more specialized professionals in the field has become a common fact, as well as the inclusion of new curricular subjects in most building engineering studies. There are different agents that play a relevant role in a building project; some of them are expected to perform a highly specialized set of functions that require specific management skills for the work to be successful. This research work���aimed mainly at engineers, quantity surveyors, lawyers, economists, real estate and construction professionals���shows the major implications of the building construction process including both pre-tender/construction and post-tender/construction stages as far as the main expert agents are involved.

Kinematical Comparison of the 200 m Backstroke Turns between National and Regional Level Swimmers

biomecanica de la nataci��n

Impact of introducing longer and heavier vehicles on regional consumer price index and Spanish road freight transport system

This paper applies an integrated modeling approach to the case of Spain; the approach is based on a random utility-based multiregional input-output model and a road transport network model for assessing the effect of introducing longer and heavier vehicles (LHVs) on the regional consumer price index (CPI) and on the transportation system. The approach strongly supports the concept that changes in transport costs derived from the LHV allowance as well as the economic structure of regions have direct and indirect effects on the economy and on the transportation system. Results show that the introduction of LHVs might reduce prices paid by consumers for a representative basket of goods and services in the regions of Spain and would also lead to a reduction in the regional CPI. In addition, the magnitude and extent of changes in the transportation system are estimated by using the commodity-based structure of the approach to identify the effect of traffic changes on traffic flows and on pollutant emissions over the whole network.

Pietil��: El proyecto de Dipoli

Dipoli es un edificio plurifuncional localizado en el campus de Otaniemi que acoge los servicios generales del alumnado. Tanto encargo como propiedad pertenec��a, hasta 2013, a la Asociaci��n de Estudiantes de Helsinki University of Technology TKK (actualmente conocida como Aalto University), cuando se vendi�� y traspas�� a la propia universidad. La tesis estudia este proyecto (1961-66) como uno de los ejemplos m��s significativos de la obra de los arquitectos Reima (1923-93)y Raili Pietil�� (1926-), quienes se unieron tanto personal como profesionalmente el mismo a��o de la convocatoria del concurso (1961). Debido a la dificultad del encargo por la dimensi��n y flexibilidad de los espacios requeridos, el primer premio qued�� desierto puesto que ninguna propuesta cumpl��a con todos los requisitos establecidos. El jurado otorg�� el segundo premio a su proyecto junto con Osmo Lappo y solicit�� posteriormente a ambos un desarrollo m��s profundo del mismo. Finalmente optaron por construir el edificio planteado por los Pietil��. En ��l deb��a desarrollarse un amplio abanico de actividades sociales como reuniones, entretenimiento nocturno, actuaciones, proyecciones de pel��culas, cenas y bailes, as�� como servir de comedor durante los meses de invierno y espacio destinado a congresos en la ��poca estival. Adem��s, en dicho edificio se pretend��a acoger el Sindicato de Estudiantes de la Universidad Tecnol��gica de Helsinki y se localizar��a en el nuevo campus de Otaniemi a escasos kil��metros de la capital, donde Alvar Aalto ya estaba dise��ando varios equipamientos universitarios siguiendo el planeamiento general que proyect�� en el concurso de 1949. El elemento m��s caracter��stico de este proyecto es la cubierta, una estructura continua formada a partir de un caparaz��n hueco de hormig��n in situ capaz de absorber dos lenguajes diferentes y generar, bajo ella, un espacio singular con multitud de posibilidades funcionales. Su geometr��a permite dividir el programa en estancias de menor tama��o sin perder ni la identidad ni unidad formal. La manera en que se iluminan los espacios bajo ella se consigue de formas diferentes: si bien la volumetr��a de l��neas cartesianas presenta un sistema de aperturas longitudinales por donde penetra la luz cenital, en la forma m��s libre aparecen un conjunto de lucernarios de diferente tama��os y posiciones aparentemente aleatorias que introducen la luz natural por el plano del techo de forma m��s controlada, apoyada por la disposici��n de las ventanas perimetrales. El juego de espesores de la cubierta ofrece un conjunto de matices que pretenden resolver los tres condicionantes principales del proyecto, la adecuaci��n de los usos en su interior, la compatibilidad de circulaciones de los usuarios y la inserci��n en el lugar. La percepci��n de este plano horizontal atraviesa lecturas m��ltiples, desde su uso primario de cubrici��n y cuya distancia con el plano del suelo se comprime para tensionar la grieta de luz al tiempo que ofrece nuevas relaciones con el paisaje hasta convertirse en fachada al apoyarse en el suelo y crear un l��mite f��sico entre interior y exterior. El objetivo fundamental de la tesis es entender mejor la traza particular de Dipoli desde una visi��n rigurosa que ampl��e el conocimiento del edificio y al mismo tiempo explique el espacio propuesto a trav��s de las diferentes herramientas de proyecto. Para ello se ha elaborado una documentaci��n de la obra que parte de recopilar, seleccionar y redibujar la informaci��n existente desde el estado previo a la construcci��n del objeto terminado. El sentido de volver al Centro de Estudiantes de Otaniemi, supone, adem��s de ayudar a comprender el trabajo de sus autores, entender el proceso de la historia de la arquitectura finlandesa y detectar relaciones con otras obras m��s lejanas con las que pudiese compartir ciertos valores, facilitando un entendimiento m��s global de la historia. Esta investigaci��n se inicia desde la hip��tesis que la forma final del edificio y su relaci��n con el lugar, para proponer un tipo de arquitectura que conf��a en la observaci��n sensible del programa, del uso, de las escalas de los espacios, del movimiento de las personas y su relaci��n y anclaje con el lugar. Y en este sentido, el trabajo se desarrolla guiado por estos aspectos que se manifiestan tambi��n desde la influencia y comprensi��n de otros trabajos propios y ajenos. Para detectar las claves de proyecto que les han permitido la construcci��n espacial y formal de su arquitectura, entendiendo ��stas como el conjunto de herramientas y mecanismos que reflexionan sobre una particular composici��n volum��trica y espacios din��micos que ofrecen un aspecto exterior expresivo, la tesis se articula sobre dos cap��tulos principales ���Contextos��� y ���Proyecto y Construcci��n��� donde se quiere estudiar el proyecto en su forma m��s completa. Esta pareja de apartados aborda la descripci��n del marco temporal, f��sico, cultural, personal y profesional de los arquitectos, el an��lisis y s��ntesis de la propuesta y, por ��ltimo, la repercusi��n del proyecto. Contextos pretende ubicar la obra adem��s de facilitar la comprensi��n del conjunto de aspectos y condicionantes que determinaron la materializaci��n de Dipoli. Este cap��tulo se subdivide a su vez en cinco apartados: Contexto Hist��rico, F��sico y Cultural, Personal, Profesional e Incidencia de Dipoli. El Contexto hist��rico se centra en la descripci��n pormenorizada del conjunto de situaciones que influyen en el arquitecto cuando se toman decisiones durante el proceso de proyectar. El objetivo es definir los condicionantes que pueden haber afectado directa o indirectamente la obra. El cap��tulo comienza subrayando los temas de inter��s comunes para el resto de sus hom��logos finlandeses. Principalmente se centra en la d��cada de 1950 como etapa previa a la gestaci��n de Dipoli. Tambi��n atiende el proceso de evoluci��n de la arquitectura finlandesa desde finales del S.XIX unido a la crisis de identidad nacional que el maestro Alvar Aalto superar�� por sus obras pero tambi��n por su personalidad y supondr�� una gran sombra al resto de sus compa��eros en el marco nacional e internacional provocando una reacci��n contraria a sus proyectos y persona entre el resto de arquitectos. Por este motivo, al tiempo que se gestaba el proyecto de Dipoli emergieron un grupo de profesionales que defend��an fuertemente las trazas cartesianas del racionalismo como Aulis Blomstedt o Juhani Pallasmaa y que consiguieron abrir una nueva perspectiva intelectual. Por tanto ser�� inevitable que la presencia del maestro n��rdico Alvar Aalto aparezca a lo largo de toda la tesis, permiti��ndonos un mejor entendimiento de la carga org��nica y humana de sus trabajos desde la perspectiva de los Pietil��. Posteriormente este cap��tulo desgrana aquellos intereses que dominaban el marco arquitect��nico internacional y que pudieron influir en las soluciones planteadas. Dipoli ser�� puesto en relaci��n a diversas arquitecturas contempor��neas que presentan un enfoque diferente al esbozado por el Movimiento Moderno y cuyo marco de referencias guarda alg��n tipo de relaci��n con los mismos temas de proyecto. Es el caso del grupo Team 10 o determinados ejemplos de arquitectos alemanes como Hugo H��ring y Hans Scharoun, incluso puntos en com��n con el sistema constructivista del vanguardismo sovi��tico. Estas relaciones con otras arquitecturas matizan su car��cter singular e incluso se revisa en qu�� medida esta propuesta amplifica los aspectos que comparten. En cuanto al Contexto f��sico y cultural, una primera aproximaci��n al ��mbito donde el edificio se sit��a nos revela las caracter��sticas generales de un lugar claramente diferente a la ubicaci��n del resto de edificios del campus. A continuaci��n se adentra en el origen del nuevo centro universitario desde el planeamiento urban��stico de Alvar Aalto y revela tanto la forma de disponer las construcciones como las propuestas que el maestro hab��a desarrollado con anterioridad a la convocatoria del concurso. Adem��s aqu�� se destacan aquellos aspectos que propiciaron la elecci��n del solar. Prosigue adentr��ndose en el programa propuesto por el jurado ���entre cuyos miembros se encontraba el propio Aalto- y el an��lisis de las propuestas presentadas por cada uno de los arquitectos que obtuvieron una menci��n. Por ��ltimo, se estudian y definen las obras m��s relevantes localizadas en el entorno f��sico del proyecto y que exist��an con anterioridad, destacando principalmente el trabajo de los Siren (Heikki y Kaija) y Alvar Aalto por los motivos desarrollados en el punto anterior. Prosigue con el Contexto Personal donde se seleccionan de datos biogr��ficos que expliquen, en parte, las circunstancias personales que perfilaron su manera de entender la arquitectura y que consecuentemente influyeron en su camino intelectual hasta llegar a Dipoli. A continuaci��n se indaga en la relaci��n profesional y personal con Raili Paatelainen para establecer en qu�� medida participaron ambos en la propuesta. Este apartado concluye con el estudio de la etapa docente que profundiza en los temas de proyecto que Pietil�� presentaba a los alumnos en sus clases de proyectos. En el proceso de comprensi��n de la evoluci��n te��rica y proyectual de los arquitectos se considera imprescindible la revisi��n de otros edificios propios que se enmarcan en el Contexto profesional. ��stos forman parte de la etapa de mayor actividad del estudio como son el Pabell��n de Finlandia para la Exposici��n de Bruselas (1956-58), la Iglesia de Kaleva en Tampere (1959-66) y el Pabell��n N��rdico para la Bienal de Venecia de 1960. Se completa la visi��n de estos tres ejemplos previos a Dipoli desde las investigaciones te��ricas que realiz�� de forma paralela y que se difundieron a trav��s de varias exposiciones. Nos centraremos en aquellas tres que fueron m��s relevantes en la madurez del arquitecto (Morfolog��a y Urbanismo, La Zona y Estudios Modulares) para establecer relaciones entre unos aspectos y otros. En esta secci��n no se pretende realizar un an��lisis en profundidad, ni tampoco recoger la mayor parte de la obra de los Pietil��, sino m��s bien revelar los rasgos m��s significativos que faciliten el entendimiento de los valores anteriormente mencionados. Por ��ltimo, Incidencia de Dipoli se refiere a la repercusi��n del edificio durante su construcci��n y finalizaci��n. Desde esta premisa, recoge el conjunto de cr��ticas publicadas en las revistas de mayor difusi��n internacional que decidieron mostrar la propuesta adem��s desde el propio inter��s del proyecto, por tratarse de un arquitecto reconocido internacionalmente gracias a la repercusi��n que obtuvieron sus proyectos anteriores. Se analiza el contenido de los art��culos para establecer diversos encuentros con el cap��tulo Contextos y con los propios escritos de Pietil��. Tambi��n se recogen las opiniones de cr��ticos relevantes como Kenneth Frampton, Bruno Zevi o Christian Norberg-Schulz, destacando aquellos aspectos por los que mostraron un inter��s mayor. Tambi��n se recoge y valora la opini��n de sus hom��logos finlandeses y que contradictoriamente se sit��a en el polo opuesto a la del juicio internacional. Se adentra en las situaciones complejas que propici�� el rechazo del edificio al desvincularse por completo de la corriente racionalista que dominaba el pensamiento cr��tico fin��s unido a la b��squeda de nuevas alternativas proyectuales que les distanciase del ��xito del maestro Alvar Aalto. Pretende esclarecer tanto la justificaci��n de dichos comentarios negativos como los motivos por los cuales Reima y Raili no obtuvieron encargos durante casi diez a��os, tras la finalizaci��n de Dipoli. Nos referiremos tambi��n a la propia opini��n de los arquitectos. Para ello, en el apartado Morfolog��a Literal se recoge el texto que Reima Pietil�� public�� en el n��mero 9 de la revista Arkkitehti para contrarrestar las numerosas cr��ticas recibidas. Se subraya aquellos aspectos de proyecto que inciden directamente en la percepci��n y raz��n de ser de la propuesta. Por ��ltimo, se manifiesta la valoraci��n cr��tica de dos personas muy pr��ximas al entorno personal y profesional de los Pietil��: Roger Connah y Malcolm Quantrill. Ambas figuras son las que han adentrado en el trabajo de los arquitectos con mayor profundidad y aportado una visi��n m��s completa del contexto arquitect��nico de Finlandia en el s.XX. Se han interesado principalmente por el conocimiento morfol��gico que les ha llevado a la observaci��n de los fen��menos de la naturaleza. Se apunta tambi��n la falta de objetividad de sus opiniones originadas en parte por haber colaborado profesionalmente y ser amigo ��ntimo de la familia respectivamente. El valor de la documentaci��n aportada por ambos reside principalmente en la fiel transmisi��n de las explicaciones del propio Pietil��. El ��ltimo cap��tulo Proyecto y Construcci��n engloba tanto la descripci��n exhaustiva del proyecto como el an��lisis de la obra. Al tiempo que se explica la propuesta, se establecen continuamente relaciones y paralelismos con otras arquitecturas que ayudan a entenderla. Para ello, se establecen tres apartados elementales: ���El lugar���, ���Programa y geometr��as��� y ���Presencia y materialidad f��sica��� y se pretende identificar aquellas herramientas de proyecto en las que conf��a para la materializaci��n de la obra al tiempo que se profundiza en la evoluci��n de la propuesta. En cuanto a El lugar, se describe de manera pormenorizada el recorrido hasta alcanzar el edificio y c��mo la mirada atenta de la naturaleza que lo rodea est�� continuamente presente en todos los dibujos de la propuesta. Se realiza un estudio tanto de la multiplicidad de accesos como del vac��o existente en planta baja que forma parte del espacio p��blico y que atraviesa el edificio diagonalmente. Desde aqu�� se evaluar�� los espacios intermedios existentes que matizan los ��mbitos donde se desarrolla cada una de las actividades. A continuaci��n se enfoca el estudio de la ventana como elemento relevante en la transici��n de espacios interiores y exteriores para posteriormente adentrarnos en la importancia de los recorridos en la planta superior y c��mo las salas polivalentes se acomodan a estos. Programas y geometr��as explica la soluci��n y desarrollo de la propuesta a trav��s de los tanteos de la planta. Detecta simult��neamente aquellos aspectos que aparecen en otros proyectos y que pueden haber influido en el desarrollo de la obra. Una vez que han sido estudiados los dos niveles se introduce la secci��n para analizar las conexiones entre ambos planos, destacando los tipos de escaleras y accesos que propician la multiplicidad de recorridos y en consecuencia el movimiento de las personas. En el ��ltimo apartado se identifica la geometr��a de la estructura a trav��s de la descripci��n formal de la cubierta y sus apoyos en planta para conocer c��mo responde el volumen definitivo a la adecuaci��n de los usos. El car��cter del edificio a trav��s del empleo de los materiales y las t��cnicas de construcci��n utilizadas se indaga desde la Materialidad f��sica. Este punto de vista esclarece temas de proyecto como la relaci��n multisensorial de Dipoli y el concepto del tiempo relacionado con espacios de car��cter din��mico o est��tico. Una vez se ha realizado un an��lisis de la obra construida a trav��s de sus recorridos, se plantea un ��ltimo regreso al exterior para observar la presencia del edificio a trav��s de su tama��o, color y texturas. Este apartado nos mostrar�� la mirada atenta a la escala del proyecto como vector de direcci��n que pretende encontrar la inserci��n adecuada del edificio en el lugar, cerrando el proceso de proyecto. El motivo de desarrollar esta tesis en torno a Dipoli se apoya en su consideraci��n como paradigma de una arquitectura que conf��a en la observaci��n sensible del programa, uso, las escalas de los espacios, circulaciones y su relaci��n y anclaje con el lugar como argumentos fundamentales de proyecto, cuya realidad concreta consigue situar la propuesta en el marco hist��rico de la arquitectura n��rdica e internacional. Adem��s la distancia hist��rica desde mundo actual respecto a la d��cada de los a��os 60 del s.XX nos permite entender el contexto cultural donde se inserta Dipoli que contin��a nuestra historia reciente de la arquitectura y concibe la obra construida como una extensi��n de nuestro mundo contempor��neo. Por ello se valora el proyecto desde la mirada hacia atr��s que analiza las diferencias entre la realidad construida y las intenciones de partida. Esta revisi��n dotada de una distancia cr��tica nos permite adentrarnos en la investigaci��n de manera objetiva. Igualmente presenta una distancia hist��rica (referida al tiempo transcurrido desde su construcci��n) y socio-cultural que favorece la atenuaci��n de prejuicios y aspectos morales que puedan desviar una mirada anal��tica y se alejen de una valoraci��n imparcial. Dipoli, enmarcada en dicho periodo, mantiene la capacidad cr��tica para ser analizada. ABSTRACT The dissertation defends Dipoli ( 1961-1966 ) as one of the most significant examples of the Reima ( 1923-1993 ) Raili Pietil�� (1926 -), who joined both personally and professionally the same year of the project��s competition (1961). Due to the difficulty of the commission by the size and flexibility of the required areas, there was not first prize awarded because none of the submitted proposals met all the requirements. The jury awarded Dipoli with second prize together with a competing scheme by Osmo Lappo. The board subsequently asked for a further development of both proposals and finally selected the one by Pietil��. The completed project allows a wide range of social activities such as meetings, night entertainment, performances, film screenings, dinners and dance to take place while the facility can also serve as a dining hall during winter months and conference center in the summer when necessary. In addition, the building was intended to house the Helsinki University of Technology (now Aalto University) Student Union. The University, at the time being designed by Alvar Aalto following his successful entry to the master plan competition in 1949, was located a few kilometers from the capital on the new campus in Otaniemi. The most characteristic element of the project is its roof which can be described as a continuous form achieved an in-situ concrete cavity structure that can modulate two different geometric languages and generate a singular space under it. The building is, in general terms, an unique shell space with many functional possibilities. Its geometry allows the program to split its functions into smaller sizes without losing the identity or formal unity of the general object. The way in which the spaces are illuminated is solved in two different ways. First, while the Cartesian-line volume presents a series of longitudinal openings into which natural light penetrates, the free-form volume shows a set of skylights in apparently random positions that vary in size and that introduce natural light through the roof in a more controlled manner. In addition the perimeter openings are present that relate directly to the nature that surrounds the building. The adaptable thickness of the roof provides a set of solutions that resolve the three main issues of the project: the adequacy of the functions in the interior areas, the complex capability for user flows and circulation and the manner in which the building is inserted in its context. The perception of the roof�� horizontal plane offers multiple interpretations, from its primary use as a primitive cover whose distance from the ground compresses the void and creates a light tension, to the new relationships with the landscape where by the roof becomes a fa��ade cladding and rests directly on the ground to create a physical boundary between interior and exterior. The main scope of this research is to better understand the particular trace of Dipoli from a rigorous architectural view to deep into the knowledge of the building and, at the same time, to explain the space through a series of project design tools that have been used. For this reason, an accurate documentation has arisen from collecting, selecting and redrawing the existing information from the sketching stage to the built object. A through reanalysis of the Otaniemi Student Center therefore provides not only a more complete understanding of the work of the architects, but also leads to a better comprehension of the history of Finnish architecture, which is related to other cultural relationships and which shares certain architectural values which a more comprehensive understanding of general architectural history. This research starts from the working hypothesis that the final shape of the building and its relationship to its place created a type of architecture that relies on a sensitive observation of the program, the use of varying scales of space, the movement and flow of people and finally the coexistence with the natural context. In this sense, the work is developed based on those aspects that are also reflected in the influence of others architects by understanding both their own and other architects�� work. In order to obtain a personal reading of the project facts that allowed the architects construct Dipoli (understanding the facts as a set of tools and project mechanisms that are able to generate a particular volumetric composition and dynamic spaces that at the same time provide an expressive exterior), the research hinges on two main sections, "Contexts" and "Design and Construction", that study the project from all perspectives. This two parts address the description of temporal , physical , cultural , personal and professional framework, analysis and synthesis of the proposal and finally, the national and international influences on the project. Contexts seek to place the work and to facilitate the understanding of all aspects and conditions that led to the creation of Dipoli. This chapter is subdivided into five sections: Historical Context, Cultural and Physical, Personal, Professional and Dipoli Influences. Historical Context focuses on a detailed description of a set of precedents that influenced the architect when making decisions during design process. The objective is to define the conditions that could directly or indirectly shape the work. This chapter begins by highlighting issues of common interest to the rest its Finnish counterparts. The text is mainly focused on the 1950s as a prelude to Dipoli��s conception. It will also address the process of Finnish architecture from the late nineteenth century as linked to the national identity crisis that the great master Alvar Aalto overcame with both his works and personality, being a great drain on the rest of his colleagues. This aspect caused a reaction against Aalto and his projects. For this reason, at the time that Dipoli came into being a number of professionals who strongly defended the traces of Cartesian Rationalism, including Juhani Pallasmaa and Aulis Blomstedt emerged and brought a new intellectual perspective to the Finnish architecture scene. It is thus inevitable that the presence of Alvar Aalto will be apparent throughout the dissertation to allow a better understanding of the organizational and human character of their work from the Pietil��s�� perspective. Later, this chapter identifies those interests that dominated the international architectural framework that could have influenced Dipoli. The project will be placed in relation to various contemporary architectural works that were created using a different approach to that outlined by the Modern Movement. This is present in the case of Team 10 group and with specific examples of German architects including Hans Scharoun and Hugo H��ring, as well as some commonalities with Soviet Constructivism. These relationships with other architecture qualify its singular character and even extend how this proposal amplifies those shared aspects. Physical and Cultural Context involves the unique site where the building is located which includes different features from the location of other buildings on the campus. IT then progresses into the origin of the new campus from the urban planning of Alvar Aalto and reveals both the setting and proposed constructions that Aalto had developed. This section also highlights the aspects that led to the choice of the site. I go deep into the program proposed by the jury (of whom Aalto was a member) and the analysis of the alternative proposals that received a special commendation. Finally, I study and define the most relevant works located near Dipoli, emphasizing primarily the work of the Sirens (Heikki and Kaija) and Alvar Aalto for the reasons developed in the previous section. I then proceed with the Personal Context, where a series of biographical data are selected to begin to explain the personal circumstances that outlined the Pietilas�� architectural understanding and consequently could have influenced their intellectual approach to design Dipoli. Then the text explores their professional and personal relationship to establish what extent they participated in the proposal. This section concludes with the study of the Reima Pietil����s teaching period at Oulu that explores the issues he presented to his students there. In the process of understanding the Pietil��s�� theoretical and design evolution, it must be considered essential to study other buildings that are part of their professional context. These projects belong to the most active stage of their office and include the Finnish Pavilion for the World��s Fair in Brussels (1956-1958), Kaleva Church in Tampere (1959-1966) and the Nordic Pavilion at the 1960 Venice Biennale. We will complete the view of Dipoli from previous theoretical investigations performed in parallel that were spread through several exhibitions. We will focus on the three that were most relevant to the evolution of the architect (Morphology and Urbanism, the Zone, and Stick Studies) to establish a series of useful relationships. This section is not intended to be an in-depth analysis nor to collect most of the work of the Pietil��s��; but rather to reveal the most significant features that facilitate an understanding of the above values. Finally, Dipoli��s Impact refers to the influence of the building from many points of view during its construction and after its completion. It collects the reviews published in the world's most relevant magazines which had decided to show the alternate proposals, generally conceived of by internationally-renowned architects. I analyze the content of the articles in order to establish a series of parallels with the chapter Contexts and own writings Pietil�� to clarify if main design directions were clear at that time. The views of relevant critics, including Kenneth Frampton, Bruno Zevi and Christian Norberg -Schulz, are also collected here. This episode also collects and assesses the views of these critics�� Finnish counterparts that generally stood at the opposite side of the international debate. It delves into the complex situation that led to the rejection of the building by the rationalists that dominated the Finnish critical thinking while searching for new alternatives to distance themselves from the Alvar Aalto��s success. It aims to clarify both the justification for these negative comments and the reasons why Reima and Raili not obtain a single commission for nearly ten years after the completion of Dipoli. From the critics we will approach the opinion of Reima Pietil�� himself. To do this, in the Literal Morphology section we will see how the architect tried to defend his position. Those design tool that directly affected the perception of the proposal are provided through the figures of Roger Connah and Malcolm Quantrill. Finally, a critical ���personal and professional- review of these two very close figures will take place. Despite knowing that both delved into the work of architects with greater depth and provided a complete view of the Finnish architectural context in 20th century, they have focused mainly morphological knowledge which has led to the observation of natural phenomena. It also notes the lack of objectivity in their views caused in part by, in the case of Connah, collaborating professionally and in that of Quantrill being a close friend of the Pietil�� family. The value of the documentation provided by both resides mainly in the faithful transmission of the Pietil��s�� own explanations. The final chapter covers both Design and Construction and provides a comprehensive project description in order tofaithfully analyse the work. As the proposal is being explained, relationships of its built form are continuously linked to other architectural projects to gain a better understanding of Dipoli itself. To do this we have set three basic sections: "The Place", "Geometries & Function" and "Presence and Materiality. Construction process" that intended to identify those project tools for the realization of the work while deepens the proposal��s evolution. The Place describes how to approach and reach the building in detail and how the view out towards the surrounding natural setting is continuously shown in the proposal��s drawings. We will study both the multiplicity of entrances as well as the corridor downstairs as part of the public space that diagonally goes through the building. Then, the existing voids in the concrete cave for public activities will be evaluated. Lastly, the study will focus on the openings as a significant element in the transition from interior and exterior areas to describe the importance of the circulation on the second floor and how function is able to accommodate through the areas of void. Geometries & Function explains the final solution and the development of the proposal through the floor plan. Simultaneously it detects those aspects that appear in other projects and that may have influenced the development of the work. Once we have analyzed both levels ���ground and second floor- section drawings come into the topic to study the connections between the two levels and highlighting the types of hierarchy for the multiple paths to organize the flows of people inside the building. In the last section the structural geometry is identified through the description of the form and how it responds to the final volumetrical settings. The character of the building through the use of materials and construction techniques inquires from Presence and Materiality. This point of view clarifies multisensory project issues as Dipoli relationship to the dynamic or static character or different spaces inside the building. Once the analysis has been made we will step back to a final return to the building��s exterior to analyze the presence of the building through its scale, colour and textures. This section emphasizes the project��s scale and orientation to find the proper insertion of the building in place. In short, this dissertation has been done by the idea that Pietil��s��special abilities were allowed from a sensitive observation of the program, the creation of a variety of special scales, dynamic circulation and the relating relationship with the project��s location as fundamental design tools. From this aspect, Dipoli could be more usefully framed in the historical context of Nordic and international architecture. The dissertation allows us to better understand the cultural context of the 1960s, in which Dipoli was established since it continues our recent architectural history. The final built form is conceived as an extension of our contemporary world. Therefore the project is assessed through the comparison of the architects�� intentions and the final completed project.

Comparison of starts and turns of national and regional level swimmers by individualized-distance measurements

The aim of this study was to compare the race characteristics of the start and turn segments of national and regional level swimmers. In the study, 100 and 200-m events were analysed during the finals session of the Open Comunidad de Madrid (Spain) tournament. The ���individualized-distance��� method with two-dimensional direct linear transformation algorithm was used to perform race analyses. National level swimmers obtained faster velocities in all race segments and stroke comparisons,although significant inter-level differences in start velocity were only obtained in half (8 out of 16) of the analysed events. Higher level swimmers also travelled for longer start and turn distances but only in the race segments where the gain of speed was high. This was observed in the turn segments, in the backstroke and butterfly strokes and during the 200-m breaststroke event, but not in any of the freestyle events. Time improvements due to the appropriate extension of the underwater subsections appeared to be critical for the end race result and should be carefully evaluated by the ���individualized-distance��� method.

El tiempo como sustancia de la forma : una aproximaci��n al Museo de Arte Romano de M��rida desde los presupuestos del vitalismo

El modelo dominante durante la Era Moderna asume la presencia del hombre como sujeto dentro del gran engranaje mec��nico del Cosmos. Asimismo, recoge una idea acerca del ser natural dentro de la tradici��n ontol��gica iniciada por el eleatismo presocr��tico que concibe a ��ste como lo inmutable y est��tico frente al cambio y al movimiento, los cuales se constituyen como meras apariencias. Durante el periodo anterior a la aparici��n de los grandes fil��sofos griegos se produce una transformaci��n en donde, de la inicial cosmolog��a vinculada a un tiempo primordial, se pasar�� a una visi��n del Universo como ente indestructible, atemporal, inmutable, perfecto, geom��trico y espacial. Si en Dem��crito se admite un universo sometido al azar y a la necesidad, en Plat��n el Universo s��lo atiende a la necesidad. Este modelo ontol��gico se pone en entredicho cuando el hombre ya no es concebido como pieza de un sistema m��s amplio, sino como centro radical del pensamiento. La condici��n radical del hombre es entonces su propia vida, siendo ��ste el concepto troncal del denominado vitalismo cuyo m��s influyente representante en Espa��a es Jos�� Ortega y Gasset. El estatismo del ser ���del hombre- pierde sentido; en palabras del propio Ortega, ���no es un ser sino un estar siendo��� lo que caracteriza a la vida humana. La raz��n cartesiana es ahora la raz��n vital y su objeto de estudio no es la naturaleza sino el propio devenir, es decir, el tiempo, la historia. Este planteamiento es fundamental para comprender el edificio que es objeto de este estudio, el Museo de Arte Romano de M��rida (1980-1985) de Rafael Moneo. Por ello el concepto de tiempo es utilizado como marco y estructura de la presente tesis, a sabiendas del notorio y muy significativo papel que este edificio desempe���� en la carrera de su autor y en el panorama nacional e internacional de la arquitectura y de la museolog��a. Este proyecto nos permite acercarnos al pensamiento de su autor a trav��s de un edificio que, aun habiendo sido ampliamente reconocido, no cuenta con un estudio suficientemente exhaustivo que recoja la amplitud y riqueza que encierra. Esta tesis no es un compendio de lo que ya se ha investigado sobre M��rida; es una aproximaci��n global e interpretativa cuyo sentido s��lo puede concebirse al vislumbrar la estructura completa de la misma en sinton��a con el "l��gos" vital, hist��rico y narrativo que el proyecto encierra. Se revisar�� la concepci��n hist��rica seg��n la cual, la configuraci��n espacial de la forma habr��a tenido primac��a respecto a su configuraci��n temporal, al remitir esta ��ltima a una condici��n espacializada y circunstancial. La componente vicaria de la circunstancia ser�� elevada por Ortega a la categor��a de esencial, visualizando as�� una paradoja cuya reformulaci��n nos lleva a la concepci��n de un tiempo sustancial. El diccionario de la RAE, en su tercera acepci��n, define la sustancia como ���aquello que permanece en algo que cambia���, lo cual nos remite al pensamiento antiguo. Se mostrar�� que lo que permanece no necesariamente implica una concepci��n est��tica y ele��tica de la forma, que la arquitectura esencial no es un��vocamente la arquitectura atemporal del platonismo y que cabe concebir la "firmitas" desde la atenci��n a la "dur��e" bergsoniana. Al asociar tradicionalmente la sustancia con el referido estatismo, se margina al tiempo y a la duraci��n a lo no sustancial; por ello, se tratar�� de aproximar los t��rminos de tiempo y sustancia para definir la forma. Ello conllevar�� al estudio de las notables patolog��as derivadas de la asunci��n de un tiempo cronol��gico en nuestra contemporaneidad frente a las cuales, las intuiciones contenidas en M��rida, se alinear��n con la actual actitud revisionista en el ��mbito del pensamiento filos��fico y cient��fico. En M��rida, la memoria recoger�� los aspectos de la conciencia as�� como los aspectos vinculados a la experiencia ��ntima y colectiva como soporte para la consecuci��n de un discurso. La dualidad entre intuici��n e inteligencia ser�� recogida por Moneo con idea de trascender su incomunicabilidad, mediante una operaci��n que consistir�� en la reivindicaci��n de una memoria irreductible, cuya morada estar��a incardinada en el propio tiempo de la duraci��n y de la vida y no en la espacialidad coextensiva del presente y de la acci��n funcional sobre la materia. Moneo asumir�� el papel de la memoria como condici��n central de una forma que se encarnar�� al concebirse como un teatro. En la respuesta a la contradicci��n entre el hecho f��sico y el efecto ps��quico de la experiencia humana residir�� la pertinencia de un tiempo narrativo. Ser�� entonces el lenguaje el encargado de aportar sentido a la obra mediante el recurso fundado en la dramatizaci��n de la experiencia, es decir, a trav��s de una conexi��n entre la conciencia ��ntima y el car��cter social y colectivo intr��nseco en la arquitectura. ABSTRACT TIME AS A SUBSTANCE OF FORM. AN APPROACH TO THE ROMAN ART MUSEUM OF M��RIDA FROM THE VIEWPOINT OF VITALISM. The dominant model during the Modern Era placed man as a subject inside the great mechanism of the cosmos. It is also based in an idea about natural being within the ontological tradition initiated by the pre-Socratic Eleatism that conceives it as something immutable and static in respect with change and movement, which are considered as mere appearances. Prior to the emergence of the great Greek philosophers occurred a transformation where concepts of cosmology linked to a primordial time, changed to a view of the universe as indestructible, timeless, unchanging, perfect, geometric and spatial. If Democritus accepted a universe subjected to randomness and necessity, Plato thought that the universe only worked by necessity. This ontological model is called into question when man is not conceived as a piece of a broader system, but as a radical center of thinking. The radical condition of man then is his own life. This is the core concept of so-called Vitalism, whose most influential representative in Spain was Jos�� Ortega y Gasset. The stillness of being ��� of man - loses its meaning; in the words of Ortega, ���it is not being but being in progress��� that characterizes human life. The Cartesian reason is now the vital reason and its subject of study is no longer nature but its own evolution, in other words, time and history. This approach is fundamental to understand the building which is the subject of this study, the Museum of Roman Art in M��rida (1980-1985) by Rafael Moneo. The concept of time is used as a framework and structure of this thesis, demonstrating the notorious and very significant role this building has implied in the career of its author and in the national and international panorama of architecture and museology. This project allow us to approach the thought of its author through a building that, even whilst widely recognized, does not yet have a sufficiently comprehensive study covering its breadth and richness. This thesis is not a compendium of what already has been researched on Merida; it is a global and interpretative approach whose meaning can only be conceived as a study of its complete structure in line with the vital, historical and narrative logos the project implies. We will review the historical idea where spatial configuration of the form would have had primacy with respect to temporary configuration, because the latter refers to a spatial and circumstantial condition. The vicarious nature of the circumstance will be elevated by Ortega to the category of essential, thus showing a paradox which reformulation leads us to the conception of a substantial time. The dictionary of the Spanish Royal Academy, in its third meaning, defines substance as "that which remains in something that changes". This is a reference to ancient thought. It will be shown that what remains does not necessarily imply a static and Eleatic conception of form. It will also be shown that the essential architecture is not uniquely the timeless architecture of Platonism and that it is possible to conceive the "firmitas" parallel to the "dur��e" of Henri Bergson. As a result of this traditional association between substance and stillness, it marginalizes the time and the duration to the non-substantial; for this reason, we will try to approach terms of time and substance to define the shape. This will involve studying significant pathologies resulting from an assumption of chronological time in our contemporary world against which, the insights contained in Merida, will be aligned with the current revisionist attitude in the fields of philosophical and scientific thought. In Merida, memory includes aspects of consciousness as well as aspects linked to the intimate and collective experience as a foundation for the achievement of discourse. The duality between intuition and intelligence is put forward by Moneo with the idea of transcending its lack of communication, by means of a resource consisting of the vindication of an irreducible memory, whose home would be embodied in the time of duration and life and not in the coextensive spatiality of the present and in the functional action on the matter. Moneo demonstrates the role of memory as a central condition of form as a theatre. In response to the contradiction between the physical fact and the psychological effect of human experience lies the relevance of narrative time. Language then assumes the responsibility of giving meaning to the work through the dramatization of experience, i.e., through a connection between the intimate consciousness and the intrinsic social and collective character of architecture.

O BOCA A BOCA ON-LINE: AS IMPLICA����ES DA VOZ DO CONSUMIDOR NA COMUNICA����O DE MERCADO

O consumidor contempor��neo, inserido em um novo ambiente de comunica����o, potencializa suas express��es, capaz de avaliar uma marca ou produto e transmitir sua opini��o pelas redes sociais, ou seja, o consumidor expressa suas opini��es e desejos dialogando com seus pares de forma espont��nea nas redes sociais on-line. �� neste ambiente de participa����o e intera����o (ciberespa��o) que est�� nosso objeto de estudo, o boca a boca on-line ��� a voz do consumidor contempor��neo, tamb��m conhecido como uma manifesta����o informativa pessoal ou uma conversa, a opinion sharing. Proporcionado pelos consumidores nas redes sociais on-line, o boca a boca se fortalece em fun����o das possibilidades de intera����o, caracter��stica da sociedade em rede. Nesse cen��rio, oobjetivo desta pesquisa �� caracterizar o boca a boca on-line como um novo fluxo comunicacional entre consumidores, hoje potencializado pelas novas tecnologias da comunica����o, capazes de alterar a percep����o da marca e demonstrar o uso, pelas marcas, das redes sociais on-line ainda como um ambiente de comunica����o unidirecional. Mediante tr��s casos selecionados por conveni��ncia (dois casos nacionais e um internacional), o corpus de an��lise de nossa pesquisa se limitou aos 5.084 coment��rios disponibilizados ap��s publica����o de mat��rias jornal��sticas no Portal G1 e nas fanpages (Facebook), ambos relativos aos casos selecionados. Com a An��lise de Conte��do dos posts, identificamos e categorizamos a fala do consumidor contempor��neo, sendo assim poss��vel comprovar que as organiza����es/marcas se valem da cultura do massivo, n��o dialogando com seus consumidores, pois utilizam as redes sociais on-line ainda de forma unidirecional, al��m de n��o darem a devida aten����o ao atual fluxo onde se evidencia a opini��o compartilhada dos consumidores da sociedade em rede.

Atmospheric PM and volatile organic compounds released from Mediterranean shrubland wildfires

Wildfires produce a significant release of gases and particles affecting climate and air quality. In the Mediterranean region, shrublands significantly contribute to burned areas and may show specific emission profiles. Our objective was to depict and quantify the primary-derived aerosols and precursors of secondary particulate species released during shrubland experimental fires, in which fire-line intensity values were equivalent to those of moderate shrubland wildfires, by using a number of different methodologies for the characterization of organic and inorganic compounds in both gas-phase and particulate-phase. Emissions of PM mass, particle number concentrations and organic and inorganic PMx components during flaming and smouldering phases were characterized in a field shrubland fire experiment. Our results revealed a clear prevalence of K+ and SO42- as inorganic ions released during the flaming-smouldering processes, accounting for 68 to 80% of the inorganic soluble fraction. During the residual-smouldering phases, in addition to K+ and SO42-, Ca2+ was found in significant amounts probably due the predominance of re-suspension processes (ashes and soil dust) over other emission sources during this stage. Concerning organic markers, the chromatograms were dominated by phenols, n-alkanals and n-alkanones, as well as by alcohol biomarkers in all the PMx fractions investigated. Levoglucosan was the most abundant degradation compound with maximum emission factors between 182 and 261 mg kg-1 in PM2.5 and PM10 respectively. However, levoglucosan was also observed in significant amounts in the gas-phase. The most representative organic volatile constituents in the smoke samples were alcohols, carbonyls, acids, monocyclic and bicyclic arenes, isoprenoids and alkanes compounds. The emission factors obtained in this study may contribute to the validation and improvement of national and international emission inventories of this intricate and diffuse emission source.

La ruralidad del 15-M. Iniciativas desde el movimiento agroecol��gico alicantino

La principal imagen del movimiento 15-M viene simbolizada por las acampadas en las plazas de numerosas ciudades espa��olas, es decir, su apariencia urbana. No obstante, el derecho a la alimentaci��n sana, el consumo responsable, el acceso a la tierra, la conservaci��n de ecosistemas agrarios y la despoblaci��n del medio rural han sido algunas de las tem��ticas debatidas en el seno del movimiento. Ello demuestra una sustancial preocupaci��n por la cuesti��n tanto ambiental como agraria, para las cuales se reclaman alternativas desde una perspectiva propiamente rural. Como se pretende hacer ver en este art��culo, en el seno del movimiento 15-M las cuestiones urbanas y rurales son indisociables. Entre ellas destaca la reivindicaci��n de la soberan��a alimentaria y de la agroecolog��a como horizontes de una transformaci��n en la organizaci��n del territorio. En este art��culo se sintetizan los aspectos de ruralidad del movimiento 15-M y sus reivindicaciones de car��cter social, ambiental y territorial. De manera particular, se consideran las caracter��sticas propias de iniciativas incipientes que se est��n llevando a cabo en la provincia de Alicante, en el sureste del Estado espa��ol, as�� como de sus interrelaciones con movimientos rurales en el ��mbito regional, nacional e internacional.

Delphi study for the design and validation of a questionnaire about digital competences in higher education

The study of digital competence remains an issue of interest for both the scientific community and the supranational political agenda. This study uses the Delphi method to validate the design of a questionnaire to determine the perceived importance of digital competence in higher education. The questionnaire was constructed from different framework documents in digital competence standards (NETS, ACLR, UNESCO). The triangulation of non-parametric techniques made it possible to consolidate the results obtained through the Delphi panel, the suitability of which was highlighted through the expert competence index (K). The resulting questionnaire emerges as a good tool for undertaking future national and international studies on digital competence in higher education.