Engineering design knowledge management in de-centralised virtual enterprises

The problems of collaborative engineering design and knowledge management at the conceptual stage in a network of dissimilar enterprises was investigated. This issue in engineering design is a result of the supply chain and virtual enterprise (VE) oriented industry that demands faster time to market and accurate cost/manufacturing analysis from conception. The solution consisted of a de-centralised super-peer net architecture to establish and maintain communications between enterprises in a VE. In the solution outlined below, the enterprises are able to share knowledge in a common format and nomenclature via the building-block shareable super-ontology that can be tailored on a project by project basis, whilst maintaining the common nomenclature of the ‘super-ontology’ eliminating knowledge interpretation issues. The two-tier architecture layout of the solution glues together the peer-peer and super-ontologies to form a coherent system for both internal and virtual enterprise knowledge management and product development.

Ornithokinin (avian bradykinin) from the skin of the Chinese bamboo odorous frog, Odorrana versabilis

One of the most widespread and abundant families of pharmacologically active peptides in amphibian defensive skin secretions is the bradykinins and related peptides. Despite retaining certain primary structural attributes that assign them to this peptide family, bradykinins and related peptides are unique among amphibian skin peptides in that they exhibit a wide range of primary structural variations, post-translational modifications and/or N-terminal or C-terminal extensions. Initially it was believed that their high degree of primary structural heterogeneity was reflective of random gene mutations within species, but latterly, there is an increasing body of evidence that the spectrum of structural modifications found within this peptide family is reflective of the vertebrate predator spectrum of individual species. Here we report the discovery of ornithokinin (avian bradykinin – Thr6, Leu8-bradykinin) in the skin secretion of the Chinese bamboo odorous frog, Odorrana versabilis. Molecular cloning of its biosynthetic precursor-encoding cDNA from a skin secretion-derived cDNA library revealed a deduced open-reading frame of 86 amino acid residues, encoding a single copy of ornithokinin towards its C-terminus. The domain architecture of this ornithokinin precursor protein was consistent with that of a typical amphibian skin peptide and quite different to that of the ornithokininogen from chicken plasma. Ornithokinin was reported to induce hypotension in the chicken and to contract the chicken oviduct but to have no obvious effect on the rat uterus. However, in this study, synthetic ornithokinin was found to contract the rat ileum (EC50 = 539 nM) and to increase contraction frequency in the rat uterus (EC50 = 1.87 μM).

Hierarchies of conceptual scales

Formal Concept Analysis allows to derive conceptual hierarchies from data tables. Formal Concept Analysis is applied in various domains, e.g., data analysis, information retrieval, and knowledge discovery in databases. In order to deal with increasing sizes of the data tables (and to allow more complex data structures than just binary attributes), conceputal scales habe been developed. They are considered as metadata which structure the data conceptually. But in large applications, the number of conceptual scales increases as well. Techniques are needed which support the navigation of the user also on this meta-level of conceptual scales. In this paper, we attack this problem by extending the set of scales by hierarchically ordered higher level scales and by introducing a visualization technique called nested scaling. We extend the two-level architecture of Formal Concept Analysis (the data table plus one level of conceptual scales) to many-level architecture with a cascading system of conceptual scales. The approach also allows to use representation techniques of Formal Concept Analysis for the visualization of thesauri and ontologies.

Microbial relatives of the seed storage proteins of higher plants: conservation of structure and diversification of function during evolution of the cupin superfamily.

This review summarizes the recent discovery of the cupin superfamily (from the Latin term "cupa," a small barrel) of functionally diverse proteins that initially were limited to several higher plant proteins such as seed storage proteins, germin (an oxalate oxidase), germin-like proteins, and auxin-binding protein. Knowledge of the three-dimensional structure of two vicilins, seed proteins with a characteristic beta-barrel core, led to the identification of a small number of conserved residues and thence to the discovery of several microbial proteins which share these key amino acids. In particular, there is a highly conserved pattern of two histidine-containing motifs with a varied intermotif spacing. This cupin signature is found as a central component of many microbial proteins including certain types of phosphomannose isomerase, polyketide synthase, epimerase, and dioxygenase. In addition, the signature has been identified within the N-terminal effector domain in a subgroup of bacterial AraC transcription factors. As well as these single-domain cupins, this survey has identified other classes of two-domain bicupins including bacterial gentisate 1, 2-dioxygenases and 1-hydroxy-2-naphthoate dioxygenases, fungal oxalate decarboxylases, and legume sucrose-binding proteins. Cupin evolution is discussed from the perspective of the structure-function relationships, using data from the genomes of several prokaryotes, especially Bacillus subtilis. Many of these functions involve aspects of sugar metabolism and cell wall synthesis and are concerned with responses to abiotic stress such as heat, desiccation, or starvation. Particular emphasis is also given to the oxalate-degrading enzymes from microbes, their biological significance, and their value in a range of medical and other applications.

Sequence analysis of the cupin gene family in Synechocystis PCC6803

The recently described cupin superfamily of proteins includes the germin and germinlike proteins, of which the cereal oxalate oxidase is the best characterized. This superfamily also includes seed storage proteins, in addition to several microbial enzymes and proteins with unknown function. All these proteins are characterized by the conservation of two central motifs, usually containing two or three histidine residues presumed to be involved with metal binding in the catalytic active site. The present study on the coding regions of Synechocystis PCC6803 identifies a previously unknown group of 12 related cupins, each containing the characteristic two-motif signature. This group comprises 11 single-domain proteins, ranging in length from 104 to 289 residues, and includes two phosphomannose isomerases and two epimerases involved in cell wall synthesis, a member of the pirin group of nuclear proteins, a possible transcriptional regulator, and a close relative-of a cytochrome c551 from Rhodococcus. Additionally, there is a duplicated, two-domain protein that has close similarity to an oxalate decarboxylase from the fungus Collybia velutipes and that is a putative progenitor of the storage proteins of land plants.

Cupins: the most functionally diverse protein superfamily?

The cupin superfamily of proteins, named on the basis of a conserved β-barrel fold (‘cupa’ is the Latin term for a small barrel), was originally discovered using a conserved motif found within germin and germin-like proteins from higher plants. Previous analysis of cupins had identified some 18 different functional classes that range from single-domain bacterial enzymes such as isomerases and epimerases involved in the modification of cell wall carbohydrates, through to two-domain bicupins such as the desiccation-tolerant seed storage globulins, and multidomain transcription factors including one linked to the nodulation response in legumes. Recent advances in comparative genomics, and the resolution of many more 3-D structures have now revealed that the largest subset of the cupin superfamily is the 2-oxyglutarate-Fe2+ dependent dioxygenases. The substrates for this subclass of enzyme are many and varied and in total amount to probably 50–100 different biochemical reactions, including several involved in plant growth and development. Although the majority of enzymatic cupins contain iron as an active site metal, other members contain either copper, zinc, cobalt, nickel or manganese ions as a cofactor, with each cofactor allowing a different type of chemistry to occur within the conserved tertiary structure. This review discusses the range of structures and functions found in this most diverse of superfamilies.

The crystal structure of the leptospiral hypothetical protein LIC12922 reveals homology with the periplasmic chaperone SurA

Leptospirosis is a world spread zoonosis caused by members of the genus Leptospira. Although leptospires were identified as the causal agent of leptospirosis almost 100 years ago, little is known about their biology, which hinders the development of new treatment and prevention strategies. One of the several aspects of the leptospiral biology not yet elucidated is the process by which outer membrane proteins (OMPs) traverse the periplasm and are inserted into the outer membrane. The crystal structure determination of the conserved hypothetical protein LIC12922 from Leptospira interrogans revealed a two domain protein homologous to the Escherichia coli periplasmic chaperone SurA. The LIC12922 NC-domain is structurally related to the chaperone modules of E. coli SurA and trigger factor, whereas the parvulin domain is devoid of peptidyl prolyl cis-trans isomerase activity. Phylogenetic analyses suggest a relationship between LIC12922 and the chaperones PrsA, PpiD and SurA. Based on our structural and evolutionary analyses, we postulate that LIC12922 is a periplasmic chaperone involved in OMPs biogenesis in Leptospira spp. Since LIC12922 homologs were identified in all spirochetal genomes sequenced to date, this assumption may have implications for the OMPs biogenesis studies not only in leptospires but in the entire Phylum Spirochaetes. (C) 2010 Elsevier Inc. All rights reserved.

Hydrogen/deuterium exchange mass spectrometry for characterizing phosphoenolpyruvate-induced structural transitions in Mycobacterium tuberculosis 5-enolpyruvylshikimate-3-phosphate synthase (EC 2.5.1.1)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Polymorphic toxin systems: Comprehensive characterization of trafficking modes, processing, mechanisms of action, immunity and ecology using comparative genomics

Background: Proteinaceous toxins are observed across all levels of inter-organismal and intra-genomic conflicts. These include recently discovered prokaryotic polymorphic toxin systems implicated in intra-specific conflicts. They are characterized by a remarkable diversity of C-terminal toxin domains generated by recombination with standalone toxin-coding cassettes. Prior analysis revealed a striking diversity of nuclease and deaminase domains among the toxin modules. We systematically investigated polymorphic toxin systems using comparative genomics, sequence and structure analysis. Results: Polymorphic toxin systems are distributed across all major bacterial lineages and are delivered by at least eight distinct secretory systems. In addition to type-II, these include type-V, VI, VII (ESX), and the poorly characterized "Photorhabdus virulence cassettes (PVC)", PrsW-dependent and MuF phage-capsid-like systems. We present evidence that trafficking of these toxins is often accompanied by autoproteolytic processing catalyzed by HINT, ZU5, PrsW, caspase-like, papain-like, and a novel metallopeptidase associated with the PVC system. We identified over 150 distinct toxin domains in these systems. These span an extraordinary catalytic spectrum to include 23 distinct clades of peptidases, numerous previously unrecognized versions of nucleases and deaminases, ADP-ribosyltransferases, ADP ribosyl cyclases, RelA/SpoT-like nucleotidyltransferases, glycosyltranferases and other enzymes predicted to modify lipids and carbohydrates, and a pore-forming toxin domain. Several of these toxin domains are shared with host-directed effectors of pathogenic bacteria. Over 90 families of immunity proteins might neutralize anywhere between a single to at least 27 distinct types of toxin domains. In some organisms multiple tandem immunity genes or immunity protein domains are organized into polyimmunity loci or polyimmunity proteins. Gene-neighborhood-analysis of polymorphic toxin systems predicts the presence of novel trafficking-related components, and also the organizational logic that allows toxin diversification through recombination. Domain architecture and protein-length analysis revealed that these toxins might be deployed as secreted factors, through directed injection, or via inter-cellular contact facilitated by filamentous structures formed by RHS/YD, filamentous hemagglutinin and other repeats. Phyletic pattern and life-style analysis indicate that polymorphic toxins and polyimmunity loci participate in cooperative behavior and facultative 'cheating' in several ecosystems such as the human oral cavity and soil. Multiple domains from these systems have also been repeatedly transferred to eukaryotes and their viruses, such as the nucleo-cytoplasmic large DNA viruses. Conclusions: Along with a comprehensive inventory of toxins and immunity proteins, we present several testable predictions regarding active sites and catalytic mechanisms of toxins, their processing and trafficking and their role in intra-specific and inter-specific interactions between bacteria. These systems provide insights regarding the emergence of key systems at different points in eukaryotic evolution, such as ADP ribosylation, interaction of myosin VI with cargo proteins, mediation of apoptosis, hyphal heteroincompatibility, hedgehog signaling, arthropod toxins, cell-cell interaction molecules like teneurins and different signaling messengers.

BPIFB1 (LPLUNC1) is upregulated in cystic fibrosis lung disease

Although the biology the PLUNC (recently renamed BPI fold, BPIF) family of secreted proteins is poorly understood, multiple array based studies have suggested that some are differentially expressed in lung diseases. We have examined the expression of BPIFB1 (LPLUNC1), the prototypic two-domain containing family member, in lungs from CF patients and in mouse models of CF lung disease. BPIFB1 was localized in CF lung samples along with BPIFA1, MUC5AC, CD68 and NE and directly compared to histologically normal lung tissues and that of bacterial pneumonia. We generated novel antibodies to mouse BPIF proteins to conduct similar studies on ENaC transgenic (ENaC-Tg) mice, a model for CF-like lung disease. Small airways in CF demonstrated marked epithelial staining of BPIFB1 in goblet cells but staining was absent from alveolar regions. BPIFA1 and BPIFB1 were not co-localised in the diseased lungs. In ENaC-Tg mice there was strong staining of both proteins in the airways and luminal contents. This was most marked for BPIFB1 and was noted within 2 weeks of birth. The two proteins were present in distinct cells within epithelium. BPIFB1 was readily detected in BAL from ENaC-Tg mice but was absent from wild-type mice. Alterations in the expression of BPIF proteins is associated with CF lung disease in humans and mice. It is unclear if this elevation of protein production, which results from phenotypic alteration of the cells within the diseased epithelium, plays a role in the pathogenesis of the disease.

Symmetry and the polar state of condensed molecular matter

Polar molecular crystals seem to contradict a quantum mechanical statement, according to which no stationary state of a system features a permanent electrical polarization. By stationary we understand here an ensemble for which thermal averaging applies. In the language of statistical mechanics we have thus to ask for the thermal expectation value of the polarization in molecular crystals. Nucleation aggregates and growing crystal surfaces can provide a single degree of freedom for polar molecules required to average the polarization. By means of group theoretical reasoning and Monte Carlo simulations we show that such systems thermalize into a bi-polar state featuring zero bulk polarity. A two domain, i.e. bipolar state is obtained because boundaries are setting up opposing effective electrical fields. Described phenomena can be understood as a process of partial ergodicity-restoring. Experimentally, a bi-polar state of molecular crystals was demonstrated using phase sensitive second harmonic generation and scanning pyroelectric microscopy

Adding semantic annotations into (Geospatial) RESTful services

In this paper the authors present an approach for the semantic annotation of RESTful services in the geospatial domain. Their approach automates some stages of the annotation process, by using a combination of resources and services: a cross-domain knowledge base like DBpedia, two domain ontologies like GeoNames and the WGS84 vocabulary, and suggestion and synonym services. The authors’ approach has been successfully evaluated with a set of geospatial RESTful services obtained from ProgrammableWeb.com, where geospatial services account for a third of the total amount of services available in this registry.

Auditorium: una tipología del siglo XX

Se recoge en esta tesis doctoral la definición y clasificación de los edificios cuya finalidad es proporcionar espacios para escuchar y producir música. Se centra en aquellos construidos a lo largo del siglo XX, en el área geográfica y cultural que forman Europa occidental y Estados Unidos. Se analizan edificios construidos en el pasado, en una serie que se origina a mediados del siglo XIX y que se culmina terciado el propio siglo XX. Son edificios que contienen espacios pensados para músicas que, sin embargo, en su mayoría fueron creadas en un periodo anterior, desde mediados del siglo XVIII hasta las primeras décadas del siglo pasado. Un auditorium es un edificio cuya idea conlleva la compleja herencia de los múltiples lugares, abiertos y cerrados, que han alojado la música a lo largo del tiempo. Es un edificio que es útil a la sociedad y que ocupa un lugar significativo dentro de la ciudad, y es consecuencia del campo de fuerzas que constituyen los avances técnicos, el progreso de las sociedades urbanas y la evolución del arte, al compartir estrechamente, música y arquitectura, el interés por hallar la expresión de una nueva relación con la naturaleza. Se parte de la hipótesis de que el auditorium puede constituir un tipo arquitectónico con entidad suficiente para generar una tipología. Entendida ésta como una herramienta que dota de conocimientos útiles a quien va a proyectar un edificio para la música y también que permita abrir el campo de pensamiento sobre el espacio musical, sin necesidad de recurrir a modelos previos, aunque se hayan manifestado útiles y precisos. Se comienza con una aproximación a una definición del término «auditorium » y se analizan a qué funciones responde y en qué es distinto de otros edificios, a través de determinar las características formales propias. Para ello se articula la tesis en varios bloques de análisis. I Elementos para una tipología Se indaga en los atributos que determinan la naturaleza de los auditorios para definir cómo son estos edificios y qué características y condiciones tienen, no sólo las salas sino también los edificios que las contienen, buscando el origen de los espacios musicales y su relación con las personas que allí se han reunido para celebrar, a través de la música, acontecimientos colectivos. Relación que ha comportado desplazamientos por los distintos espacios que ha compartido, supeditada a otras actividades, hasta que finalmente, la música ha reclamado espacios propios. Pero también se establece otra relación física entre las distintas posiciones que ocupan en el espacio cuantos intervienen en la celebración del hecho musical, músicos y público. De otra parte se analiza cómo son sus espacios interiores, salas y vestíbulos, y los volúmenes y formas de los edificios en relación con la ciudad. Su conexión con la idea del paisaje abierto y con el carácter originario de la cueva. II Cinco tiempos Los edificios sobre los que se van explorar estas capacidades son en muchos casos arquitecturas divulgadas y conocidas. Sin embargo no todas han tenido desde su aparición el mismo grado de aprecio ni reconocimiento, y sólo el paso del tiempo ha confirmado su excelencia. El estudio se estructura en los periodos marcados por los acontecimientos bélicos y las grandes crisis que sacudieron Europa y Norte América desde comienzos del siglo XX. La identificación de los elementos significativos de la tipología se hace a través del análisis de distintos tiempos que agrupan casos heterogéneos, tiempos entendidos unas veces como la relación entre edificios coetáneos y otra como proyectos pensados por un mismo arquitecto y se detiene, entre otros, en cuatro excepcionales edificios que condensan la experiencia de varias décadas y demuestran su plenitud arquitectónica, por haber evolucionado de modelos precedentes o por su novedosas aportaciones. El Royal Festival Hall (1951), el Kresge Auditorium (1954), el Kulttuuritalo (1958) y la Philharmonie de Berlín (1963), sirven de base para una clasificación del auditorium. III Cronología gráfica Este apartado es fundamentalmente gráfico y consta un inventario de más de 100 archivos correspondientes a otros tantos auditorios y sus salas, en orden cronológico. Cada archivo cuenta con una imagen del exterior del edificio y otra del interior de la sala. Se han incorporado en cada uno de los archivos, dos dibujos a la misma escala. El primero muestra la planta de la sala con tres parámetros: la ocupación del público en referencia al lugar que ocupa la orquesta, la relación de tamaño entre la sala y las de los cuatro auditorios de referencia y la distancia al foco de sonido, la orquesta, mediante una escala en metros. Estos tres parámetros están superpuestos al que he considerado espacio audible, un rectángulo de 60 por 90 metros, en el que el foco está desplazado, por considerar que el sonido de una orquesta tiene una componente directional y que en esas dimensiones la energía sonora no decae. En el friso bajo el dibujo, aparecen cuatro iconos que informan de la relación formal de la sala con la del auditorium. Puede ser una sala dentro de un edificio sin correspondencia formal, un edificio en el que se manifiesta exteriormente el volumen de la sala, un edificio que tiene la forma de la sala y resuelve el resto del programa funcional sin manifestarlo exteriormente o, finalmente un edificio complejo cuya forma absorbe dos o más salas de música. El segundo dibujo es la sección longitudinal de la sala, recortada sobre un fondo negro para destacar su forma y proporción, todas están a la misma escala y en la misma dirección respecto del escenario para facilitar su lectura y comparación. En el parte inferior de la sección, aparecen cuatro esquemas de la forma y distribución en planta sobre el que destaca la de cada caso de estudio. La forma del techo de las salas de música de los auditorios, expresada a través de la sección longitudinal, es uno de los elementos que caracteriza el espacio musical. El perímetro de la sección, determina su superficie y por tanto, el volumen total interior. Es una herramienta técnica que permite dirigir el sonido reflejado en él, hasta cualquier lugar del interior de la sala, garantizando una distribución homogénea y evitando concentraciones perjudiciales o «sombras acústicas», lugares donde no llegan las primeras reflexiones. IV Geometría de las salas El análisis efectuado permite la elaboración de paralelos de tres de los elementos fundamentales de la tipología de las salas de los auditorium y que definen el espacio musical. El perímetro de la sección y su superficie que establecen el volumen total interior, que es un factor determinante en la reverberación de una sala. La forma y superficie del techo, que interviene directamente en el cálculo de la absorción del sonido, en función de la cualidad reflejante o absorbente del material con el que está construido, y por otra parte en la distribución del sonido en el espacio. Y por último, la forma del suelo de las salas también expresada a través de la sección longitudinal, es otro de los elementos que caracteriza el espacio musical. El modelado del suelo permite mediante distintas pendientes garantizar la correcta visión del escenario y por tanto permite también una buena audición, puesto que la llegada directa del sonido está asegurada. La otra limitación dimensional es el ancho de la grada. Cuando se ha buscado incrementar al máximo la capacidad de una sala, se han establecido graderíos en balcones en voladizo para no penalizar la distancia al escenario, de manera que algunas partes del graderío quedan cubiertas, en detrimento de su calidad acústica al privarlas de las primeras reflexiones que proceden del techo. V Auditórium y ciudad El auditorium es un edificio singular que establece con la ciudad una relación particular y que contiene en su interior una o varias salas especiales destinadas a oír y ejecutar música, a las que se accede a través de otros espacios de carácter social. Han ido evolucionando y modificándose de manera ininterrumpida, dando lugar a edificios de diversa complejidad en su programa y a salas cada vez mas especificas para cumplir mejor su cometido, perfeccionando su sonido y buscando la más elevada musicalidad. Estos edificios disponen de otros ámbitos de relación, son los espacios interiores, vestíbulos y escaleras, generalmente generosos en superficie y espacialidad, previos al espacio musical, corazón del auditorium donde suena la música en condiciones acústicas precisas. También el lugar donde se construyen los auditoriums en las ciudades tiene un especial significado, porque generalmente han buscado interponer espacios abiertos o ajardinados que suavicen el contacto directo con la ciudad y que implican, por otra parte, una preparación de las personas que asisten para escuchar los conciertos. Con el paso del tiempo, la aceptación generalizada de formas afianzadas en la ciudad, será uno de los vehículos que permita contaminar a otros tipos de edificios y alcanzar una libertad formal renovadora de los paisajes urbanos. Conclusiones La disolución del espacio musical convencional pregonado por el pabellón Philips del año 1958, no ha impedido que hoy siga vivo para el arquitecto el reto del proyecto y construcción del auditorium. Hoy conviven experiencias musicales totales; imagen, luz y movimiento, ocupando todo tipo de espacios públicos, cerrados o al aire libre, con la voluntad de conseguir espacios capaces de crear la intimidad y las precisas condiciones ambientales que hagan posible la recreación de las músicas del pasado en una especie de emocionante museo sonoro vivo. Como edificios urbanos, los auditoriums han conseguido un lugar destacado en la iconografía urbana después de un largo camino hasta conseguir el reconocimiento social. Se puede, así, establecer que estos edificios han introducido en la ciudad una nueva manera de expresarse la arquitectura. Que lo inesperado de sus formas y volúmenes en el espacio urbano, o la sorpresa de sus interiores altamente técnicos, justificados para satisfacer las nuevas necesidades impuestas por una audiencia cada vez más y más experta, obtienen la aceptación urbana por su utilidad social y por su capacidad de establecer una relación distinta entre las personas, la ciudad y la naturaleza. Coda Finalmente, el epílogo habla de la metamorfosis del espacio musical y de la convivencia de distintos espacios musicales en la actualidad. Desde la creación de las primeras y sencillas salas de música hasta las grandes salas filarmónicas que se construyen en las últimas décadas, la arquitectura ha proporcionado lugares adecuados para contener y disfrutar la música, espacios que se han modificado según cambiaban las formas musicales. Sin embargo el sonido parece mostrarse reticente a ser encerrado en el espacio y busca aliarse con el tiempo para conseguir un desplazamiento permanente. Seguramente es en el pabellón Philips de Bruselas en 1958 donde se presenta el último intento de la arquitectura de contener la música, que impulsada por tecnologías absolutamente nuevas, se mueve como dardos que atraviesan el espacio en todos los lugares y en todas las direcciones. Desde aquellas décadas centrales del pasado siglo, y superando los mas optimistas intentos de distribuir masivamente la música a través de incipientes tecnologías, se puede afirmar que vivimos en una inmersión sonora universal. Anexos Incluyen, una colección de mapas de la geografía de los auditorios europeos y norte-americanos, referenciados a los periodos de su construcción, y una relación de los auditorios estudiados con referencias bibliográficas. ABSTRACT This doctoral thesis does not only look at the ways in which architecture and music relate with one another; it also seeks to be an exact, scientific study of auditoriums, a building type that first appeared in the 20th century as a place in which to produce and listen to music. It studies concert halls, raised in Europe and the United Stated in the 20th century, for the purpose of recreating older music, that were the result of the evolution of various ancient building types. Auditoriums have a complex heritage of architecture of all times, openair and covered alike, and occupy important spots in cities. They incorporate the technical innovations of their times, and are reflections not only of the music played within them, but also of the societies that built them. Music and architecture share an interest in connecting with nature. Auditorium, a 20th-century Typology tries to define this building typology, and with that, be a practical tool in designing and constructing spaces for music, besides exploring the relationship between the two disciplines, architecture and music, and establishing the foundations for an entire school of thought. It is organized in five chapters, each focusing on a particular aspect of auditoriums, all towards defining a possible typology: I Typology elements. A study of the origin of auditoriums, and of how the different parts of these buildings —the actual concert hall, the foyer, the open spaces— relate with the city and with nature, which is ever present in music and in the origin of auditoriums. II Five sequences. A chronological journey through the 20th century, in periods marked by the two world wars and the consequent crises, with case studies of four exceptional buildings: the Royal Festival Hall (1951), the Kresge Auditorium (1954), the Kulttuuritalo (1958), and the Berlin Philharmonie (1963). III Graphic chronology. A methodical sequence looking at a hundred auditoriums, with each entry presenting images of the concert hall and the building as a whole, and two drawings on the same scale. Each concert hall floor plan shows how the orchestra relates with the audience, and it is compared to the floor plans of the four case-study examples named above. We also see how the hall is set into the building. The second drawing is the longitudinal section of the hall. Ceiling shape much determines the character of concert hall spaces, while technical data like air volume and the amount of absorbent and reflecting materials used have a direct bearing on the reflection of sound and on the overall musical quality of the auditorium. IV Geometry of concert halls. Graphic analysis of the key elements of a music space: the ceiling and the floor plan. The section is a necessary tool for determining the reverberation time of a concert hall, and is closely linked to the shape of the floor plan. In concert halls, there is a strong connection between the ceiling, the walls, and the floor, as there is between different musical instruments. It also includes maps showing where these European and American buildings are located geographically as well as in time. V The auditorium in the city. This chapter presents a series of maps showing the location of auditoriums in the city. They are often located in squares and gardens, open public spaces that serve to emotionally prepare the listener for an imminent musical experience. Time has shown that concert halls have changed the urban landscape and city life. Conclusions As a building type, auditoriums —though «dissolved» by the Philips Pavilion in 1958— remain valid spaces for listening to music. As intimate and unique spaces for social gathering and musical creation, they have done their part in transforming cities. Acoustics play a key role in these technical interiors, but just as important is the rapport that is struck between the musicians and the audience, and between musical works of the past, present, and future. Auditoriums are urban buildings that have been very successful throughout history. They have enriched our cities with surprising shapes and volumes, introduced new interiors in architecture, and struck new relationships between people, the city, and nature. As such, they are necessary. Coda Finally, the epilogue presents the evolution of the music space, from the early simple music halls to the highly complex philharmonic halls of recent years. Architecture has produced spaces for the enjoyment of music that have been modified for new musical creations, while remaining useful for the historical repertoire. Sound, and thus music, has as complex a relationship with space as it does with time. The coda of this thesis is the Philips Pavilion of 1958, perhaps the last attempt to propose a new kind of architecture for music with the latest technology. Annexes The thesis includes a collection of site maps of European and American auditoriums, complete with completion dates and descriptions.

Territorios de excepción la CV500 como laboratorio de arquitectura

La innovación en arquitectura reside en los desplazamientos: llevar el trópico a Dinamarca, un trasatlántico al centro de la ciudad, el pasado al presente, el presente al futuro y también lo profano a la academia. De estos últimos desplazamientos, habituales en la práctica de la teoría del proyecto, se ocupa esta tesis. La investigación profundizará en el tránsito de lo ordinario al archivo y viceversa, de lo hallado en un fragmento de paisaje existente desconocido para la literatura disciplinar: el territorio de la carretera CV500. Sus límites serán, en lo geográfico, el tramo entre Valencia y Sueca y, en lo temporal, los años desde el Plan de Urbanización del Saler en la época del desarrollismo de los 60s hasta La Ruta del Bacalao en la década de los 80s. El “intercambio innovador” será conducido a través de dos probados descriptores y formuladores de teoría de arquitectura a partir de relecturas de lo ordinario: Learning from Las Vegas y Delirious New York ABSTRACT Innovation in architecture resides on displacements: taking the tropics to Denmark and the ocean liners to the city centre, bringing the past to the present and taking the present to the future, and converting the ordinary into academia. This thesis will deal with this last displacement, common in the practice of project theory. The research will provide an in-depth view of the transition from the ordinary into cultural archives and vice versa, based on what was found in a fragment of an existing landscape absent from related literature: the territory of the CV500 road. The geographical limit will be the section between Valencia and Sueca, while the time limit will be the years from the Saler Zoning Plan during the economic development policy of the 1960s to the “Bacalao” clubbing route of the 1980s. The “innovative exchange” will be led through two proven architecture theory descriptors and formulators based on rereading the ordinary: Learning from Las Vegas and Delirious New York.

Domain–domain communication in a miniature archaebacterial tRNA synthetase

The three-dimensional structure of tRNA is organized into two domains—the acceptor-TΨC minihelix with the amino acid attachment site and a second, anticodon-containing, stem–loop domain. Aminoacyl-tRNA synthetases have a structural organization that roughly recapitulates the two-domain organization of tRNAs—an older primary domain that contains the catalytic center and interacts with the minihelix and a secondary, more recent, domain that makes contacts with the anticodon-containing arm. The latter contacts typically are essential for enhancement of the catalytic constant kcat through domain–domain communication. Methanococcus jannaschii tyrosyl-tRNA synthetase is a miniature synthetase with a tiny secondary domain suggestive of an early synthetase evolving from a one-domain to a two-domain structure. Here we demonstrate functional interactions with the anticodon-containing arm of tRNA that involve the miniaturized secondary domain. These interactions appear not to include direct contacts with the anticodon triplet but nonetheless lead to domain–domain communication. Thus, interdomain communication may have been established early in the evolution from one-domain to two-domain structures.