Diseño y evaluación de un procedimiento on-line para la biorremediación de aguas radiactivas en centrales nucleares

Recientemente se ha demostrado la existencia de microorganismos en las piscinas de almacenamiento de combustible nuclear gastado en las centrales nucleares utilizando técnicas convencionales de cultivo en el laboratorio. Estudios posteriores han puesto de manifiesto que los microorganismos presentes eran capaces de colonizar las paredes de acero inoxidable de las piscinas formando biopelículas. Adicionalmente se ha observado la capacidad de estas biopelículas de retener radionúclidos, lo que hace pensar en la posibilidad de utilizarlas en la descontaminación de las aguas radiactivas de las piscinas. En la presente tesis se plantea conocer más profundamente la biodiversidad microbiana de las biopelículas utilizando técnicas de biología molecular como la clonación, además de desarrollar un sistema de descontaminación a escala piloto con el objetivo de valorar si el proceso podría resultar escalable a nivel industrial. Para ello se diseñaron y fabricaron dos biorreactores en acero inoxidable compatibles con las condiciones específicas de seguridad sísmica y protección frente a la radiación en la zona controlada de una central nuclear. Los biorreactores se instalaron en la Central Nuclear de Cofrentes (Valencia) en las proximidades de las piscinas de almacenamiento de combustible nuclear gastado y precediendo a las resinas de intercambio iónico, de forma que reciben el agua de las piscinas permitiendo el análisis in situ de la radiación eliminada del agua de las mismas. Se conectó una lámpara de luz ultravioleta a uno de los biorreactores para poder comparar el desarrollo de bipelículas y la retención de radiactividad en ambas condiciones. En estos biorreactores se introdujeron ovillos de acero inoxidable y de titanio que se extrajeron a diversos tiempos, hasta 635 días para los ovillos de acero inoxidable y hasta 309 días para los ovillos de titanio. Se analizaron las biopelículas desarrolladas sobre los ovillos por microscopía electrónica de barrido y por microscopía de epifluorescencia. Se extrajo el ADN de las biopelículas y, tras su clonación, se identificaron los microorganismos por técnicas independientes de cultivo. Asimismo se determinó por espectrometría gamma la capacidad de las biopelículas para retener radionúclidos. Los microorganismos radiorresistentes identificados pertenecen a los grupos filogenéticos Alpha-proteobacteria, Gamma-proteobacteria, Actinobacteria, Deinococcus-Thermus y Bacteroidetes. Las secuencias de estos microorganismos se han depositado en el GenBank con los números de acceso KR817260-KR817405. Se ha observado una distribución porcentual ligeramente diferente en relación con el tipo de biorreactor. Las biopelículas han retenido fundamentalmente radionúclidos de activación. La suma de Co-60 y Mn-54 ha llegado en ocasiones al 97%. Otros radionúclidos retenidos han sido Cr-51, Co-58, Fe-59, Zn-65 y Zr-95. Se sugiere un mecanismo del proceso de retención de radionúclidos relacionado con el tiempo de formación y desaparición de las biopelículas. Se ha valorado que el proceso escalable puede ser económicamente rentable. ABSTRACT The existence of microorganisms in spent nuclear fuel pools has been demonstrated recently in nuclear power plants by using conventional microbial techniques. Subsequent studies have revealed that those microorganisms were able to colonize the stainless steel pool walls forming biofilms. Additionally, it has been observed the ability of these biofilms to retain radionuclides, which suggests the possibility of using them for radioactive water decontamination purposes. This thesis presents deeper knowledge of microbial biofilms biodiversity by using molecular biology techniques such as cloning, and develops a decontamination system on a pilot scale, in order to assess whether the process could be scalable to an industrial level. Aiming to demonstrate this was feasible, two stainless steel bioreactors were designed and manufactured, both were compatible with seismic and radiation protection standards in the controlled zone of a nuclear plant. These bioreactors were installed in the Cofrentes Nuclear Power Plant (Valencia) next to the spent nuclear fuel pools and preceding (upstream) ion exchange resins. This configuration allowed the bioreactors to receive water directly from the pools allowing in situ analysis of radiation removal. One ultraviolet lamp was connected to one of the bioreactors to compare biofilms development and radioactivity retention in both conditions. Stainless steel and titanium balls were introduced into these bioreactors and were removed after different time periods, up to 635 days for stainless steel balls and up to 309 days for titanium. Biofilms developed on the balls were analyzed by scanning electron microscopy and epifluorescence microscopy. DNA was extracted from the biofilms, was cloned and then the microorganisms were identified by independent culture techniques. Biofilms ability to retain radionuclides was also determined by gamma spectrometry. The identified radioresistant organisms belong to the phylogenetic groups Alphaproteobacteria, Gamma-proteobacteria, Actinobacteria, Deinococcus-Thermus and Bacteroidetes. The sequences of these microorganisms have been deposited in GenBank (access numbers KR817260-KR817405). A different distribution of microorganisms was observed in relation to the type of bioreactor. Biofilms have essentially retained activation radionuclides. Sometimes the sum of Co-60 and Mn-54 reached 97%. Cr-51, Co-58, Fe-59, Zn-65 and Zr-95 have also been retained. A radionuclide retention process mechanism related to biofilms formation and disappearance time is suggested. It has been assessed that the scalable process can be economically profitable.

Rem : a los dos lados del espejo = (Rem at both sides of the mirror)

Cuando se trata de Rem Koolhaas, su espejo no refleja una sola imagen sino múltiples, es un prisma poliédrico. Su espejo nos devuelve el Rem mediático, el intelectual, el conceptualizador, el constructor, el analista, el periodista, el actor... En el caso de esta investigación, fijamos el punto de mira en el Rem COMUNICADOR. “Rem a los dos lados del espejo” se enmarca en una investigación sobre los medios de comunicación de arquitectura, su reflejo en la producción arquitectónica y viceversa. Se trata de llegar a discernir si comunicación y producción arquitectónica colisionan y confluyen en el caso de grandes comunicadores como Rem Koolhaas, si el mensaje y el medio transmisor adquieren las mismas cualidades. Centrándose en la figura de Rem Koolhaas, la tesis aborda la evolución de su faceta comunicativa y las transformaciones sucesivas en el campo de la comunicación arquitectónica, en paralelo a su evolución conceptual a lo largo de su trayectoria. La investigación, por tanto, no se centra tanto en su componente teórica o en la práctica arquitectónica de OMA, sino en la exposición de su producción al mundo, especialmente a través de sus ensayos y libros. “Delirious New York” y “SMLXL” son un reflejo del momento conceptual en que se inscriben, y contienen mucha información sobre los referentes gráficos que irremediablemente han influido en su composición. Especialmente, la aparición de “SMLXL” supuso un revulsivo para el mundo de la comunicación arquitectónica, porque puso el foco sobre la importancia de dejar atrás un discurso narrativo linea y unifocal, para afrontar la comunicación barajando múltiples variables, y aproximaciones, en un proceso similar al desarrollo de un proyecto de arquitectura. Presenta un diseño muy novedoso y una edición extremadamente cuidada, que atiende a parámetros mucho más ambiciosos que los meramente narrativos. Profundiza en la necesidad de una temática global, planteando cuál es la aproximación más apropiada para cada uno de los proyectos que describe, transmitiendo al lector una percepción más allá de lo estrictamente visual, más próximo a lo sensorial. Además, su enorme repercusión a nivel internacional y el gran interés que despertó (no solamente entre los arquitectos, sino también entre diseñadores gráficos, publicistas, personas provenientes de todo tipo de tendencias artísticas y público en general), provocó la globalización del fenómeno de las publicaciones arquitectónicas y puso de manifiesto la importancia de la comunicación como una disciplina en sí misma, dentro de la producción arquitectónica en la era actual. A pesar de la importancia de “SMLXL” a todos los niveles, la presente tesis plantea que, donde realmente se culmina esa experiencia comunicativa, es en “Content”, al incluir nuevos parámetros relacionados con la fusión conceptual de continente y contenido. Es en esta publicación donde el objeto de la comunicación y la expresión de la misma se convierten en un único elemento, que se rige por leyes similares. En este caso, la ley fundamental es la aplicación hasta sus máximas consecuencias de la “cultura de la congestión”, tanto en el mensaje como en el medio, generando lo que hemos convenido en denominar “comunicación congestiva”. Esta concepción deviene en que necesariamente se materialice como un producto efímero, desechable, casi virtual, porque responde a las condiciones de un momento muy concreto y específico y fuera de ese contexto pierde su significación.. La “cultura de la congestión” empieza a surgir en los planteamientos de Koolhaas en la Architectural Association School of Architecture de Londres, bajo la tutela de Elia Zenghelis. Posteriormente se desarrolla en su manifiesto retroactivo sobre Manhattan, “Delirious New York”, donde declara la guerra abierta al urbanismo del movimiento moderno y afirma que la ciudad realmente contemporánea es aquella que es fruto de un desarrollo no planificado, hiperdensa y posible gracias a los avances tecnológicos de su era. Finalmente comienza a materializarse en la Diploma Unit 9 de la AA, donde entra como profesor en 1975, dejando una huella indeleble en las generaciones posteriores de arquitectos que pasaron dicha unidad. Rem Koolhaas es ante todo un intelectual y por ello, todo el constructo teórico sobre la metrópolis comienza a reflejarse en su obra a través de OMA desde el comienzo de su producción. Podemos decir a grandes rasgos que su carrera está marcada por dos hitos históricos fundamentales que determinan tres etapas diferenciadas en su producción. En sus primeros años de profesión, Koolhaas sigue fascinado por la metrópolis urbana y la aplicación del método paranoico crítico a su producción arquitectónica. Es un arquitecto profundamente surrealista. Entiende este método como una estrategia de conocimiento y aproximación al mundo que le rodea: “dejar salir el inconsciente pero sostenerlo con las muletas de la racionalidad”. Pero lo que en realidad le interesa es su aplicación a la gran escala, el “Bigness”, y por ello, participa en proyectos muy ambiciosos de los que surgen conceptos que, más allá de resultar premiados o no, han dejado una huella ideológica en el devenir de la arquitectura. Entre estos proyectos, cabe destacar su propuesta para el Parque de la Villette o la Très Grande Bibliotèque de París. Sus proyectos de esta época destilan una gran carga conceptual, que devienen en unos interiores sorprendentes pero una apariencia exterior sobria o incluso podríamos decir "povera", por el uso de materiales efímeros, poco habituales en la macro-arquitectura hasta ese momento. Súbitamente, en 1997, explotó el denominado “Efecto Bilbao”, de la mano de Frank Gehry (1). El Museo Guggenheim de Bilbao, con su espectacularidad, sus formas pregnantes e imposibles, impacta al mundo. Nace la era de la “Arquitectura del Espectáculo”; la transformación de la ciudad a través de ICONOS que actúen como nodos de atracción y concentración en torno a los cuales supuestamente se revitaliza la actividad económica, cultural y sociopolítica de la ciudad, como si a través de un único gesto se pudieran regenerar todos los tejidos internos de la urbe. Rem Koolhaas comprende rápidamente que la aproximación a la ciudad ha cambiado y, sobre todo, el mercado. En el mundo de la globalización, la única manera de llegar a materializar el “Bigness”, es encerrando sus ejercicios intelectuales en formas pregnantes, bellas, icónicas, espectaculares. Koolhaas encuentra su marca personal en la estética “Stealth”, proveniente de los aviones de combate facetados para evitar los radares, elaborados en los años 80. De esta época surgen proyectos como la Casa da Música de Oporto o la Biblioteca de Seattle; ambos edificios son iconos facetados, de belleza pregnante, que dejan una huella indeleble en la ciudad y provocan, al igual que el Guggenheim, un cierto efecto de recuperación y revitalización en el entorno en que se asientan, al menos de manera temporal. En cualquier caso, Koolhaas nunca abandona los ejercicios meramente teóricos, pero segrega su actividad en dos: OMA produce aquello que tiene vocación de ser construido y se rige por los parámetros del mercado global y AMO, la otra cara del espejo de Rem, aplica el pensamiento arquitectónico a campos no explorados, sin la dependencia de agentes externos, pudiendo permitirse ser un laboratorio puramente experimental. En este escenario, llega el 11 de septiembre de 2001 y el ataque a las Torres Gemelas de Nueva York tiene efectos devastadores a todos los niveles, significando, en un período de tiempo sorprendentemente corto, un cambio en el orden mundial. Rem Koolhaas da entonces un giro de 180 grados, dirige su mirada hacia China, donde entiende que sus aportaciones tienen un beneficio social más directo que en occidente. (2) Para presentar al mundo su nuevo cambio de rumbo y la creación del “Think Tank” AMO, plantea una gran exposición en la NeueGallerie de Berlín bajo el título de “Content”, experiencia paralela a la edición del libro con el mismo título, que inicialmente nace como “catálogo de la exposición, pero que internamente siempre se concibió como el documento más trascendente en el estudio desde “SMLXL”. Sin embargo, en muchos aspectos se trata de su opuesto: una publicación con formato revista, de tapa blanda, con paginado muy fino, formato de "folleto de supermercado" y contenido hiperdenso. Es un experimento efímero, fugaz, ligero, barato, de “usar y tirar”. De hecho, está fuera de stock, ya no se edita. Probablemente Rem Koolhaas desaprobaría que se hiciera una investigación que pusiera el foco sobre el mismo, porque diez años después de su publicación seguramente opine que su vigencia ha caducado. Sin embargo, muestra con una claridad meridiana el estado conceptual y vital de OMA en el momento de su publicación y representa, además un verdadero hito en la comunicación arquitectónica, un punto de no retorno, el máximo exponente de lo que hemos denominado “comunicación congestiva”. La presente tesis plantea que “Content” contiene la esencia de la mayor aportación de Rem Koolhaas al mundo de la arquitectura: la transformación profunda y definitiva de la comunicación arquitectónica mediante la convergencia del estado conceptual y la transmisión del mismo. Su legado arquitectónico y conceptual ha marcado a todas las generaciones posteriores de manera indeleble. Sus ensayos, sus teorías, sus proyectos y sus edificaciones ya pertenecen a la historia de la arquitectura, sin ninguna duda. Pero es su revisión del concepto de la comunicación en arquitectura lo que ha tenido y tendrá un reflejo inmediato en las generaciones futuras, no solamente en la comunicación sino en su arquitectura, a través de un intercambio biyectivo. El planteamiento a futuro sería determinar qué sucede tras “Content”, tras la hiperdensidad máxima, tras la cultura de la congestión visual; qué es lo que propone Koolhaas y qué se va a plantear también en el mundo de la comunicación arquitectónica. Para ello, estudiaremos en profundidad sus últimos proyectos relacionados con la comunicación, como su propuesta para la Biennale de Arquitectura de Venecia de 2014, su intensa investigación sobre el “Metabolismo” en “Project Japan: Metabolism Talks...”, o la dirección de sus últimos planteamientos territoriales. En los últimos tiempos Rem Koolhaas habla de “Preservación”, de “Sobriedad”, de “Esencialismo”, de “Performance”... El autor intelectual de la cultura de la congestión habla ahora de la “low density”...como no podía ser de otra manera en la otra cara del espejo. En definitiva, el color blanco como suma de todos los colores, todas las longitudes de onda del espectro visible recibidas al tiempo. ABSTRACT When talking about Rem Koolhaas, the mirror does not only reflect one but numerous images: it is nothing but a polyhedral prism. His mirror gives us the image of Rem the media celebrity, the intellectual, the conceptualizer, the builder, the analyst, the journalist, the actor... This research sets the spotlight on Rem the COMMUNICATOR. "Rem on both sides of the mirror" belongs to a research on architectural media, its influence on the architectural production and vice versa. It is aimed at getting to discern whether communication and architectural production collide and converge in the case of great communicators such as Rem Koolhaas, and whether the message and transmission media acquire the same features. Focusing on the figure of Rem Koolhaas, this thesis addresses the evolution of his communicative facet and the successive transformations in the field of architectural communication, parallel to the conceptual evolution he underwent throughout his career. Therefore, this research is not so much focused on his theoretical component or on the OMA’s architectural practice, but on the exhibition of his production to the world, especially through his essays and books. "Delirious New York" and "SMLXL" hold up a mirror to the conceptual moment they are part of, and contain a great deal of information about the graphic references that have inevitably influenced his work. Specially, the launch of "SMLXL" was a salutary shock for the architectural communication world, since it set the spotlight on the importance of leaving a linear and unifocal narrative behind in order to face communication considering multiple variables and approaches, based on a process similar to the development of an architectural project. It offers a very innovative design and an extremely careful editing, which deals with parameters much more ambitious than those merely narrative. It explores the need for a global subject and suggests the most appropriate approach for each of the projects described, giving the reader a closer insight to the sensory that goes beyond what’s strictly visual. In addition, its huge international impact and the great interest shown, not only by architects but also by graphic designers, publishers, people from all kinds of artistic trends and the general public, led to the globalisation of the architectural publications phenomenon and brought the importance of communication as a discipline in itself, within the architectural production in the age at hand, to light. Despite the importance of "SMLXL" at all levels, this thesis suggests that the communication experience really culminates in "Content", for it includes new conceptual parameters associated with the container-content conceptual fusion. It is in this book where the purpose of communication and the expression of such become a single element, ruled by similar laws. In this particular case, the fundamental law is to implement the "culture of congestion" to its extreme consequences in both the message and the media, leading to what we have agreed to refer to as "congestive communication”. This concept leads to its inevitable materialisation into an ephemeral, disposable, almost virtual product, because it meets the conditions of a very concrete and specific time, and outside that context it loses its significance. The "culture of congestion" emerged in Koolhaas’ approaches under the guidance of Elia Zenghelis, in the Architectural Association School of Architecture of London. Subsequently, his retroactive manifesto on Manhattan, "Delirious New York" developed it, waging an all-out war against the modern movement urbanism and maintaining that the really contemporary cities are those hyperdense ones that rise as a result of an unplanned development and thanks to the typical technological advances of their time. Finally it began to materialise in the Diploma Unit 9 of the AA, in which he started lecturing in 1975, leaving an indelible mark on subsequent generations of architects who passed that unit. First and foremost, Rem Koolhaas is an intellectual and, therefore, all the theoretical construct in the metropolis began to be reflected in his work through OMA since the beginnings of his production. Broadly speaking, we can say that his career is influenced by two essential historic events, which determine three different stages in his production. In the early years of his career, Koolhaas was still fascinated by the urban metropolis and the implementation of the paranoiac-critical method to his architectural production. He was then a deeply surreal architect. He understood this method as a knowledge strategy and an approach to the world around him: "let the subconscious out but hold it with the crutches of reasonableness”. However, he was actually interested in its implementation on a broad scale, the "Bigness", and therefore, he took part in ambitious projects that led to the accrual of concepts that, beyond being rewarded, left an ideological impression on the evolution of architecture. These projects included his proposal for the Parc de la Villette or the Très Grande Bibliotèque in Paris. The projects he carried out during this period showed a great conceptual background, which evolved into surprising interiors but a sober, or even "povera", exterior appearance, thanks to the use of ephemeral materials that were atypical in the macro-architecture field until that moment. Suddenly, in 1997, the so-called "Bilbao effect" boomed thanks to Frank Gehry (1). The Guggenheim Museum of Bilbao amazed the world with its spectacular nature and its pregnant and impossible shapes. It was the beginning of the era of “The architecture of spectacle”: the transformation of the city through ICONS that would act as nodes of attraction and gathering, around which the economic, cultural and socio-political activity of the city was supposed to be revitalized, as if through a single gesture all internal tissues of the city could be rebuilt. Rem Koolhaas quickly realized that the approach to the city, and especially to the global market, had changed. In the world of globalisation, the only way to get to materialise such "Bigness" was by keeping his intellectual exercises in pregnant, beautiful, iconic and spectacular shapes. Koolhaas found his personal brand in the Stealth aesthetic, resulting from the eighties American combat aircrafts whose shape was faceted in order to avoid radars. Projects such as the Casa da Música in Porto or the Seattle Library date from this period; both buildings are faceted icons of pregnant beauty that left an indelible mark on the city and caused, like the Guggenheim, some degree of recovery and revitalization on the environment in which they were based, at least temporarily. In any case, Koolhaas never gave the merely theoretical exercises up, but he segregated his work in two: OMA produced what was destined to be built and ruled by the parameters of the global market and AMO, Rem’s other side of the mirror, applied the architectural thought in unexplored fields, notwithstanding external agents and being able to work as a purely experimental laboratory. In light of this backdrop, September 11th 2001 came and the attacks on the Twin Towers in New York had devastating effects at all levels, leading to a change in the world order, in a surprisingly short period of time. Rem Koolhaas made a 180° turn directing his vision towards China, where he believed his contributions would have a more direct social benefit than in the Western world. (2) In order to introduce his new course of direction and the creation of the AMO "Think Tank", he planned a major exhibition in the Neue Nationalgalerie of Berlin under the title "Content", in parallel with edition of the book with the same title, which was at first the "exhibition catalog” but, deep down, was always conceived as the most important document of the Office since "SMLXL". However, in many ways it was just the opposite: a publication characterised by its magazine format, soft cover, very fine paging, "supermarket brochure" form and hyperdense content. It was an ephemeral, brief, light, cheap and "disposable" experiment. In fact, it is currently out of stock and out of print. Rem Koolhaas would probably disapprove of a research that sets the spotlight on him, for he would probably say that his validity has expired given that it has been ten years since its publication. However, it shows OMA’s conceptual and vital status at the time of its publication with crystalline clarity and it is also a true milestone in architectural communication. A point of no return. The epitome of the so-called "congestive communication ". This thesis suggests that "Content" contains the essence of Rem Koolhaas’ greatest contribution to the world of architecture: the deep and definitive transformation of architectural communication through the convergence of the conceptual state and the transmission thereof. His architectural and conceptual legacy has left an indelible mark on all subsequent generations. There is no doubt his essays, theories, projects and buildings already belong to the history of architecture. But it is his review on the concept of communication in architecture that has had and shall have an immediate influence on future generations, not only in their communication but also in their architecture, through a bijective exchange. Future approaches should try to determine what happens after "Content", after the maximum hyperdensity, after the visual culture of congestion; what shall Koolhaas suggest as well as what shall happen in the world of architectural communication. To this end, we shall study his latest communication-related projects, such as the design of the Venetian Architecture Biennale in 2014, his intensive research on the "Metabolism" in "Project Japan: Metabolism Talks ...", or the course of his latest territorial approaches in depth. Most recently, Rem Koolhaas has talked about "Preservation", "Sobriety" of "Essentialism", "Performance", etc. The mastermind of the culture of congestion now speaks of the "low density"... as it could not be otherwise, on the other side of the mirror. Summarizing, the white color as the sum of all colors; all wavelengths of the visible spectrum received at the same time.

Artefactos energéticos : de Fuller a Piñero (1961-1972) = Energetic artefacts : from Fuller to Piñero (1961-1972)

La obra de Emilio Pérez Piñero que se desarrolla entre los años 1961 y 1972 año en el que muere en un accidente de tráfico volviendo de Figueras, se centra principalmente en artefactos desplegables y desmontables, ejecutando prototipos que en el presente trabajo se han dividido en dos grupos; la cúpula reticular y la infraestructura. No pudo por tanto acudir al Congreso de 1972 de la UIA a recoger el premio Auguste Perret a la innovación tecnológica, que en años anteriores habían recibido Félix Candela, Jean Prouvé, Hans Scharoun o Frei Otto, y que en aquella ocasión tuvo que recoger su viuda. Parámetros como el de la movilidad, indeterminación, intercambiabilidad, obsolescencia y otros que se analizan en el presente trabajo, aparecen a lo largo de toda su obra ya que muchos de sus artefactos están ubicados en no-lugares y tienen un carácter itinerante y por tanto se hace indispensable su rápido montaje y desmontaje, que unas veces se resuelve mediante la desmontabilidad y otras con la plegabilidad de éstos. Aunque pueda parecer Piñero una figura autárquica, lo cierto es que durante la década donde concentra su trabajo se produce una explosión en torno a al arquetipo que será denominado de forma genérica `artefacto´, ligado conceptualmente a los parámetros que aquí se definen. Entendemos artefacto como objeto material realizado por una o varias personas para cumplir una función, es sinónimo de máquina y aparato y deriva de las palabras latinas ars o artis (técnica) y facto (hecho), para designar a los objetos cuya fabricación requiere alguna destreza. El término latino `ars´ engloba a las técnicas y a las artes, lo que no ocurre con el término castellano arte que deriva de él. Los movimientos utópicos que comparte la década con Piñero, utilizan el arquetipo infraestructural, ligero y high tech, para a través de una arquitectura más ligada a la ciencia ficción, realizar una crítica al Movimiento Moderno institucionalizado, todos ellos comparten cierta obsesión por la movilidad, ligada ésta a la idea de espacio flexible, dinámico, nómada. Este concepto de neo-nomadismo, que representa un habitar dinámico, aglutina las nuevas formas de vivir donde la movilidad social y geográfica son habituales. El nomadismo, por otra parte se entiende como sinónimo de democracia y libertad. La arquitectura pasa de ser pesada, estática, permanente a ser un elemento dinámico en continuo movimiento. A veces con connotaciones biológicas se asimilan los artefactos a organismos vivos y les confieren dichas propiedades de crecimiento y autonomía energética, acumulándose en torno a megaestructuras, donde quedan `enchufados´. En este intento de dotar movilidad a lo inmueble, se buscan estructuras vivas y modificables que crecen en una asimilación de las leyes naturales utilizando los parámetros de metamorfosis, simbiosis y cambio. Estos movimientos de vanguardia tienen también ciertas connotaciones políticas y sociales basadas en la libertad y la movilidad y reniegan del consumismo institucionalizado, de la arquitectura como instrumento de consumo, como objeto de usar en la cultura de masas. El carácter político de la autogestión, de la customización como parámetro proyectual, de la autosuficiencia energética, que anticipa la llegada de la crisis energética del año 1973. Objeto de este trabajo será relacionar los conceptos que aparecen fuertemente en el entorno de la década de los años sesenta del siglo XX, en el trabajo de Emilio Pérez Piñero. Parámetros encontrados como conceptos en los grupos de vanguardia y utopía a su vez fuertemente influenciados por las figuras del ingeniero Richard Buckminster Fuller y del arquitecto Konrad Wachsmann. Se analizará que posible influencia tiene la obra de Fuller, principalmente el prototipo denominado cúpula reticular, en la obra de Pérez Piñero y sus coetáneos analizando sus pensamientos teóricos en torno a parámetros como la energía, principalmente en las teorías relativas a Synergetics. El término inventado por Richard B. Fuller es una contracción de otro más largo que en inglés agrupa tres palabras; synergetic-energetic geometry. La definición de sinergia es la cooperación, es decir es el resultado de la acción conjunta de dos o más causas, pero con un efecto superior a la suma de estas causas. El segundo término, energetics geometry, que traducido sería geometría energética hace referencia en primer lugar a la geometría; ya que desarrolla el sistema de referencia que utiliza la naturaleza para construir sus sistemas y en segundo lugar a la energía; ya que además debe ser el sistema que establezca las relaciones más económicas utilizando el mínimo de energía. Por otro lado se analiza la repercusión del prototipo denominado Infraestructura, término acuñado por Yona Friedman y basado estructuralmente y conceptualmente en los desarrollos sobre grandes estructuras de Konrad Wachsmann. El arquitecto alemán divulga su conocimiento en seminarios impartidos por todo el mundo como el que imparte en Tokio y se denomina Wachsmann´s Seminar donde participan algunos de los componentes del grupo Metabolista que sorprenderán al mundo con sus realizaciones en la exposición de Osaka de 1970. El intervalo temporal entre 1961 hasta 1972 hace referencia a la horquilla donde Pérez Piñero realiza su obra arquitectónica, que comienza en 1961 cuando gana el concurso convocado en Londres por la UIA (Unión Internacional de Arquitectos) con el proyecto conocido como Teatro Ambulante, hasta 1972 que es cuando fallece volviendo de Figueras donde está realizando dos encargos de Salvador Dalí; la cubrición del escenario del futuro Teatro-Museo Salvador Dalí y la Vidriera Hipercúbica que debía cerrar la boca de tal escenario. Bajo el título de `Artefactos energéticos. De Fuller a Piñero (1961-1972)´, se presenta esta Tesis doctoral, que tiene la intención de vincular la obra de Emilio Pérez Piñero con la de las neo vanguardias producidas por una serie de arquitectos que operan en el ámbito internacional. Estas vinculaciones se producen de una forma general, donde a través de una serie de estrategias según la metodología que posteriormente se describe se buscan relaciones de la obra del autor español con algunos de los movimientos más significativos que aparecen en dicha década y de manera específica estableciendo relaciones con las obras y pensamientos de los autores que pertenecen a estos movimientos y donde estas relaciones se hacen más evidentes. El objeto del presente trabajo es analizar y explicar la obra del arquitecto Emilio Pérez Piñero, que espacialmente se localiza en el territorio español, desde el punto de vista de estos movimientos para posteriormente poder determinar si existen puntos en común y si el arquitecto español no solo comparte la década temporalmente sino también conceptualmente y por tanto utiliza el ideario que utilizan sus coetáneos que forman parte de las neovanguardias de los años sesenta de siglo XX. ABSTRACT ABSTRACT The Work of Emilio Perez Piñero was developed between the years 1961 and 1972 when he died in a car accident coming back from Figueres, where he was building a geodesic dome to close the building that enclose the Dali’s museum. All his Work is mainly centered in artifact that could be collapsible and removable, taking the two prototypes that are described in this work as a recurrent element in all his creation. These are the reticular dome and the infrastructure that are very influenced by the work from Richard B. Fuller and Konrad Wachsmann. Emilio Pérez Piñero could not receive the Auguste Perret Prize in 1972 awarded by the UIA that years before have received architects as Felix Candela, Jean Prouvé, Hans Scharoun or Frei Otto, and this time Pérez Piñero´s wife will accept it because of his death. Parameters like mobility, changeability, expendability, indetermination and others appear currently in his Work. All the inventions that Piñero had been patented and all of the artifacts that he created are usually located in no-places, because they do have a shifting identity. This kind of building has to be quickly set on site, and this problem has to be solved in term of foldability or demounting. In the decade where his work focuses, an explosion has occurred around this archetype to be generally called artifact that is usually linked to mobility. We understand artifact as a material object made by one or more people to work in a particular way. It is sometimes equated with the terms machinery and apparatus and it is derived from the Latin word `ars´ or `artis´, what means techniques and `facto´ (fact). And we use this term to refer to objects whose manufacture requires the same skill, in fact the Latin word `ars´ covers the techniques and arts, which does not occur with the Castillan term `arte´ that derives from it and means only art. The term neo-nomadic is a relatively new name used for a dynamic life, commonly referred to new forms of life where social and geographical mobility are common. On the other hand nomadic could be understood as a synonymous for democracy and freedom. The architecture is not going to be hard and static anymore but a dynamic element in the move. The Neo-avant-garde movement that shares the decade with Piñero uses this infrastructural archetype, which is light and high-tech, to criticize the institutionalized Modern Movement through architecture linked to science fiction. They all share an obsession with mobility, a concept that is connected to the terms `dynamic´, `nomadic´, `flexibile´, etc. Sometimes, with biological connotations, the utopian assimilate the artifacts to living organisms and give them these properties of growth and energy autonomy, and they apparently grow around megastructures where they are plugged. In this attempt to provide mobility to the inertness, living structures and possibility of change are sought in order to make them grow like a living organism and to assimilate the natural laws of growth. According to a definition from architecture provided by Fernández- Galiano who calls it `exosomatic artifact´, he understand architecture as artifact of the human environment that regulates natural energy flows and channels the energy stored in fuels for the benefit of living beings that inhabit. It is also true that during the sixties a new environmental awareness in public opinion is formed and that is due to the exploitation and disproportionate use of energy resources, acceleration of technological processes and mass consumption. Consequently a new concept is born: energy autonomy, it is very close to rational use of natural energy. Such a concept will be culturally assimilated with the requirement of independence not only in the management but also in the building construction until we arrive at energy autonomy. The individuals become energy consumer, which in turn can enter the energy produced in the system to `life in an eco-mode way´. The objectives of this research are analyzing all of these parameters and concepts that are coming into view in the surrounding of the decade and relate them with the Work of Pérez Piñero. Terms strongly present in the avant-garde movements around the decade, a young architect’s generation strongly influenced by Richard B. Fuller and Konrad Wachsmann. However, it will be analyzed how important the influence of Buckminster Fuller's Work was and his theoretical text about energy on the Work of Pérez Piñero and his fellows of the decade. The term Synergetic was invented by Fuller and came from the words synergy and energetic geometry. Synergy is the cooperation or interaction of two or more agents to produce a greater effect than the sum of their separate effects. Energetic geometry is related to the geometries that the Nature is using to build their construction but always using low energy consumption. On the other hand, the influences from Wachsmann around the prototype called Infrastructure have been analyzed. The German architect has developed knowledge around huge structures that he has spread all around the world through seminars that he has been conducted. One of these was the Wachsmann´s seminar in Tokyo, where same of the members of the Metabolist group were taking part of. Later these young architects will surprise the world with his artifacts at the World Exposition in Osaka in 1970. Between 1961 and 1972 Pérez Piñero produced his architectural work. It began in 1961 when he received the first prize with his project Mobile Theatre in the competition organized by the UIA in London. In 1972 the Auguste Perret Prize was granted by the UIA too. He could not accept it because he died before in a car accident when he was coming from Figueres, when he was designing two projects for Dali. With the title `Energetic Artifacts. From Fuller to Piñero (1961- 1972)´, this thesis relates the Work of Emilio Pérez Piñero with the neo avant-garde made by a young architects’ generation who is sharing the time with him. Several strategies have been used to formed relationships between them. They are described in the present work to set up a method that allows us to relate the work and ideas of the architects of the neo avant-garde with the ones from Piñero. This work is intended to analyze and explained the work of Pérez Piñero from the point of view of the international architects’ generation who is operating at the same time and finally to determinate if Piñero is not sharing the time with them but the concepts, ideas and architectural parameters.

In situ atomic force microscopy study of Alzheimer’s β-amyloid peptide on different substrates: New insights into mechanism of β-sheet formation

We have applied in situ atomic force microscopy to directly observe the aggregation of Alzheimer’s β-amyloid peptide (Aβ) in contact with two model solid surfaces: hydrophilic mica and hydrophobic graphite. The time course of aggregation was followed by continuous imaging of surfaces remaining in contact with 10–500 μM solutions of Aβ in PBS (pH 7.4). Visualization of fragile nanoscale aggregates of Aβ was made possible by the application of a tapping mode of imaging, which minimizes the lateral forces between the probe tip and the sample. The size and the shape of Aβ aggregates, as well as the kinetics of their formation, exhibited pronounced dependence on the physicochemical nature of the surface. On hydrophilic mica, Aβ formed particulate, pseudomicellar aggregates, which at higher Aβ concentration had the tendency to form linear assemblies, reminiscent of protofibrillar species described recently in the literature. In contrast, on hydrophobic graphite Aβ formed uniform, elongated sheets. The dimensions of those sheets were consistent with the dimensions of β-sheets with extended peptide chains perpendicular to the long axis of the aggregate. The sheets of Aβ were oriented along three directions at 120° to each other, resembling the crystallographic symmetry of a graphite surface. Such substrate-templated self-assembly may be the distinguishing feature of β-sheets in comparison with α-helices. These studies show that in situ atomic force microscopy enables direct assessment of amyloid aggregation in physiological fluids and suggest that Aβ fibril formation may be driven by interactions at the interface of aqueous solutions and hydrophobic substrates, as occurs in membranes and lipoprotein particles in vivo.

The optimization principle in phylogenetic analysis tends to give incorrect topologies when the number of nucleotides or amino acids used is small

In the maximum parsimony (MP) and minimum evolution (ME) methods of phylogenetic inference, evolutionary trees are constructed by searching for the topology that shows the minimum number of mutational changes required (M) and the smallest sum of branch lengths (S), respectively, whereas in the maximum likelihood (ML) method the topology showing the highest maximum likelihood (A) of observing a given data set is chosen. However, the theoretical basis of the optimization principle remains unclear. We therefore examined the relationships of M, S, and A for the MP, ME, and ML trees with those for the true tree by using computer simulation. The results show that M and S are generally greater for the true tree than for the MP and ME trees when the number of nucleotides examined (n) is relatively small, whereas A is generally lower for the true tree than for the ML tree. This finding indicates that the optimization principle tends to give incorrect topologies when n is small. To deal with this disturbing property of the optimization principle, we suggest that more attention should be given to testing the statistical reliability of an estimated tree rather than to finding the optimal tree with excessive efforts. When a reliability test is conducted, simplified MP, ME, and ML algorithms such as the neighbor-joining method generally give conclusions about phylogenetic inference very similar to those obtained by the more extensive tree search algorithms.

Construction of hybrid proteins that migrate retrogradely and transynaptically into the central nervous system

The nontoxic proteolytic C fragment of tetanus toxin (TTC peptide) has the same ability to bind nerve cells and be retrogradely transported through a synapse as the native toxin. We have investigated its potential use as an in vivo neurotropic carrier. In this work we show that a hybrid protein encoded by the lacZ–TTC gene fusion retains the biological functions of both proteins in vivo—i.e., retrograde transynaptic transport of the TTC fragment and β-galactosidase enzymatic activity. After intramuscular injection, enzymatic activity could be detected in motoneurons and connected neurons of the brainstem areas. This strategy could be used to deliver a biological activity to neurons from the periphery to the central nervous system. Such a hybrid protein could also be used to map synaptic connections between neural cells.

Blind separation of auditory event-related brain responses into independent components

Averaged event-related potential (ERP) data recorded from the human scalp reveal electroencephalographic (EEG) activity that is reliably time-locked and phase-locked to experimental events. We report here the application of a method based on information theory that decomposes one or more ERPs recorded at multiple scalp sensors into a sum of components with fixed scalp distributions and sparsely activated, maximally independent time courses. Independent component analysis (ICA) decomposes ERP data into a number of components equal to the number of sensors. The derived components have distinct but not necessarily orthogonal scalp projections. Unlike dipole-fitting methods, the algorithm does not model the locations of their generators in the head. Unlike methods that remove second-order correlations, such as principal component analysis (PCA), ICA also minimizes higher-order dependencies. Applied to detected—and undetected—target ERPs from an auditory vigilance experiment, the algorithm derived ten components that decomposed each of the major response peaks into one or more ICA components with relatively simple scalp distributions. Three of these components were active only when the subject detected the targets, three other components only when the target went undetected, and one in both cases. Three additional components accounted for the steady-state brain response to a 39-Hz background click train. Major features of the decomposition proved robust across sessions and changes in sensor number and placement. This method of ERP analysis can be used to compare responses from multiple stimuli, task conditions, and subject states.

Use of intrinsic modes in biology: Examples of indicial response of pulmonary blood pressure to ± step hypoxia

Recently, a new method to analyze biological nonstationary stochastic variables has been presented. The method is especially suitable to analyze the variation of one biological variable with respect to changes of another variable. Here, it is illustrated by the change of the pulmonary blood pressure in response to a step change of oxygen concentration in the gas that an animal breathes. The pressure signal is resolved into the sum of a set of oscillatory intrinsic mode functions, which have zero “local mean,” and a final nonoscillatory mode. With this device, we obtain a set of “mean trends,” each of which represents a “mean” in a definitive sense, and together they represent the mean trend systematically with different degrees of oscillatory content. Correspondingly, the oscillatory content of the signal about any mean trend can be represented by a set of partial sums of intrinsic mode functions. When the concept of “indicial response function” is used to describe the change of one variable in response to a step change of another variable, we now have a set of indicial response functions of the mean trends and another set of indicial response functions to describe the energy or intensity of oscillations about each mean trend. Each of these can be represented by an analytic function whose coefficients can be determined by a least-squares curve-fitting procedure. In this way, experimental results are stated sharply by analytic functions.

The degree of nonlinearity and anisotropy of blood vessel elasticity

Blood vessel elasticity is important to physiology and clinical problems involving surgery, angioplasty, tissue remodeling, and tissue engineering. Nonlinearity in blood vessel elasticity in vivo is important to the formation of solitons in arterial pulse waves. It is well known that the stress–strain relationship of the blood vessel is nonlinear in general, but a controversy exists on how nonlinear it is in the physiological range. Another controversy is whether the vessel wall is biaxially isotropic. New data on canine aorta were obtained from a biaxial testing machine over a large range of finite strains referred to the zero-stress state. A new pseudo strain energy function is used to examine these questions critically. The stress–strain relationship derived from this function represents the sum of a linear stress–strain relationship and a definitely nonlinear relationship. This relationship fits the experimental data very well. With this strain energy function, we can define a parameter called the degree of nonlinearity, which represents the fraction of the nonlinear strain energy in the total strain energy per unit volume. We found that for the canine aorta, the degree of nonlinearity varies from 5% to 30%, depending on the magnitude of the strains in the physiological range. In the case of canine pulmonary artery in the arch region, Debes and Fung [Debes, J. C. & Fung, Y. C.(1995) Am. J. Physiol. 269, H433–H442] have shown that the linear regime of the stress–strain relationship extends from the zero-stress state to the homeostatic state and beyond. Both vessels, however, are anisotropic in both the linear and nonlinear regimes.

Stability of nonrelativistic quantum mechanical matter coupled to the (ultraviolet cutoff) radiation field

We announce a proof of H-stability for the quantized radiation field, with ultraviolet cutoff, coupled to arbitrarily many non-relativistic quantized electrons and static nuclei. Our result holds for arbitrary atomic numbers and fine structure constant. We also announce bounds for the energy of many electrons and nuclei in a classical vector potential and for the eigenvalue sum of a one-electron Pauli Hamiltonian with magnetic field.

Tolerance of Arc repressor to multiple-alanine substitutions

Arc repressor mutants containing from three to 15 multiple-alanine substitutions have spectral properties expected for native Arc proteins, form heterodimers with wild-type Arc, denature cooperatively with Tms equal to or greater than wild type, and, in some cases, fold as much as 30-fold faster and unfold as much as 50-fold slower than wild type. Two of the mutants, containing a total of 14 different substitutions, also footprint operator DNA in vitro. The stability of some of the proteins with multiple-alanine mutations is significantly greater than that predicted from the sum of the single substitutions, suggesting that a subset of the wild-type residues in Arc may interact in an unfavorable fashion. Overall, these results show that almost half of the residues in Arc can be replaced by alanine en masse without compromising the ability of this small, homodimeric protein to fold into a stable, native-like structure.

Patterns of variance in stage-structured populations: Evolutionary predictions and ecological implications

Variability in population growth rate is thought to have negative consequences for organism fitness. Theory for matrix population models predicts that variance in population growth rate should be the sum of the variance in each matrix entry times the squared sensitivity term for that matrix entry. I analyzed the stage-specific demography of 30 field populations from 17 published studies for pattern between the variance of a demographic term and its contribution to population growth. There were no instances in which a matrix entry both was highly variable and had a large effect on population growth rate; instead, correlations between estimates of temporal variance in a term and contribution to population growth (sensitivity or elasticity) were overwhelmingly negative. In addition, survivorship or growth sensitivities or elasticities always exceeded those of fecundity, implying that the former two terms always contributed more to population growth rate. These results suggest that variable life history stages tend to contribute relatively little to population growth rates because natural selection may alter life histories to minimize stages with both high sensitivity and high variation.

Parallel detection of violations of color constancy

The perceived colors of reflecting surfaces generally remain stable despite changes in the spectrum of the illuminating light. This color constancy can be measured operationally by asking observers to distinguish illuminant changes on a scene from changes in the reflecting properties of the surfaces comprising it. It is shown here that during fast illuminant changes, simultaneous changes in spectral reflectance of one or more surfaces in an array of other surfaces can be readily detected almost independent of the numbers of surfaces, suggesting a preattentive, spatially parallel process. This process, which is perfect over a spatial window delimited by the anatomical fovea, may form an early input to a multistage analysis of surface color, providing the visual system with information about a rapidly changing world in advance of the generation of a more elaborate and stable perceptual representation.

Synaptonemal complex (SC) component Zip1 plays a role in meiotic recombination independent of SC polymerization along the chromosomes.

Zip1 is a yeast synaptonemal complex (SC) central region component and is required for normal meiotic recombination and crossover interference. Physical analysis of meiotic recombination in a zip1 mutant reveals the following: Crossovers appear later than normal and at a reduced level. Noncrossover recombinants, in contrast, seem to appear in two phases: (i) a normal number appear with normal timing and (ii) then additional products appear late, at the same time as crossovers. Also, Holliday junctions are present at unusually late times, presumably as precursors to late-appearing products. Red1 is an axial structure component required for formation of cytologically discernible axial elements and SC and maximal levels of recombination. In a red1 mutant, crossovers and noncrossovers occur at coordinately reduced levels but with normal timing. If Zip1 affected recombination exclusively via SC polymerization, a zip1 mutation should confer no recombination defect in a red1 strain background. But a red1 zip1 double mutant exhibits the sum of the two single mutant phenotypes, including the specific deficit of crossovers seen in a zip1 strain. We infer that Zip1 plays at least one role in recombination that does not involve SC polymerization along the chromosomes. Perhaps some Zip1 molecules act first in or around the sites of recombinational interactions to influence the recombination process and thence nucleate SC formation. We propose that a Zip1-dependent, pre-SC transition early in the recombination reaction is an essential component of meiotic crossover control. A molecular basis for crossover/noncrossover differentiation is also suggested.

Centripetal cholesterol flux from extrahepatic organs to the liver is independent of the concentration of high density lipoprotein-cholesterol in plasma.

High density lipoproteins (HDLs) play a role in two processes that include the amelioration of atheroma formation and the centripetal flow of cholesterol from the extrahepatic organs to the liver. This study tests the hypothesis that the flow of sterol from the peripheral organs to the liver is dependent upon circulating HDL concentrations. Transgenic C57BL/6 mice were used that expressed variable amounts of simian cholesteryl ester-transfer protein (CETP). The rate of centripetal cholesterol flux was quantitated as the sum of the rates of cholesterol synthesis and low density lipoprotein-cholesterol uptake in the extrahepatic tissues. Steady-state concentrations of cholesterol carried in HDL (HDL-C) varied from 59 to 15 mg/dl and those of apolipoprotein AI from 138 to 65 mg/dl between the control mice (CETPc) and those maximally expressing the transfer protein (CETP+). There was no difference in the size of the extrahepatic cholesterol pools in the CETPc and CETP+ animals. Similarly, the rates of cholesterol synthesis (83 and 80 mg/day per kg, respectively) and cholesterol carried in low density lipoprotein uptake (4 and 3 mg/day per kg, respectively) were virtually identical in the two groups. Thus, under circumstances where the steady-state concentration of HDL-C varied 4-fold, the centripetal flux of cholesterol from the peripheral organs to the liver was essentially constant at approximately 87 mg/day per kg. These studies demonstrate that neither the concentration of HDL-C or apolipoprotein AI nor the level of CETP activity dictates the magnitude of centripetal cholesterol flux from the extrahepatic organs to the liver, at least in the mouse.