Thermodynamical Phase Noise in Oscillators Based on L-C Resonators

Using a new Admittance-based model for electrical noise able to handle Fluctuations and Dissipations of electrical energy, we explain the phase noise of oscillators that use feedback around L-C resonators. We show that Fluctuations produce the Line Broadening of their output spectrum around its mean frequency f0 and that the Pedestal of phase noise far from f0 comes from Dissipations modified by the feedback electronics. The charge noise power 4FkT/R C2/s that disturbs the otherwise periodic fluctuation of charge these oscillators aim to sustain in their L-C-R resonator, is what creates their phase noise proportional to Leeson’s noise figure F and to the charge noise power 4kT/R C2/s of their capacitance C that today’s modelling would consider as the current noise density in A2/Hz of their resistance R. Linked with this (A2/Hz?C2/s) equivalence, R becomes a random series in time of discrete chances to Dissipate energy in Thermal Equilibrium (TE) giving a similar series of discrete Conversions of electrical energy into heat when the resonator is out of TE due to the Signal power it handles. Therefore, phase noise reflects the way oscillators sense thermal exchanges of energy with their environment.

Thermodynamical Phase Noise in Oscillators Based on L-C Resonators (Foundations)

Using a new Admittance-based model for electrical noise able to handle Fluctuations and Dissipations of electrical energy, we explain the phase noise of oscillators that use feedback around L-C resonators. We show that Fluctuations produce the Line Broadening of their output spectrum around its mean frequency f0 and that the Pedestal of phase noise far from f0 comes from Dissipations modified by the feedback electronics. The charge noise power 4FkT/R C2/s that disturbs the otherwise periodic fluctuation of charge these oscillators aim to sustain in their L-C-R resonator, is what creates their phase noise proportional to Leeson’s noise figure F and to the charge noise power 4kT/R C2/s of their capacitance C that today’s modelling would consider as the current noise density in A2/Hz of their resistance R. Linked with this (A2/Hz?C2/s) equivalence, R becomes a random series in time of discrete chances to Dissipate energy in Thermal Equilibrium (TE) giving a similar series of discrete Conversions of electrical energy into heat when the resonator is out of TE due to the Signal power it handles. Therefore, phase noise reflects the way oscillators sense thermal exchanges of energy with their environment

A Fluctuation-Dissipation Model for Electrical Noise

This paper shows that today’s modelling of electrical noise as coming from noisy resistances is a non sense one contradicting their nature as systems bearing an electrical noise. We present a new model for electrical noise that including Johnson and Nyquist work also agrees with the Quantum Mechanical description of noisy systems done by Callen and Welton, where electrical energy fluctuates and is dissipated with time. By the two currents the Admittance function links in frequency domain with their common voltage, this new model shows the connection Cause-Effect that exists between Fluctuation and Dissipation of energy in time domain. In spite of its radical departure from today’s belief on electrical noise in resistors, this Complex model for electrical noise is obtained from Nyquist result by basic concepts of Circuit Theory and Thermo- dynamics that also apply to capacitors and inductors.

Tunable mechanical resonator with aluminum nitride piezoelectric

The electromechanical response of piezoelectrically-actuated AlN micromachined bridge resonators has been characterized using laser interferometry and electrical admittance measurements. We compare the response of microbridges with different dimensions and buckling (induced by the initial residual stress of the layers). The resonance frequencies are in good agreement with numerical simulations of the electromechanical behavior of the structures. We show that it is possible to perform a rough tuning of the resonance frequencies by allowing a determined amount of builtin stress in the microbridge during its fabrication. Once the resonator is made, a DC bias added to the AC excitation signal allows to fine-tune the frequency. Our microbridges yield a tuning factor of around 88 Hz/V for a 500 ?m-long microbridge.

Revisiting the Classics to recover the Physical Sense in electrical noise

This paper shows a physically cogent model for electrical noise in resistors that has been obtained from Thermodynamical reasons. This new model derived from the works of Johnson and Nyquist also agrees with the Quantum model for noisy systems handled by Callen and Welton in 1951, thus unifying these two Physical viewpoints. This new model is a Complex or 2-D noise model based on an Admittance that considers both Fluctuation and Dissipation of electrical energy to excel the Real or 1-D model in use that only considers Dissipation. By the two orthogonal currents linked with a common voltage noise by an Admittance function, the new model is shown in frequency domain. Its use in time domain allows to see the pitfall behind a paradox of Statistical Mechanics about systems considered as energy-conserving and deterministic on the microscale that are dissipative and unpredictable on the macroscale and also shows how to use properly the Fluctuation-Dissipation Theorem.

El parque: Espacios, límites y jerarquías en la obra de SANAA

En los últimos tiempos, el estudio japonés SANAA ha realizado una serie de obras que le han puesto en el punto de mira de la arquitectura internacional, y que se ha visto reflejado en la concesión en el año 2010 del premio Pritzker a Kazuyo Sejima y Ryue Nishizawa por toda una carrera de trabajo ininterrumpido. SANAA ha construido una serie de edificios que han supuesto una gran influencia en el contexto de la arquitectura mundial y que está contribuyendo al trabajo de muchísimos arquitectos jóvenes, tanto en Japón como fuera de él, y su trabajo se estudia y analiza en las escuelas de arquitectura de medio mundo. La tesis doctoral, estudia el parque de SANAA desde las diversas formas en las que éste se presenta, parques por continuidad, o parques por acumulación, como una excusa para el estudio de los diferentes mecanismos arquitectónicos en los que se basa su modo de proyectar. Dichos mecanismos forman parte ya de una forma de proyectar contemporánea y su estudio permite la comprensión de algunos de los fenómenos arquitectónicos más interesantes que se están produciendo en la arquitectura de nuestro tiempo. La revelación de estos mecanismos supone el sacar a la luz gran parte de los procesos y desarrollos de proyecto, que por la lacónica manera de dibujar de SANAA, quedan ocultos la mayoría de las veces y, tan solo es percibido en una visita lenta y pausada por el edificio. El documento aquí presentado se convierte entonces, en una investigación, en la que el doctorando, como un detective, rastrea los proyectos de SANAA buscando aquellos mecanismos que permiten discernir el verdadero significado de conceptos como laberinto, jerarquía, orden, atmósfera o experiencia a lo largo de los principales proyectos de espacio horizontal de Sejima y Nishizawa. La tesis intenta por tanto dar forma a las principales referencias que constituyen el universo imaginario del estudio japonés y que, ya son parte de la cultura arquitectónica contemporánea. ABSTRACT In recent times, the Japanese Studio SANAA has produced a number of works that have taken it to the front sight of international architecture. This has led Kazuyo Sejima and Ryue Nishizawa to receiving the 2010 Pritzer award for an uninterrupted career. SANAA has built a series of buildings that have greatly influenced global architecture. Moreover, it is contributing to the work of many young architects, both in Japan and outside Japan. Its work is studied and assessed by architecture schools all over the world. This Doctoral thesis analyses the SANAA Park from all the perspectives it shows, parks by continuity or parks by accumulation, as an excuse to study different architectural mechanisms in which its way of projecting is based. Such mechanisms already are part of a contemporaneous way of projecting. In addition, its analysis allows for the further understanding of some of the most interesting architectural phenomena that are being produced nowadays. The release of these mechanisms entails shedding a light to most of the proceedings and courses of the project that, because of the SANAA’s laconic way of designing, remain hidden most of the times and are often noticed through a slow and thorough look at the building. This document becomes then a work of research, where the Doctorate, as a detective, tracks SANAA’s projects, searching for those mechanisms that allow for truly defining the meaning of concepts such as maze, hierarchy, order, atmosphere and experience throughout Sejima’s and Nishizawa’s main horizontal space projects. Therefore, this thesis aims at shaping key references that constitute the imaginary universe of the Japanese study and that already are part of the contemporaneous architectural culture.

La arquitectura en la literatura de ciencia-ficción

En esta Tesis se estudian las Imágenes Arquitectónicas que aparecen descritas en textos literarios de Ciencia Ficción dentro del periodo temporal que limitan los años 1.926 a 1.976. Consta de tres partes fundamentales: En la primera, se plantean las condiciones y objetivos del trabajo y se define el espacio conceptual que ocupa la Arquitectura descrita en Ciencia Ficción. En la segunda, se realizan análisis sobre las formas y temas arquitectónicos, así como de problemas relacionados con ellos que se encuentran en la narrativa fantacientífica, y se desarrollan ideas e hipótesis especulativas, sobre sugerencias referidas a situaciones reales o imaginarias, partiendo de posiciones implícitas en los relatos. En la tercera, se elabora una antología que data y ordena una amplia muestra de textos representativos. SUMMARY. This thesis studies the Architectural Images described in the Science Fiction stories between 1.926 and 1.976. It consist of three main parts: The first one, explains the conditions and objectives of this work and defines the conceptual space of Described Architecture in Science Fiction. The second one, analyses the architectural forms and items, as well as the problems related to the latter, that can be found in the scientific-fantastic narrative. It also develops ideas and speculative hipothesis about suggestions related to real and imaginary situations from implicit positions in the stories. The third one, builds up an anthology, dating and ordering a wide variety of representative excerpts of the S. F. texts o

Contribución al desarrollo de técnicas CAD para el diseño de antenas impresas y dispositivos pasivos de microondas basadas en el método de elementos finitos

El objetivo principal de esta tesis es el desarrollo de herramientas numéricas basadas en técnicas de onda completa para el diseño asistido por ordenador (Computer-Aided Design,‘CAD’) de dispositivos de microondas. En este contexto, se desarrolla una herramienta numérica basada en el método de los elementos finitos para el diseño y análisis de antenas impresas mediante algoritmos de optimización. Esta técnica consiste en dividir el análisis de una antena en dos partes. Una parte de análisis 3D que se realiza sólo una vez en cada punto de frecuencia de la banda de funcionamiento donde se sustituye una superficie que contiene la metalización del parche por puertas artificiales. En una segunda parte se inserta entre las puertas artificiales en la estructura 3D la superficie soportando una metalización y se procede un análisis 2D para caracterizar el comportamiento de la antena. La técnica propuesta en esta tesis se puede implementar en un algoritmo de optimización para definir el perfil de la antena que permite conseguir los objetivos del diseño. Se valida experimentalmente dicha técnica empleándola en el diseño de antenas impresas de banda ancha para diferentes aplicaciones mediante la optimización del perfil de los parches. También, se desarrolla en esta tesis un procedimiento basado en el método de descomposición de dominio y el método de los elementos finitos para el diseño de dispositivos pasivos de microonda. Se utiliza este procedimiento en particular para el diseño y sintonía de filtros de microondas. En la primera etapa de su aplicación se divide la estructura que se quiere analizar en subdominios aplicando el método de descomposición de dominio, este proceso permite analizar cada segmento por separado utilizando el método de análisis adecuado dado que suele haber subdominios que se pueden analizar mediante métodos analíticos por lo que el tiempo de análisis es más reducido. Se utilizan métodos numéricos para analizar los subdominios que no se pueden analizar mediante métodos analíticos. En esta tesis, se utiliza el método de los elementos finitos para llevar a cabo el análisis. Además de la descomposición de dominio, se aplica un proceso de barrido en frecuencia para reducir los tiempos del análisis. Como método de orden reducido se utiliza la técnica de bases reducidas. Se ha utilizado este procedimiento para diseñar y sintonizar varios ejemplos de filtros con el fin de comprobar la validez de dicho procedimiento. Los resultados obtenidos demuestran la utilidad de este procedimiento y confirman su rigurosidad, precisión y eficiencia en el diseño de filtros de microondas. ABSTRACT The main objective of this thesis is the development of numerical tools based on full-wave techniques for computer-aided design ‘CAD’ of microwave devices. In this context, a numerical technique based on the finite element method ‘FEM’ for the design and analysis of printed antennas using optimization algorithms has been developed. The proposed technique consists in dividing the analysis of the antenna in two stages. In the first stage, the regions of the antenna which do not need to be modified during the CAD process are initially characterized only once from their corresponding matrix transfer function (Generalized Admittance matrix, ‘GAM’). The regions which will be modified are defined as artificial ports, precisely the regions which will contain the conducting surfaces of the printed antenna. In a second stage, the contour shape of the conducting surfaces of the printed antenna is iteratively modified in order to achieve a desired electromagnetic performance of the antenna. In this way, a new GAM of the radiating device which takes into account each printed antenna shape is computed after each iteration. The proposed technique can be implemented with a genetic algorithm to achieve the design objectives. This technique is validated experimentally and applied to the design of wideband printed antennas for different applications by optimizing the shape of the radiating device. In addition, a procedure based on the domain decomposition method and the finite element method has been developed for the design of microwave passive devices. In particular, this procedure can be applied to the design and tune of microwave filters. In the first stage of its implementation, the structure to be analyzed is divided into subdomains using the domain decomposition method; this process allows each subdomains can be analyzed separately using suitable analysis method, since there is usually subdomains that can be analyzed by analytical methods so that the time of analysis is reduced. For analyzing the subdomains that cannot be analyzed by analytical methods, we use the numerical methods. In this thesis, the FEM is used to carry out the analysis. Furthermore the decomposition of the domain, a frequency sweep process is applied to reduce analysis times. The reduced order model as the reduced basis technique is used in this procedure. This procedure is applied to the design and tune of several examples of microwave filters in order to check its validity. The obtained results allow concluding the usefulness of this procedure and confirming their thoroughness, accuracy and efficiency for the design of microwave filters.

Proyectar dibujando: Una aproximación fenomenológica al estado naciente del proyecto. Un estudio entre dos culturas arquitectónicas

La acción del dibujar intenta presentarse en este texto como lenguaje mudo, práctica común general y práctica común en el campo arquitectónico en concreto; y también como acción, apertura, exploración (no representación) en el estado naciente del proyecto. La tesis se presenta como un estudio basado en la experiencia directa, la observación in situ (Practice Based Design Doctórate) intentando reflexionar no desde sus productos alcanzados al dibujar, sino desde la propia acción, enfatizando la dinamicidad del cuerpo como productor de gestos dinámicos. El trabajo busca describir la acción del trazar como apertura, exploración (no representación) en el estado naciente del proyecto. Es el cruce entre la acción experienciada y el pensamiento crítico respecto al hacer con aproximaciones a la artesanía (Sennett, 2010), al placer del dibujar (Nancy, 2013) y la aventura de conformar (Badiou, 2006). La experiencia en el dibujar que este estudio recoge es la desarrollada por la autora en el contexto pedagógico del D.I.G.A. de la E.T.S.A. de Madrid en concreto en las asignaturas “Dibujo Avanzado e Interpretación Gráfica (DAII) I y II” y “Dibujo del Natural” ambas impartidas por el profesor Antonio Verd Herrero y en la participación en los trabajos del Grupo de Investigación y de Innovación Educativa denominado: “Hypermedia” dirigidos por el profesor Javier Seguí, en el periodo que va del año 2007 a la actualidad. La colección de acontecimientos que surgió de esta experiencia y se formó de aproximaciones sucesivas presenta algunos rasgos característicos de la acción del dibujar. Los acontecimientos abordan la acción del dibujar desde una experiencia muda, un tipo de lenguaje, escritura y comunicación común, intercultural pero a la vez impersonal, desde su relación con la escritura, la palabra, el movimiento, el gesto y su imagen. El dibujar se presenta como modo de exploración en la investigación proyectual basada en la arbitrariedad que requiere voluntad, compromiso, ir en contra para participar en cualquier transformación de los límites (físicos, nacionales, sociales, de género, religión, sentido). El dibujar no representativo se presenta como técnica imaginaria radical, “terapia” configural con capacidad para la experimentación con uno mismo (Sloderdijk, 2003), un modo de comunicación intercultural que, sin embargo, siempre recurre al lenguaje verbal, leída e interpretada para cobrar sentido. ABSTRACT The action of drawing is intended to be presented in this text as a mute language, a common practice in general and a common practice in the field of architecture specifically; and also as an action, opening, exploration (not representation) at the birth stage of a project. The thesis forms a study based on a direct observation in an in situ experience (Practice Based Design Doctórate), which intends to reflect not on the products produced by drawing, but on the action itself, emphasizing on the dynamics of the body as a generator of dynamic gestures. The work is the intersection of experienced action and critical thinking related with the making with an approach to a path on craftsmanship (Sennett, 2010), the pleasure in drawing (Nancy, 2013) and the adventure of compromise/ conciliation (Badiou, 2006). The experience in drawing was collected and developed for this study by the author in the context of D.I.G.A. at the E.T.S.A. of Madrid and in particular at the courses of “Advanced Drawing and Graphic Interpretation” (DAII) I y II” and “Life drawing”, together with the active participation and the work of the investigation and Innovation Educational Group “Hypermedia”, coordinated by professor Javier Seguí, during the period starting the year 2007 until the present (2013). The collection of the events derives from a process of successive attempts to approach some characteristic aspects of the action of drawing. The events approach the action of drawing as a mute experience, a kind of language, common communication, writing, gesture and image. Drawing is presented as a way of exploration for a project's investigation, based on arbitrarily and on the asking “what if”. At the same time this process requires will, compromise, opposition in order to participate in a transformation of any kind of limits (physical, national, social, genre, religion, sense). This thesis aims to present non-representative drawing as a radical imaginary technique, a configurational ‘therapy’ with the capacity to experiment with oneself (Sloderdijk, 2003). It can also be considered as a way of intercultural communication which always uses the verbal, readable and interpreted language in order to charge sense.

Experimental verification of intermediate band formation on titanium-implanted silicon

Intermediate band formation on silicon layers for solar cell applications was achieved by titanium implantation and laser annealing. A two-layer heterogeneous system, formed by the implanted layer and by the un-implanted substrate, was formed. In this work, we present for the first time electrical characterization results which show that recombination is suppressed when the Ti concentration is high enough to overcome the Mott limit, in agreement with the intermediate band theory. Clear differences have been observed between samples implanted with doses under or over the Mott limit. Samples implanted under the Mott limit have capacitance values much lower than the un-implanted ones as corresponds to a highly doped semiconductor Schottky junction. However, when the Mott limit is surpassed, the samples have much higher capacitance, revealing that the intermediate band is formed. The capacitance increasing is due to the big amount of charge trapped at the intermediate band, even at low temperatures. Ti deep levels have been measured by admittance spectroscopy. These deep levels are located at energies which vary from 0.20 to 0.28?eV below the conduction band for implantation doses in the range 1013-1014 at./cm2. For doses over the Mott limit, the implanted atoms become nonrecombinant. Capacitance voltage transient technique measurements prove that the fabricated devices consist of two-layers, in which the implanted layer and the substrate behave as an n+/n junction.

La construcción de la interioridad en los refugios orientalistas de Pierre Loti, Sir Frederic Leighton y Claude Monet

El propósito de esta tesis era analizar las consecuencias arquitectónicas de la obsesión orientalista en tres autores de finales del XIX, intentando plantear con ello los fundamentos de lo que llamamos “imaginario” orientalista. Las autores estudiados son, un escritor, Pierre Loti, y dos pintores, Sir Frederic Leighton y Claude Monet, exponentes cada uno de un enfoque particular del orientalismo. Los tres casos estudiados incluyen las casas donde vivieron transformadas ahora en museos abiertos a la curiosidad de cualquiera. El estudio de estos casos nos llevó a acometer una serie de temáticas que se perfilan en el transcurso de la escritura como lo mas importante del trabajo. Estas temáticas son: la construcción de la interioridad, el rol del vacío como entidad material y física en esas arquitecturas, el orden de los objetos y su protagonismo en esos interiores, las categorías ontológicas del habitar en esas viviendas. Estas temáticas de alguna manera fueron enfocadas y realizadas por el “orientalismo” como dispositivos que intervienen poderosamente en los imaginarios relacionados con Oriente… con ramificaciones en las problemáticas políticas, sociales y culturales que estaba viviendo el “sujeto europeo culto” en el advenimiento de la modernidad. ABSTRACT The purpose of this thesis in the first instance was to analyze three expressions of Orientalism from the field of architecture , trying to prove through them as these examples constituted a closure of Orientalist discourse , while they complete the Orientalist imaginary that starts its construction through literature and painting finishing in architecture. Because of this, the case studies comprise a writer, Pierre Loti, and two painters, Sir Frederic Leighton and Claude Monet, each one as an exponent of a different facet of Orientalism. In each case the legacy of these artists has included his house , which now transformed into a museum , it is possible to visit and study despite the time of its construction. The study of these cases allowed on a second instance, to present a number of issues that in the end were the most important thing in this work, these issues deal with problems such as the construction of interiority in the late nineteenth century , the role which the vacuum play as a mental and physical entity in this architecture , the order of the objects and their role in the interiors of the time, the political and social control and discipline of housing space , the ontological categories of dwelling , etc. . All these issues somehow were enhanced by Orientalism , which with their devices intervened powerfully in building an imaginary not only related to East, but also with the political, social and cultural issues , that Europeans were living in the transit to the advent of modernity, and that will put under a critical view all these issues.

El imaginario en la génesis del proyecto arquitectónico: La construcción de la realidad a través del mito, la utopía y la cibercultura

El término imaginario, nombra el principio y el tema central de una investigación del mundo arquitectónico, necesaria para entender las condiciones alrededor de un proceso proyectual íntimo, cargado de significaciones ideológicas y simbólicas. En diferentes interpretaciones, el inconsciente colectivo y personal, científico o social, aparece en el origen de cada pensamiento y comportamiento humano, constituyendo un universo cerrado y caótico, donde todas las ideas están en constante tensión y contradicción. Por esta razón existen nociones y construcciones lógicas y coherentes que estructuran el marco de la verisimilitud y por tanto el régimen de la realidad, mediante la verdad y la verificación. Para el proyecto arquitectónico estas configuraciones se expresan en la situación del espacio, el tiempo y el cuerpo, como elementos básicos de jerarquización de la habitabilidad y de la cohabitabilidad humana. Esta tesis pretende acotar y definir un ámbito de procesos verosímiles instalados dentro del imaginario mediante el patrimonio intangible del pensamiento mítico o utópico, donde no solamente se crean envolventes del pensamiento, de iconografía o de sociedades, sino de donde también se derivan modelos rígidos y excluyentes, desde teorías basadas en la heteronormatividad y la segregación según el sexo, el género, la clase y la capacidad dentro de la diversidad funcional. La experiencia del espacio arquitectónico ha sido tradicionalmente descrita mediante palabras e imágenes: el lógos y el símbolo han sido los grandes intermediadores entre los sujetos y el habitar. Los ámbitos cotidiano y urbano se han regido por modelos y normas absolutas aplicadas universalmente y el mundo arquitectónico se ha visto estancado en la polaridad dual, entre lo público y lo privado, el dentro y el fuera, el movimiento y el reposo, el hombre y la mujer. Si el espacio-tiempo, el cuerpo y sus interpretaciones son la base para los modelos absolutistas, universalistas y perfeccionistas que han dominado el pensamiento occidental y elaborado la noción de lo “normal” en su totalidad, restando complejidad y diversidad, en la era hipermoderna ya no tiene sentido hablar en términos que no contemplen la superposición y la contradicción de la multiplicidad caótica en igualdad y en equilibrio instable. La realidad se ha visto reinventada a través de situaciones intermedias, los lugares inbetween en los espacios, tiempos, identidades y nociones presupuestas, donde se ha tergiversado el orden establecido, afectando al imaginario. La cotidianidad ha superado la arquitectura y el tiempo ha aniquilado el espacio. La conectividad, las redes y el libre acceso a la información – allá donde los haya – componen el marco que ha permitido a los sujetos subalternos emerger y empezar a consolidarse en el discurso teórico y práctico. Nuevos referentes están apareciendo en el hiper-espacio/tiempo aumentado, infringiendo todas aquellas leyes e interpretaciones impuestas para controlar los hábitos, las conductas y las personas. La casa, la ciudad y la metrópolis al vaciarse de contenidos, han dejado de cumplir funciones morales y simbólicas. Los no-lugares, los no-space, los no-time (Amann, 2011) son las condiciones radicalmente fenoménicas que reemplazan la realidad de lo vivido y activan de forma directa a los sentidos; son lugares que excitan el cuerpo como termótopos (Sloterdijk, 2002), que impulsan el crecimiento de la economía y en gran medida la multinormatividad. Sin duda alguna, aquí y ahora se requiere un nuevo modo de emplear la palabra, la imagen y la tecnología, dentro de una temporalidad efímera y eterna simultáneamente. ABSTRACT The term imaginary marks the beginning and the main topic of this research into the architectural world, presented as the necessary condition to understand the design process in its intimate layers, loaded with ideological and symbolic meanings. Through different interpretations, the unconscious, personal and collective, scientific or social, is found in the origin of every human thought and behaviour, constituting a closed chaotic universe, where all ideas are in constant tension and contradiction. This is why there are logical and coherent notions or discursive constructions which organise the context of verisimilitude and therefore the regime of reality through truth and its verification. For the architectural project, these specific configurations are associated with space, time and body as basic elements of management and hierarchization of human habitability and co-habitability. This thesis aims to demarcate and define a field of verisimilar processes installed in the imaginary, through the intangible heritage of mythical or utopian thinking, where not only enclosures of thought, iconography or utopian ideals are created, but from where rigid and exclusive models are derived as well, from theories based on heteronormativity and segregation by sex, gender, class and functional diversity. The experience of the architectural space has been described traditionally through words and images: the language and the symbol have been intermediating between the user and his habitat. Everyday life and urban interactions have been governed by absolute, universally applied, models or standards, therefore the architectural world has been stalled in a constant dual polarity between the public and the private, the inside and the outside, the movement and the repose, the man and the woman. Certainly, if the space-time notion, along with the theorization of the body, are the basis for absolutist, universalist and perfectionist models that have dominated western thought and developed the concept of “normal” in its totality, deducting all complexity and diversity, in the hypermodern era it makes no longer sense to speak in terms that ignore the overlap and contradiction of the chaotic multiplicity that characterises equality and unstable balance. Reality has been reinvented through intermediate situations, the in-between spaces, time, identities, or other presupposed notions. The order of truth has been distorted, affecting and transforming the contemporary imaginary. Everyday practices have surpassed the architectural design and time has annihilated space. Connectivity, networks, free access to information -wherever it exists-, compose the framework that has allowed subaltern subjectivity to emerge and begin to consolidate into main theoretical and practical discourses. New models are appearing in the augmented hyper-space/ time, transgressing any rule and interpretation imposed to control habits, behaviours and people. The house, the city and the metropolis are empty of content; they no longer fulfil moral and symbolic functions. The non-places, non-space, non-time (Amann, 2011) are radically phenomenal conditions that replace the reality of the lived experience and activate the senses as places that excite the body, thermotopos (Sloterdijk, 2002), which boost economic growth and to a considerable extent the multinormativity. Undoubtedly, what is required here and now is a new way of employing the word, the image and the technology within an ephemeral yet eternal temporality.