Analysis and optimization for a hexapod walking robot for planetary missions

La tecnología de las máquinas móviles autónomas ha sido objeto de una gran investigación y desarrollo en las últimas décadas. En muchas actividades y entornos, los robots pueden realizar operaciones que son duras, peligrosas o simplemente imposibles para los humanos. La exploración planetaria es un buen ejemplo de un entorno donde los robots son necesarios para realizar las tareas requeridas por los científicos. La reciente exploración de Marte con robots autónomos nos ha mostrado la capacidad de las nuevas tecnologías. Desde la invención de la rueda, que esta acertadamente considerado como el mayor invento en la historia del transporte humano, casi todos los vehículos para exploración planetaria han empleado las ruedas para su desplazamiento. Las nuevas misiones planetarias demandan maquinas cada vez mas complejas. En esta Tesis se propone un nuevo diseño de un robot con patas o maquina andante que ofrecerá claras ventajas en entornos extremos. Se demostrara que puede desplazarse en los terrenos donde los robots con ruedas son ineficientes, convirtiéndolo en una elección perfecta para misiones planetarias. Se presenta una reseña histórica de los principales misiones espaciales, en particular aquellos dirigidos a la exploración planetaria. A través de este estudio será posible analizar las desventajas de los robots con ruedas utilizados en misiones anteriores. El diseño propuesto de robot con patas será presentado como una alternativa para aquellas misiones donde los robots con ruedas puedan no ser la mejor opción. En esta tesis se presenta el diseño mecánico de un robot de seis patas capaz de soportar las grandes fuerzas y momentos derivadas del movimiento de avance. Una vez concluido el diseño mecánico es necesario realizar un análisis que permita entender el movimiento y comportamiento de una maquina de esta complejidad. Las ecuaciones de movimiento del robot serán validadas por dos métodos: cinemático y dinámico. Dos códigos Matlab® han sido desarrollados para resolver dichos sistemas de ecuaciones y han sido verificados por un tercer método, un modelo de elementos finitos, que también verifica el diseño mecánico. El robot con patas presentado, ha sido diseñado para la exploración planetaria en Marte. El comportamiento del robot durante sus desplazamientos será probado mediante un código de Matlab®, desarrollado para esta tesis, que permite modificar las trayectorias, el tipo de terreno, y el número y altura de los obstáculos. Estos terrenos y requisitos iniciales no han sido elegidos de forma aleatoria, si no que están basados en mi experiencia como miembro del equipo de MSL-NASA que opera un instrumento a bordo del rover Curiosity en Marte. El robot con patas desarrollado y fabricado por el Centro de Astrobiología (INTA-CSIC), esta basado en el diseño mecánico y análisis presentados en esta tesis. ABSTRACT The autonomous machines technology has undergone a major research and development during the last decades. In many activities and environments, robots can perform operations that are tought, dangerous or simply imposible to humans. Planetary exploration is a good example of such environment where robots are needed to perform the tasks required by the scientits. Recent Mars exploration based on autonomous vehicles has shown us the capacity of the new technologies. From the invention of the wheel, which is rightly regarded as the greatest invention in the history of human transportation, nearly all-planetary vehicles are based in wheeled locomotion, but new missions demand new types of machines due to the complex tasks needed to be performed. It will be proposed in this thesis a new design of a legged robot or walking machine, which may offer clear advantages in tough environments. This Thesis will show that the proposed walking machine can travel, were terrain difficulties make wheeled vehicles ineffective, making it a perfect choice for planetary mission. A historical background of the main space missions, in particular those aimed at planetary exploration will be presented. From this study the disadvantages found in the existing wheel rovers will be analysed. The legged robot designed will be introduced as an alternative were wheeled rovers could be no longer the best option for planetary exploration. This thesis introduces the mechanical design of a six-leg robot capable of withstanding high forces and moments due to the walking motion. Once the mechanical design is concluded, and in order to analyse a machine of this complexity an understanding of its movement and behaviour is mandatory. This movement equation will be validated by two methods: kinematics and dynamics. Two Matlab® codes have been developed to solve the systems of equations and validated by a third method, a finite element model, which also verifies the mechanical design. The legged robot presented has been designed for a Mars planetary exploration. The movement behaviour of the robot will be tested in a Matlab® code developed that allows to modify the trajectories, the type of terrain, number and height of obstacles. These terrains and initial requirements have not been chosen randomly, those are based on my experience as a member of the MSL NASA team, which operates an instrument on-board of the Curiosity rover in Mars. The walking robot developed and manufactured by the Center of Astrobiology (CAB) is based in the mechanical design and analysis that will be presented in this thesis.

Thermal control of SUNRISE, a balloon-borne solar telescope

SUNRISE is a balloon-borne solar telescope flown with a long-duration balloon by NASA's Columbia Scientific Balloon Facility team from Esrange (Swedish Space Corporation), on 8 June 2009. SUNRISE has been a challenging mission from the thermal point of view because of its size and power dissipation. Thus, a dedicated thermal analysis has been carried out to find a solution that allows all the devices to be kept within their appropriate temperature ranges, without exceeding the allowable temperature gradients, critical for optical devices. In this article, the thermal design of SUNRISE is described. A geometrical mathematical model and a thermal mathematical model of the whole system have been set up for the different load cases in order to obtain the temperature distribution and gradients in the system. Some trade-offs have been necessary to fulfil all the thermal requirements. The thermal hardware used to achieve it is described. Finally, the temperatures obtained with the models have been compared with flight data.

Trans arquitectura : imaginación, invención e individuación del objeto técnico arquitectónico : transferencia tecnológica desde la industria del transporte al proyecto arquitectónico (1900-1973)

Se presenta la tesis doctoral, titulada ‘TRANS Arquitectura. Imaginación, Invención e individuación del objeto tecnico arquitectónico. Transferencia tecnológica desde la Industria del Transporte al Proyecto de Arquitectura [1900-1973]'’, que aborda la relación entre la Arquitectura y el Objeto Técnico durante la Modernidad.1 La temática de la tesis gravita en torno a la cultura técnica, la cultura material y la historia de la Tecnología del siglo XX. Hipótesis Se sostiene aquí la existencia de unas arquitecturas que se definen como Objetos Técnicos. Para demostrarlo se estudia si éstas comparten las mismas propiedades ontológicas de los objetos técnicos. Industria y Arquitectura La historia de la Arquitectura Moderna es la historia de la Industria Moderna y sus instalaciones industriales, sus productos y artefactos o sus procedimientos y procesos productivos. Fábricas, talleres, acerías, astilleros, minas, refinerías, laboratorios, automóviles, veleros, aviones, dirigibles, transbordadores, estaciones espaciales, electrodomésticos, ordenadores personales, teléfonos móviles, motores, baterías, turbinas, aparejos, cascos, chassis, carrocerías, fuselajes, composites, materiales sintéticos, la cadena de montaje, la fabricación modular, la cadena de suministros, la ingeniería de procesos, la obsolescencia programada… Todos estos objetos técnicos evolucionan constantemente gracias al inconformismo de la imaginación humana, y como intermediarios que son, cambian nuestra manera de relacionarnos con el mundo. La Arquitectura, al igual que otros objetos técnicos, media entre el hombre y el mundo. Con el objetivo de reducir el ámbito tan vasto de la investigación, éste se ha filtrado a partir de varios parámetros y cualidades de la Industria, estableciendo un marco temporal, vinculado con un determinado modo de hacer, basado en la ciencia. El inicio del desarrollo industrial basado en el conocimiento científico se da desde la Segunda Revolución Industrial, por consenso en el último tercio del siglo XIX. Este marco centra el foco de la tesis en el proceso de industrialización experimentado por la Arquitectura desde entonces, y durante aproximadamente un siglo, recorriendo la Modernidad durante los 75 primeros años del siglo XX. Durante este tiempo, los arquitectos han realizado transferencias de imágenes, técnicas, procesos y materiales desde la Industria, que ha servido como fuente de conocimiento para la Arquitectura, y ha evolucionado como disciplina. Para poder abordar más razonablemente un periodo tan amplio, se ha elegido el sector industrial del transporte, que históricamente ha sido, no sólo fuente de inspiración para los Arquitectos, sino también fuente de transferencia tecnológica para la Arquitectura. Conjuntos técnicos como los astilleros, fábricas de automóviles o hangares de aviones, individuos técnicos como barcos, coches o aviones, y elementos técnicos como las estructuras que les dan forma y soporte, son todos ellos objetos técnicos que comparten propiedades con las arquitecturas que aquí se presentan. La puesta en marcha de la cadena móvil de montaje en 1913, se toma instrumentalmente como primer foco temporal desde el que relatar la evolución de numerosos objetos técnicos en la Primera Era de la Máquina; un segundo foco se sitúa en 19582, año de la creación de la Agencia Espacial norteamericana (NASA), que sirve de referencia para situar la Segunda Era de la Máquina. La mayoría de los objetos técnicos arquitectónicos utilizados para probar la hipótesis planteada, gravitan en torno a estas fechas, con un rango de más menos 25 años, con una clara intención de sincronizar el tiempo de la acción y el tiempo del pensamiento. Arquitectura y objeto técnico Los objetos técnicos han estado siempre relacionados con la Arquitectura. En el pasado, el mismo técnico que proyectaba y supervisaba una estructura, se ocupaba de inventar los ingenios y máquinas para llevarlas a cabo. Los maestros de obra, eran verdaderos ‘agentes de transferencia tecnológica’ de la Industria y su conocimiento relacionaba técnicas de fabricación de diferentes objetos técnicos. Brunelleschi inventó varia grúas para construir la cúpula de Santa Maria dei Fiori (ca.1461), seguramente inspirado por la reedición del tratado de Vitruvio, De Architectura (15 A.C.), cuyo último capítulo estaba dedicado a las máquinas de la arquitectura clásica romana, y citaba a inventores como Archimedes. El arquitecto florentino fue el primero en patentar un invento en 1421: una embarcación anfibia que serviría para transportar mármol de Carrara por el río Arno, para su obra en Florencia. J. Paxton. Crystal Palace. London 1851. Viga-columna. Robert McCormick. Cosechadora 1831. 2ª patente, 1845. La Segunda Revolución Industrial nos dejó un primitivo ejemplo moderno de la relación entre la Arquitectura y el objeto técnico. El mayor edificio industrializado hasta la fecha, el Crystal Palace de Londres, obra de Joseph Paxton, fue montado en Londres con motivo de la Gran Exposición sobre la Industria Mundial de 1851, y siempre estará asociado a la cosechadora McCormick, merecedora del Gran Premio del Jurado. De ambos objetos técnicos, podrían destacarse características similares, como su origen industrial, y ser el complejo resultado de un ensamblaje simple de elementos técnicos. Desde la entonces, el desarrollo tecnológico ha experimentado una aceleración continuada, dando lugar a una creciente especialización y separación del conocimiento sobre las técnicas antes naturalmente unidas. Este proceso se ha dado a expensas del conocimiento integrador y en detrimento de la promiscuidad entre la Industria y la Arquitectura. Este es, sin lugar a dudas, un signo consustancial a nuestro tiempo, que provoca un natural interés de los arquitectos y otros tecnólogos, por las transferencias, trans e inter-disciplinareidades que tratan de re-establecer los canales de relación entre los diferentes campos del conocimiento. La emergencia de objetos técnicos como los vehículos modernos a principios del siglo XX (el automóvil, el trasatlántico, el dirigible o el aeroplano) está relacionada directamente con la Arquitectura de la Primera Era de la Máquina. La fascinación de los arquitectos modernos por aquellas nuevas estructuras habitables, se ha mantenido durante más de un siglo, con diferente intensidad y prestando atención a unos objetos técnicos u otros, oscilando entre el dominio del valor simbólico de los vehículos como objetosimágenes, durante el periodo heroico de la Primera Era de la Máquina, y la mirada más inquisitiva durante la Segunda, que perseguía un conocimiento más profundo de la organización de los mismos y del sistema técnico en el que estaban incluidos. La relación homóloga que existe entre arquitecturas y vehículos, por su condición de estructuras habitables, es algo de sobra conocido desde que Le Corbusier utilizara aquellas imágenes de barcos, coches y aviones para ilustrar su manifiesto Vers une architecture, de 1923. Los vehículos modernos han sido los medios con los que transmitir los conceptos que ansiaban transformar las propiedades tradicionales de la Arquitectura, relativas a su factura, su habitabilidad, su duración, su funcionalidad o su estética. Destaca particularmente el caso del automóvil en las décadas de los años 30 y 50, y los vehículos del programa espacial en las décadas de los 60 y 70. El conocimiento y la documentación previa de estos hechos, fueron un buen indicio para identificar y confirmar que el sector industrial del transporte, era un especialmente trascendente y fértil proveedor de casos de transferencia tecnológica para la Arquitectura. La tradición Moderna inaugurada por Le Corbusier en los años 20, ha sido mantenida y defendida por una multitud de arquitectos modernos como Albert Frey, Richard Neutra, Ralph Soriano, Charles Eames o Craig Ellwood, cuyo trabajo, animado por el legado de anteriores tecnólogos como Bucky Fuller o Jean Prouvé, fue fundamental y referencia obligada para la siguiente generación de arquitectos como Cedric Price, Archigram, Norman Foster, Richard Rogers, Renzo Piano, Jean Kaplicky o Richard Horden, entre otros. Todos ellos han contribuido a engrosar el imaginario del objeto técnico, aportando sus obras arquitectónicas. Estos arquitectos que aparecen repetidamente en el discurrir de la tesis, pertenecen a un mismo linaje, y son agrupados según una estructura ‘genealógica’, que se ha denominado ‘Estirpe Técnica’. Unidos por intereses comunes y similares enfoques o actitudes ante el proyecto de arquitectura, entendida como objeto Técnico, han operado mediante la práctica de la transferencia tecnológica, sin limitarse a las técnicas compositivas propias de la disciplina arquitectónica. Durante la investigación, se ha recopilado una selección de menciones explícitas -hechas por arquitectos- sobre otros objetos técnicos para referirse a la Arquitectura, mostrando las constantes y las variaciones de sus intereses a lo largo del siglo, lo que nos ha llevado a conclusiones como por ejemplo, que los conjuntos técnicos (fábricas de zepelines, aviones, automóviles o trasatlánticos) eran tomados por los arquitectos de la primera Modernidad, como un modelo imaginario, formal y compositivo, mientras que los de la Segunda Era de la Máquina los tomaban como modelo espacial y organizativo para la arquitectura. La mencionada estirpe de tecnólogos incluye líneas de descendencia conocidas, como: EiffelSuchovBehrens GropiusMiesLeCorbusierLodsProuve, en la Europa continental, o una rama británica como: LoudonPaxtonWilliamsStirlingGowan SmithsonsPriceArchigramFosterRogersPiano KaplickyHorden. También podemos encontrar conexiones intercontinentales como Fuller EamesRudolphFosterRogers, o ramificaciones menos previsibles como: LeRicolaisKahn PianoKaplicky, o LeCorbusierFreyLacaton Vassal… Seguramente muchos más merecerían incluirse en esta lista, y de hecho, la tesis asume la imposibilidad de incluirlo todo (por motivos prácticos) aunque contempla la posibilidad de ser ampliada en un futuro. Con lo aquí incluido, se pretende mostrar la continuidad en los enfoques, planteamientos y técnicas de proyectos aplicadas, de los que podemos deducir algunas conclusiones, como por ejemplo, que en los periodos inmediatamente posteriores a las dos Guerras Mundiales, aumentó la intensidad de aportaciones de nuevas imágenes de vehículos, al imaginario del objeto técnico utilizado por los arquitectos, a través de publicaciones y exposiciones. Hoy, cien años después de que Ford pusiera en marcha la cadena móvil de montaje, aún encontramos viva esta tradición en las palabras de un arquitecto, Richard Horden, cuyo trabajo porta consigo –como la información embebida en los elementos técnicos- toda una cultura técnica de una tradición moderna. Horden representa uno de los exponentes de la que he denominado estirpe de tecnólogos. Es por ello que he querido concluir la tesis con una entrevista, realizada en Mayo de 2015, en su estudio de Berkeley Square en Londres (ver Apéndices). Guías Para el desarrollo de la presente tesis, se ha tomado, como principal obra de referencia, otra tesis, titulada El modo de existencia de los objetos técnicos, leída y publicada en 1958 por el filósofo francés Gilbert Simondon [1924-89], dedicada a la ontología del objeto técnico. Esta obra enmarca el enfoque intelectual de la tesis, que entronca con la fenomenología, para movilizar una visión particular de la Arquitectura, a la que sirve como modelo de análisis ontológico para estudiar sus procesos de génesis, invención e individuación. Para el desarrollo de éstos, se ha utilizado como complemento bibliográfico, otra obra del mismo autor, titulada Imaginación e invención 1965-66. En cuanto a las fuentes historiográficas disciplinares, se ha elegido utilizar a Reyner P. Banham [1922-1988] y a Martin E. Pawley [1938-2008] como guías a través de la arquitectura del siglo XX. Sus crónicas sobre la Primera y Segunda Era de la Máquina3 y su obra crítica, han servido como índices desde los que reconstruir el imaginario del objeto técnico moderno, y del que aprovisionarse de proyectos y obras de Arquitectura como casos de estudio para la tesis. Estas obras han servido además como índices de otra bibliografía, que ha sido complementaria a la de éstos. Objetivos de la Tesis El principal objetivo de la tesis es demostrar la hipótesis: si una obra de arquitectura puede ser considerada un objeto técnico y bajo qué condiciones, construyendo un criterio que permita reconocer cuándo una obra de Arquitectura responde a la definición de objeto técnico. Otro objetivo es demostrar la importancia y potencia de la Transferencia tecnológica en el proceso evolutivo de la Arquitectura, y para ello se presentan ejemplos de una metodología de proyecto por ensamblaje, que Martin Pawley denominaba ‘Design by Assembly’. También es un objetivo el de reconstruir un Atlas del Imaginario del objeto técnico moderno, con el fin de conocer mejor las causas, razones y finalidades que llevaron a los arquitectos modernos a perseguir una arquitectura como objeto técnico. Este Atlas permite relacionar panópticamente los distintos objetos técnicos entre sí, revelando la verdadera importancia y trascendencia de aquéllos y las arquitecturas con las que se relacionan. En él, las arquitecturas vuelven a situarse en el contexto más extenso y complejo de la industria y la historia de la tecnología, al que siempre pertenecieron. De este modo, éstas son capaces de desvelar todo el conocimiento -en forma de información- que portan en su propio código ‘genético’, desplegando capítulos completos de cultura tecnológica, tan antigua como la Humanidad y en constante y creciente evolución. Estructura de la tesis Tras una Introducción en la que se presentan algunos de los conceptos principales que se instrumentalizan en la tesis sobre la ontología Simondoniana del objeto técnico y sobre la transferencia tecnológica aplicada al proyecto de Arquitectura, el texto principal de la tesis consta de tres partes: La primera se dedica a la Imaginación, una segunda parte a la Invención y una tercera a Individuación o evolución del objeto técnico. Se termina con una Discusión de la tesis y un apartado de Conclusiones. En la Introducción al objeto técnico, éste se define ontológicamente y se distinguen sus diferentes categorías (conjuntos técnicos, individuos técnicos y elementos técnicos). Se explica el proceso de génesis del objeto técnico y sus fases de imaginación, invención e individuación. También se presentan los conceptos de transducción, tecnicidad y sistema técnico, fundamentales para entender el concepto de transferencia tecnológica que se desarrollará después. La concretización, explica el modo particular de individuación y evolución de los objetos técnicos, un proceso por el que las diferentes partes de un objeto técnico, se integran y tienden hacia la propia convergencia. Aquí se comprueba la efectividad del concepto simondoniano de Transducción, como señal o información transmitida y transformada, y se relaciona con la Transferencia Tecnológica - un proceso sinergético, por el que un sector industrial se beneficia del desarrollo de otro sector- a la que se han referido explícitamente arquitectos e historiadores para explicar sus obras, durante la Segunda Era de la Máquina, y que es determinante para el desarrollo de la Industria. La transferencia tecnológica sería la transmisión del conjunto de conocimientos sobre la técnica, que incluyen su esfera fáctica, pero también la esfera sensible de la experiencia. En su aplicación a la arquitectura, las transferencias se han clasificado según tres tipos: Eidéticas, Tectónicas, Orgánicas. En la primera parte dedicada a la Imaginación del objeto técnico arquitectónico se realiza una reconstrucción ‘arqueológica’ –y parcial- del imaginario del objeto técnico moderno, con la intención de conocer mejor su génesis y la relación con otros objetos técnicos. Las fuentes de ese imaginario se buscan en las instalaciones de la Industria de principios de siglo XX, en particular en las fábricas de vehículos, con la finalidad de comprobar hasta qué punto, esos objetos técnicos fueron importantes para imaginar la Arquitectura moderna. La reconstrucción se continúa hasta la Segunda Era de la Máquina, cuando una nueva mirada más inquisitiva y precisa, se dirige a otras fábricas, vehículos y componentes, interesándose por sus cualidades materiales y organizativas. Transferencias Eidéticas, que operan desde un conocimiento intuitivo y son útiles para transmitir información sobre la esencia de un objeto técnico que sirve de fuente. Conceptos abstractos se transmiten por medio de las imágenes—objeto, para producir una transformación en su equivalente arquitectónico. Fruto de la investigación, se han detectado un grupo de conceptos que han sido objeto de transferencias tecnológicas de naturaleza eidética, provenientes del imaginario del objeto técnico moderno: FABRICADO, HABITABLE, FUNCIONAL, EFICIENTE, OBSOLESCENTE y BELLO. En la segunda parte dedicada a la Invención del objeto técnico arquitectónico, las transferencias también pueden ser Tectónicas, cuando lo que se transmite es una técnica constructiva o estructural aplicada mediante MATERIALES artificiales (como los metales, los composites como el ferrocemento, y el plywood, o las aleaciones como el aluminio) o mediante el ensamblaje de ESTRUCTURAS o partes componentes de otro objeto técnico, (como cascos, fuselajes, carrocerías o aparejos) y tiene como resultado la invención de un nuevo objeto técnico arquitectónico. En la tercera parte dedicada a la individuación, se abordan las transferencias ORGÁNICAS, lo que se transfiere es una técnica organizativa, aplicada a través de PROCEDIMIENTOS que definen la actividad del arquitecto como tecnólogo e inventor de objetos técnicos. Estos procedimientos tienen un efecto transformador en tres instituciones tradicionales para la Arquitectura: la Escuela, el Estudio y la Obra, y sus resultados se resumen en nuevos modelos de organización de la Educación de la Arquitectura, con la aparición de los Talleres de proyectos; nuevos modelos de organización del ejercicio de arquitecto: la Oficina técnica; nuevos modelos de organización del espacio, basados en la organización espacial de la Industria, que da lugar a patrones o Matrices espaciales; un nuevo modelo de organización del proyecto, que utiliza las herramientas gráficas de la industria y el ensamblaje como metodología; y un nuevo modelo de producción arquitectónica, basado en la Industrialización. Tras explicar los conceptos y la génesis del ensamblaje y el montaje, se presenta el proyecto por ensamblaje (Design by assembly) como un método que promueve la invención arquitectónica. Se demuestra utilizando algunos casos analizados en la tesis, en los que se ha realizado alguna transferencia conceptual, constructiva u organizativa. Tras analizar las arquitecturas estudiadas en la tesis, se ha utilizado el método genético propuesto por Simondon para comprender cada evolución particular, reconstruyendo las líneas genealógicas hasta sus ancestros, e identificando una serie de linajes genéticos, que corresponderían con los conjuntos técnicos estudiados en la tesis: el astillero, la fábrica de coches, y la fábrica de aeronaves: los Ancestros de la Modernidad. Los sistemas de organización espacial de estos conjuntos técnicos, están directamente relacionados con el objeto técnico que se produce en él. A partir de ellos se definen una serie de matrices operativas (MILL, SHOP, SHED), que sirven para hacer una taxonomía del objeto técnico arquitectónico. Esto se ejemplifica con algunos proyectos de Norman Foster, Richard Rogers, Renzo Piano, Nicholas Grimshaw, Jean Kaplicky y Richard Horden. Tesis: Comprobación de la hipótesis Simondon definía ontológicamente el Objeto técnico como aquello de lo que existe génesis y que desarrolla una tendencia hacia la solidaridad y unidad. Para que una Arquitectura pueda ser reconocida como un Objeto técnico, se deben dar una serie de condiciones, en las sucesivas fases que intervienen en su modo de existencia: Imaginación. Estas arquitecturas remiten a un imaginario protagonizado por imágenes-objeto de otros objetos técnicos (conjuntos técnicos, individuos técnicos y elementos técnicos). Esas imágenes-objeto vehiculizan una transferencia eidética de los objetos técnicos que simbolizan. Invención. Estas arquitecturas son el resultado de transferencias tectónicas, que se producen durante el proceso de proyecto, mediante el ensamblaje de materiales, componentes o procedimientos, utilizados en la industria para la producción de otros objetos técnicos. Individuación. Estas arquitecturas evolucionan y se individualizan por concretización, un proceso por el que los objetos técnicos se organizan para seguir su tendencia hacia la integración de sus partes, con el fin de alcanzar la convergencia de funciones en una única estructura. Esta integración tiende hacia la naturalización del objeto técnico, mediante la inclusión simbiótica de sus medios naturales asociados. En este caso, veremos cómo se ha producido transferencias orgánicas, o lo que es lo mismo, cómo los objetos técnicos –en el nivel de los conjuntos técnicos- se han tomado como modelo de organización por la arquitectura. Tras comprobar que de ellas existe una génesis, que evoluciona por las fases de imaginación e invención y concretización, se analiza su imaginario, su materialidad, sus estructuras y su organización, con el fin de detectar patrones y principios organizativos comunes a otros objetos técnicos. Interés de la tesis Desde el comienzo del nuevo siglo, diversos autores han demostrado un renovado interés por definir qué es el proyecto, qué lo constituye para qué sirve. Las aproximaciones al tema provienen de la filosofía analítica (Galle, 2008) o de la filosofía de la tecnología (Verbeek, 2005; Vermaas, 2009) y a menudo versan sobre la relación entre diseño y la cultura material (Dorschel 2003, Boradkar 2010 o Preston 2012). Es importante indicar el reciente y también creciente interés suscitado por la obra del filósofo francés, Gilbert Simondon [1924-1989], reconocida por su importante contribución a la filosofía de la técnica y la fenomenología, y por la influencia en el pensamiento de filósofos como Gilles Deleuze, autor presente en multitud de tesis doctorales e investigaciones teóricas llevadas a cabo en las principales escuelas de Arquitectura de todo el mundo desde los años 90 hasta el presente. La reedición y traducción de la obra de Simondon (ing. 1980, esp. 2008) ha recibido la atención de filósofos actuales como Paolo Virno, Bruno Latour o Bernard Stiegler, que siguen recurriendo a su estudio y análisis para avanzar en su pensamiento, estando por tanto presente en el debate contemporáneo sobre la técnica. Tras su reciente traducción al español, el pensamiento de Simondon ha despertado un gran interés en América Latina, como demuestra la organización de varios congresos y simposios, así como la proliferación de publicaciones en torno a su obra y pensamiento. Las futuras traducciones del resto de sus principales obras, asegurarán una introducción cada vez mayor en la comunidad académica. Se ha procurado presentar una mirada alternativa de la Historia de la Arquitectura Moderna, utilizando como guía a un cronista como Reyner Banham. La Era de la Máquina se ha cruzado con la Mecanología y el “vitalismo técnico” de Simondon, obteniendo como resultado una interpretación fresca, renovada y optimista de algunas de las más importantes obras de Arquitectura del siglo XX, que seguro contribuirán al desarrollo de la del siglo XXI, inmerso ya en el cambio de paradigma hacia la sostenibilidad y la ecología. ABSTRACT 'TRANS architecture. Imagination, invention and technical individuation of the architectural technical object. Technology transfer from the Transport Industry to Architectural Design [1900- 1973]' is a thesis dealing with the relationship between Architecture and the Technical Object during Modernity5. The theme of the thesis revolves around the technical culture, material culture and the history of twentieth-century technology. Hypothesis Held here is the existence of some architectures defined as technical objects. A study has been developed to prove if those architectures share the ontological properties of a technical object. Industry and Architecture The history of Modern Architecture is also the history of modern industry and its facilities, its products and devices, its procedures and production processes. Factories, workshops, steel mills, shipyards, mines, refineries, laboratories, cars, yachts, airplanes, airships, shuttles, space stations, home appliances, personal computers, mobile phones, motors, batteries, turbines, rigs, hulls, chassis, bodies, fuselages , composites and synthetic materials, the assembly line, modular manufacturing, the supply chain, process engineering, the planned obsolescence ... All these technical objects are constantly evolving thanks to the inconsistency of the human imagination and, as our intermediates, keep changing our way of relating and being in the world. Architecture, alike other technical objects, mediates between man and the World. In order to frame the vast field of the research, it has been filtered according to various parameters and qualities of Industry, establishing also a time frame which is related to a particular science-based way of making. The start of an industrial development, based on scientific knowledge is given from the Second Industrial Revolution -by consensus on the last third of the nineteenth century. This frame puts the focus of the thesis in the process of industrialization experienced by the Architecture of at least one century, and tours through Modernity during the first 75 years of the twenieth century. During this time, architects have made transfers of images, techniques, processes and materials from Industry, serving as a source of knowledge and thus allowing Architecture to evolve as a discipline. To reasonably address the enormous scope of the thesis, the industrial sector of transportation has ben chosen. It is not only a historical source of inspiration for architects, but also a traditional source of technology transfer for Modern Architecture. Technical sets such as shipyards, automobile factories or aircraft hangars, technical individuals as boats, cars or planes, and technical elements like the structures shaping and supporting them, are all technical objects which share properties with the architectures here presented. The launch of the moving assembly line in 1913, is instrumentally taken as a first time focus, from which to describe the evolution of many technical objects in the First Machine Age; a second focus could be found in 19586, year of the creation of the North American Space Agency (NASA), serving as a reference to the Second Machine Age. Most architectural technical objects used to test the hypothesis, gravitate around this second focus, in a range of plus or minus 25 years, with a clear intention to synchronize the time for action and time of thought. Architecture and Technical Object Technical objects have always been related to Architecture. In the past, the same technician who planned and oversaw a building structure, invented the devices and machines to carry them out. The foremen were the true 'technology transfer agents' from Industry. Their knowledge naturally related different manufacturing techniques to make diverse technical objects. Brunelleschi invented various cranes to build the dome of Santa Maria dei Fiori in Florence (ca.1461). Probably inspired by the reedition of Vitruvius’ treaty De Architectura (15 BC), whose last chapter was dedicated to the machines of classical Roman architecture and quoted inventors as Archimedes, the florentine architect was the first to patent an invention in 1421: an amphibious craft serving as a means of transportation for Carrara marble along the Arno river. At the daw of the Second Industrial Revolution, whose development was based on the scientific knowledge, we find a primitive modern example of the relationship between Architecture and a Technical Object: The Crystal Palace, built in London for the Great Exhibition of 1851 World Industry and designed by Joseph Paxton, was the largest to date industrialized building, and it will be always associated with the McCormick Reaper, worthy of the Grand Jury’s Prize. Similar characteristics could be emphasized of both technical objects, such as their industrial origin and for being be the complex result of a simple assembly of technical elements. Since then, technological development has experienced a continued acceleration, resulting in an increasing specialization and separation of knowledge about techniques which were naturally attached in the past. This process has happened at the expense of an integrative knowledge and against promiscuity between Industry and Architecture. This is, undoubtedly, an inherent sign of our time, which causes the natural and interest of architects and other technicians about transfers, trans-disciplinarity and inter-disciplinarity, as a reaction to reestablish channels of relationships between these different fields of knowledge. The emergence of technical objects as modern vehicles in the early twentieth century (the car, the Ocean liner, the airship or the airplane) is directly related to the Architecture of the First Machine Age. Modern architects’ fascination for those new ‘inhabitable’ structures has been maintained for over a century, with different intensity and paying attention to one and other technical objets, ranging from the domain of the symbolic value of the vehicles as objectsimages, during heroic period of the First Machine Age, to the more inquisitive glance characterizing the Second Machine Age, which sought a deeper understanding of the organization of such objects and the technical system to which they belonged. The periods immediately following both World Wars, showed a concentrated effort to bring new images of vehicles to the imaginary of architects, by means of publications and exhibitions. The homologous relationship between architectures and vehicles, in their capacity as living structures, is something well known since Le Corbusier used the images of cars, boats and airplanes to illustrate his manifesto, Towards an architecture in 1923. Modern vehicles have been the means by which to convey the concepts eager to transform the traditional attributes of Architecture: those relating to its manufacture, habitability, duration, functionality or aesthetics. The automobile stands out during the 30s and 50s, and the new vehicles of the Space Program satnd in the 60s and 70s. The prior knowledge and documentation of these events were a good indication to identify the industrial sector of Transportation as one of especial importance and as a fertile provider of technology transfer cases for Architecture. The Modern tradition, inaugurated by Le Corbusier in the 20s, has been maintained and defended by a host of modern architects like Albert Frey, Richard Neutra, Ralph Soriano, Charles Eames and Craig Ellwood, whose work - inspired by the legacy of previous technologists as Bucky Fuller or Jean Prouvé- was fundamental and a mandatory reference for the next generation of architects like Cedric Price, Archigram, Norman Foster, Richard Rogers, Renzo Piano, Jean and Richard Horden Kaplicky, among others. They have all contributed to increase the imaginary of the technical object, adding to it their architectural works. In the passage of the thesis, we repeatedly find a number of architects, who have been grouped according to a 'genealogical' structure, which has been called 'Technical Lineage'. Gathered by common interests and similar views or attitudes to the architectural design, understood as a technical object, they have operated through the practice of technology transfer, without limiting itself to specific compositional techniques of the architectural discipline. During the investigation, a selection of explicit references made by those architects, about other technical objects referring to their Architecture, has been compiled, showing constants and variations in their interests throughout the century, which has led to conclusions such as, having technicians sets (zeppelins factories, airships factories, car factories and shipyards) been taken by the architects of the first Modernity, as their main formal, compositional and imaginary models, while the Second Machine Age had taken them as a spatial and organizational model for their architecture. The above mentioned lineage of technologists includes weel-known ‘seed lines’ as: Eiffel- Suchov-Behrens, Gropius-Mies-LeCorbusier- Lods-Prouve, in continental Europe; British branches as Loudon-Paxton-Williams-Stirling- Gowan-Smithsons-Price-Archigram-Foster- Rogers-Piano-Kaplicky-Horden. And we could also find intercontinental connections as Fuller- Eames-Rudolph-Foster-Rogers, or other less predictable ramifications as LeRicolais-Kahn Piano-Kaplicky, or LeCorbusier-Frey-Lacaton & Vassal... Many more would surely deserve to be included in this list, and indeed, the thesis assumes the impossibility of including them all (for practical reasons) and even contemplates possible future extensions. The material included herein is to demonstrate the continuity in the approaches, statements and in the applied architectural design techniques, from which we can draw some conclusions. Today, one hundred years after Ford put up the moving assembly line, we still find this tradition alive in the words of the architect Richard Horden, whose work carries with it –as with the information embedded in every technical element- the whole techncial culture of a modern tradition. Horden is represented here as one of the exponents of what I have called the lineage of technologists. That is why I wanted to conclude the thesis with an interview to Richard Horden, held in May 2015 in his studio in London's Berkeley Square (see Appendices). Guides For the development of this thesis, another thesis, entitled: The mode of existence of technical objects, is taken as the main reference work. Read and published in 1958 by the French philosopher Gilbert Simondon [1924- 1989], it was dedicated to the ontology of the technical object. This work frames the intellectual approach of the thesis, which connects with phenomenology to mobilize a particular vision of Architecture. It is used as a model of ontological analysis to study its genesis, invention and evolutionary processes. To develop these, another work by the same author, titled Imagination and Invention (1965- 1966) has been used as a bibliographical complement. As for the disciplinary historical sources, Reyner P. Banham [1922-1988] and Martin E. Pawley [1938-2008] have been chosen as guides through the modern Architecture of the twentieth century. Their cronical reports on the First and Second Machine Age and their critical works have served as an index from which to reconstruct the imaginary of the modern technical object in the Machine Age7, and to stock up on projects and works of architecture, used as case studies for the thesis. These works have also been used as triggers for other literatures, which has been complementary to the former. Objectives of the Thesis The main objective of the thesis is to prove its hypothesis: if a work of architecture can be considered a technical object and under what conditions, building then a criterion for recognizing when a work of architecture meets the definition of a technical object. Another aim is to demonstrate the importance and power of Technology Transfer in the evolutionary process of Architecture, and to do it, some examples of a methodology for architectural design that Martin Pawley called 'Design by Assembly' are presented. It is also an objective to reconstruct an Atlas of the imaginary of the modern technical object, in order to better understand the causes, reasons and purposes that led modern architects to pursue architecture as a technical object. This Atlas allows to panoptically relate the various technical objects, revealing the true importance and significance of those and the architecture with whom they interact. Architectures are again at the largest and most complex industrial context and the history of technology, which always belonged. Thus, they are able to reveal all the knowledge-in the shape of information-carried in their own 'genetic' code, displaying full chapters of technological culture as old as mankind and constantly growing and evolving. Thesis: Proving the Hypothesis Simondon ontologically defined the technical object as ‘that of which genesis exists’ and that develops ‘a tendency towards solidarity and unity’. For an architecture to be recognized as a technical object, a number of conditions should be given, in the successive phases involved in their mode of existence: Imagination. These architectures refer to an imaginary featuring images-object other technical objects (technical sets, technical individuals and technical elements). These images are the means to an eidetic transfer of the technical objects which they symbolize. Invention. These architectures are the result of tectonic transfers, which occur during the architectural design process, by assembling materials, components or procedures used in industry for the production of other technical objects. Individuation. These architectures evolve and are individualized by ‘concretization’, a process leading to the full integration of its parts and aiming the full convergence of its functions into a single structure. This integration tends towards the naturalization of the technical object, by means of a symbiotic incorporation of their associated milieus. After checking if there is a genesis of them, which evolves through the phases of imagination and invention and concretization, their imaginary, materiality, structure and organization are analyzed in order to detect patterns and common organizational principles to other technical objects counterparts. Structure The main text of the thesis consists of three parts. Before there is an Introduction to the main concepts that are exploited in the thesis on ontology Simondonian technical object, and technology transfer applied to Architecture. Then a first part covers the Imaginary of the modern technical object, a second part is dedicated to the Invention and a third part to the individuation process The thesis ends with a section for the Discussion and the Conclusions. The Introduction to the technical object, this is ontologically defined and its different categories are distinguished. The process of genesis of the technical object and the phases of imagination, invention and indivuation are explained. Concepts as Transduction, Technicality and Technical system are presented for being fundamental to understand the concept of Technology Transfer that will take place later. The concretization is explained as the particular mode of individuation and evolution of technical objects, a process by which the different parts of a technical object, are integrated and begin a tendency towards a convergence in itself. The first part, dedicated to the Imagination of the architectural technical object presents a parcial "archaeological" reconstruction the imaginary of the modern technical object, intended to better understand its genesis and the relationship with other technical objects. The imaginary sources are searched in the premises of the Industry of the early twentieth century, and particularly in the factories of modern vehicles, in order to see, to what extent these technical objects were important to imagine modern architecture. The reconstruction is continued until the Second Machine Age, when a new, more inquisitive and precise gaze turns to other factories, other vehicles and other components and materials, inquiring now about their organizational qualities. The second part is devoted to the Invention of the architectural technical object. The effectiveness of the simondonian concept of Transduction is checked: a transmitted and transformed sign or information, which relates to Technology Transfer, a synergetic process by which an industrial sector benefits from the development of another sector, to which some architects and historians have explicitly referred to explain their works during Machine Age, and which is crucial for the development of the industry. Technology transfer would be the transmission of a set of information or knowledge about technique, including the factual sphere of technique, but also the sensitive sphere of experience. In their application to Architecture, these transfers have been classified according to three types: Eidetic, Tectonic and Organic. Eidetic Transfers operate from an intuitive knowledge and are useful for transmitting information about the essence of the technical object serving as a source. Abstract concepts are transmitted through the object-images to produce an equivalent transformation in Architecture. A group of concepts that have been the subject of technology transfers of eidetic nature, and have been originated in the imaginary of the modern technical object, have been detected as a result of the research: FABRICATED, INHABITABLE, FUNCTIONAL, EFFICIENT, OBSOLESCENT, and BEAUTIFUL. The transfers can also be Tectonic when, that which is transferred is a constructive or structural technique, applied through artificial MATERIALS such as metals, composites as the ferrocement, or plywood, or alloys such as aluminum; or by means of the assembly of STRUCTURES or parts of other technical objects such as hulls, fuselages, car bodies or rigs, resulting in the invention of a new architectural technical object. In the case of ORGANIC transfers, what is transferred is an organizational technique, applied by means of a set of PROCEDURES defining the activity of the architect as a technologist and inventor of technical objects. These procedures have a transformative effect on three traditional institutions for Architecture: the School, the Atelier and the Work, and the results are summarized in new models of organization of the Education of Architecture, with the onset of the Architectural Design Studios or workshops; new models of organization of the practice of architect: the technical office; and new models of space organization, based on the spatial organization of the industry, resulting in spatial patterns or spatial matrices; a new model of organization of the project, which uses graphical tools and industrail protocols as the assembly as a methodology; a new model of architectural production based on the industrialization. After explaining the concepts and the genesis of assembly and montage, Design by assembly is presented as a method that promotes architectural invention, and is shown using some case studies analyzed in the thesis, in which there has been made some conceptual, constructive or organizational transfer. After analyzing the architectures studied in the thesis, genetic method proposed by Simondon was used to understand every particular evolution, reconstructing their genealogical lines up to their ancestors, identifying a series of genetic lineages, which correspond to the technical sets studied in the thesis : the shipyard, the car factory, and aircraft factory. The real ancestors of Modernity. The spatial organization systems of these technical sets are directly related to the technical object that is fabricated within them. From that point, a number of operational matrices are defined (MILL, SHOP, SHED) and used to make a taxonomy of the architectural technical object. This is exemplified by some projects by architects as Norman Foster, Richard Rogers, Renzo Piano, Nicholas Grimshaw, Jean and Richard Horden Kaplicky. Interest of the thesis Since the beginning of the new century, several authors have shown a renewed interest in defining what a project is, how it is constituted and what it is for. The approaches to the subject are brought from analytic philosophy (Galle, 2008) or from the philosophy of technology (Verbeek, 2005; Vermaas, 2009) and they often speak about the relationship between design and material culture (Dorschel 2003, 2010 or Preston Boradkar 2012). It is also important to note the recent and growing interest in the work of French philosopher Gilbert Simondon [1924-1989], mainly known for its important contribution to the philosophy of technology and phenomenology of the technical object, and the influence on the thinking of contemporary philosophers as Paolo Virno, Bruno Latour or Gilles Deleuze, being the latter a author present in many doctoral theses and theoretical research conducted at major architecture schools around the world since the 90s to the present. The republication and translation of the work of Simondon (eng. 1980, spn. 2008) has received the attention from current philosophers such as Bernard Stiegler who continues to use its study and analysis to advance his thinking, thus being present in the contemporary debate about the technique. After its recent translation into Spanish, the thought of Simondon has aroused great interest in Latin America, as evidenced by the organization of various conferences and symposia, as well as the proliferation of publications about his work and thought8. Future translations of the rest of his major works, will ensure increased introduction in the academic community. Efforts have been made to present an alternative view of the History of Modern Architecture, using a reporter as Reyner P.Banham as a guide. The Machine Age intersects Simondon’s mechanology and his "technical vitalism", resulting in a fresh, renewed and optimistic interpretation of some of the most important works of Architecture of the twentieth century, which will surely contribute to the development of this century’s Architecture, already immersed in the paradigm shift towards sustainability and ecology.

Magnetic activity and differential rotation in the young Sun-like stars KIC 7985370 and KIC 7765135

Aims. We present a detailed study of the two Sun-like stars KIC 7985370 and KIC 7765135, to determine their activity level, spot distribution, and differential rotation. Both stars were previously discovered by us to be young stars and were observed by the NASA Kepler mission. Methods. The fundamental stellar parameters (vsini, spectral type, T_eff, log g, and [Fe/H]) were derived from optical spectroscopy by comparison with both standard-star and synthetic spectra. The spectra of the targets allowed us to study the chromospheric activity based on the emission in the core of hydrogen Hα and Ca ii infrared triplet (IRT) lines, which was revealed by the subtraction of inactive templates. The high-precision Kepler photometric data spanning over 229 days were then fitted with a robust spot model. Model selection and parameter estimation were performed in a Bayesian manner, using a Markov chain Monte Carlo method. Results. We find that both stars are Sun-like (of G1.5 V spectral type) and have an age of about 100–200 Myr, based on their lithium content and kinematics. Their youth is confirmed by their high level of chromospheric activity, which is comparable to that displayed by the early G-type stars in the Pleiades cluster. The Balmer decrement and flux ratio of their Ca ii-IRT lines suggest that the formation of the core of these lines occurs mainly in optically thick regions that are analogous to solar plages. The spot model applied to the Kepler photometry requires at least seven persistent spots in the case of KIC 7985370 and nine spots in the case of KIC 7765135 to provide a satisfactory fit to the data. The assumption of the longevity of the star spots, whose area is allowed to evolve with time, is at the heart of our spot-modelling approach. On both stars, the surface differential rotation is Sun-like, with the high-latitude spots rotating slower than the low-latitude ones. We found, for both stars, a rather high value of the equator-to-pole differential rotation (dΩ ≈ 0.18 rad d^-1), which disagrees with the predictions of some mean-field models of differential rotation for rapidly rotating stars. Our results agree instead with previous works on solar-type stars and other models that predict a higher latitudinal shear, increasing with equatorial angular velocity, that can vary during the magnetic cycle.

Australian water mass variations from GRACE data linked to Indo-Pacific climate variability

Time-variable gravity data from the Gravity Recovery And Climate Experiment (GRACE) mission are used to study total water content over Australia for the period 2002–2010. A time-varying annual signal explains 61% of the variance of the data, in good agreement with two independent estimates of the same quantity from hydrological models. Water mass content variations across Australia are linked to Pacific and Indian Ocean variability, associated with El Niño-Southern Oscillation (ENSO) and the Indian Ocean Dipole (IOD), respectively. From 1989, positive (negative) IOD phases were related to anomalously low (high) precipitation in southeastern Australia, associated with a reduced (enhanced) tropical moisture flux. In particular, the sustained water mass content reduction over central and southern regions of Australia during the period 2006–2008 is associated with three consecutive positive IOD events.

Steric and mass-induced sea level variations in the Mediterranean Sea revisited

The total sea level variation (SLV) is the combination of steric and mass␣induced SLV, whose exact shares are key to understanding the oceanic response to climate system changes. Total SLV can be observed by radar altimetry satellites such as TOPEX/POSEIDON and Jason 1/2. The steric SLV can be computed through temperature and salinity profiles from in situ measurements or from ocean general circulation models (OGCM), which can assimilate the said observations. The mass-induced SLV can be estimated from its time-variable gravity (TVG) signals. We revisit this problem in the Mediterranean Sea estimating the observed, steric, and mass-induced SLV, for the latter we analyze the latest TVG data set from the GRACE (Gravity Recovery and Climate Experiment) satellite mission launched in 2002, which is 3.5 times longer than in previous studies, with the application of a two-stage anisotropic filter to reduce the noise in high-degree and -order spherical harmonic coefficients. We confirm that the intra-annual total SLV are only produced by water mass changes, a fact explained in the literature as a result of the wind field around the Gibraltar Strait. The steric SLV estimated from the residual of “altimetry minus GRACE” agrees in phase with that estimated from OGCMs and in situ measurements, although showing a higher amplitude. The net water fluxes through both the straits of Gibraltar and Sicily have also been estimated accordingly.

On the steric and mass-induced contributions to the annual sea level variations in the Mediterranean Sea

The sea level variation (SLVtotal) is the sum of two major contributions: steric and mass-induced. The steric SLVsteric is that resulting from the thermal and salinity changes in a given water column. It only involves volume change, hence has no gravitational effect. The mass-induced SLVmass, on the other hand, arises from adding or subtracting water mass to or from the water column and has direct gravitational signature. We examine the closure of the seasonal SLV budget and estimate the relative importance of the two contributions in the Mediterranean Sea as a function of time. We use ocean altimetry data (from TOPEX/Poseidon, Jason 1, ERS, and ENVISAT missions) to estimate SLVtotal, temperature, and salinity data (from the Estimating the Circulation and Climate of the Ocean ocean model) to estimate SLVsteric, and time variable gravity data (from Gravity Recovery and Climate Experiment (GRACE) Project, April 2002 to July 2004) to estimate SLVmass. We find that the annual cycle of SLVtotal in the Mediterranean is mainly driven by SLVsteric but moderately offset by SLVmass. The agreement between the seasonal SLVmass estimations from SLVtotal – SLVsteric and from GRACE is quite remarkable; the annual cycle reaches the maximum value in mid-February, almost half a cycle later than SLVtotal or SLVsteric, which peak by mid-October and mid-September, respectively. Thus, when sea level is rising (falling), the Mediterranean Sea is actually losing (gaining) mass. Furthermore, as SLVmass is balanced by vertical (precipitation minus evaporation, P–E) and horizontal (exchange of water with the Atlantic, Black Sea, and river runoff) mass fluxes, we compared it with the P–E determined from meteorological data to estimate the annual cycle of the horizontal flux.

Reply to comment by L. Fenoglio-Marc et al. on “On the steric and mass-induced contributions to the annual sea level variations in the Mediterranean Sea”

Reply to comment by L. Fenoglio-Marc et al. on “On the steric and mass-induced contributions to the annual sea level variations in the Mediterranean Sea”.

Unifying the observational diversity of isolated neutron stars via magneto-thermal evolution models

Observations of magnetars and some of the high magnetic field pulsars have shown that their thermal luminosity is systematically higher than that of classical radio-pulsars, thus confirming the idea that magnetic fields are involved in their X-ray emission. Here we present the results of 2D simulations of the fully coupled evolution of temperature and magnetic field in neutron stars, including the state-of-the-art kinetic coefficients and, for the first time, the important effect of the Hall term. After gathering and thoroughly re-analysing in a consistent way all the best available data on isolated, thermally emitting neutron stars, we compare our theoretical models to a data sample of 40 sources. We find that our evolutionary models can explain the phenomenological diversity of magnetars, high-B radio-pulsars, and isolated nearby neutron stars by only varying their initial magnetic field, mass and envelope composition. Nearly all sources appear to follow the expectations of the standard theoretical models. Finally, we discuss the expected outburst rates and the evolutionary links between different classes. Our results constitute a major step towards the grand unification of the isolated neutron star zoo.

The imprint of the crustal magnetic field on the thermal spectra and pulse profiles of isolated neutron stars

Isolated neutron stars (NSs) show a bewildering variety of astrophysical manifestations, presumably shaped by the magnetic field strength and topology at birth. Here, using state-of-the-art calculations of the coupled magnetic and thermal evolution of NSs, we compute the thermal spectra and pulse profiles expected for a variety of initial magnetic field configurations. In particular, we contrast models with purely poloidal magnetic fields to models dominated by a strong internal toroidal component. We find that, while the former displays double-peaked profiles and very low pulsed fractions, in the latter, the anisotropy in the surface temperature produced by the toroidal field often results in a single pulse profile, with pulsed fractions that can exceed the 50–60 per cent level even for perfectly isotropic local emission. We further use our theoretical results to generate simulated ‘observed’ spectra, and show that blackbody (BB) fits result in inferred radii that can be significantly smaller than the actual NS radius, even as low as ∼1–2 km for old NSs with strong internal toroidal fields and a high absorption column density along their line of sight. We compute the size of the inferred BB radius for a few representative magnetic field configurations, NS ages and magnitudes of the column density. Our theoretical results are of direct relevance to the interpretation of X-ray observations of isolated NSs, as well as to the constraints on the equation of state of dense matter through radius measurements.

A new low magnetic field magnetar: the 2011 outburst of Swift J1822.3–1606

We report on the long-term X-ray monitoring with Swift, RXTE, Suzaku, Chandra, and XMM-Newton of the outburst of the newly discovered magnetar Swift J1822.3–1606 (SGR 1822–1606), from the first observations soon after the detection of the short X-ray bursts which led to its discovery, through the first stages of its outburst decay (covering the time span from 2011 July until the end of 2012 April). We also report on archival ROSAT observations which detected the source during its likely quiescent state, and on upper limits on Swift J1822.3–1606's radio-pulsed and optical emission during outburst, with the Green Bank Telescope and the Gran Telescopio Canarias, respectively. Our X-ray timing analysis finds the source rotating with a period of P = 8.43772016(2) s and a period derivative P = 8.3(2)×10−14 s s−1, which implies an inferred dipolar surface magnetic field of B sime 2.7 × 1013 G at the equator. This measurement makes Swift J1822.3–1606 the second lowest magnetic field magnetar (after SGR 0418+5729). Following the flux and spectral evolution from the beginning of the outburst, we find that the flux decreased by about an order of magnitude, with a subtle softening of the spectrum, both typical of the outburst decay of magnetars. By modeling the secular thermal evolution of Swift J1822.3–1606, we find that the observed timing properties of the source, as well as its quiescent X-ray luminosity, can be reproduced if it was born with a poloidal and crustal toroidal fields of Bp ~ 1.5 × 1014 G and B tor ~ 7 × 1014 G, respectively, and if its current age is ~550 kyr.

Effects of nitrogen sources on the nitrate assimilation in Haloferax mediterranei: growth kinetics and transcriptomic analysis

The haloarchaeon Haloferax mediterranei is able to grow in a defined culture media not only in the presence of inorganic nitrogen salt but also with amino acid as the sole nitrogen source. Assimilatory nitrate and nitrite reductases, respectively, catalyze the first and second reactions. The genes involved in this process are nasA, which encodes nitrate reductase and is found within the operon nasABC, and nasD, which encodes nitrite reductase. These genes are subjected to transcriptional regulation, being repressed in the presence of ammonium and induced with either nitrate or nitrite. This type of regulation has also been described when the amino acids are used as nitrogen source in the minimal media. Furthermore, it has been observed that the microorganism growth depends on nitrogen source, obtaining the lowest growth rate in the presence of nitrate and aspartate. In this paper, we present the results of a comparative study of microorganism growth and transcriptomic analysis of the operon nasABC and gene nasD in different nitrogen sources. The results are the first ever produced in relation to amino acids as nitrogen sources within the Halobacteriaceae family.

Spectral features in isolated neutron stars induced by inhomogeneous surface temperatures

The thermal X-ray spectra of several isolated neutron stars display deviations from a pure blackbody. The accurate physical interpretation of these spectral features bears profound implications for our understanding of the atmospheric composition, magnetic field strength and topology, and equation of state of dense matter. With specific details varying from source to source, common explanations for the features have ranged from atomic transitions in the magnetized atmospheres or condensed surface, to cyclotron lines generated in a hot ionized layer near the surface. Here, we quantitatively evaluate the X-ray spectral distortions induced by inhomogeneous temperature distributions of the neutron star surface. To this aim, we explore several surface temperature distributions, we simulate their corresponding general relativistic X-ray spectra (assuming an isotropic, blackbody emission), and fit the latter with a single blackbody model. We find that, in some cases, the presence of a spurious ‘spectral line’ is required at a high significance level in order to obtain statistically acceptable fits, with central energy and equivalent width similar to the values typically observed. We also perform a fit to a specific object, RX J0806.4−4123, finding several surface temperature distributions able to model the observed spectrum. The explored effect is unlikely to work in all sources with detected lines, but in some cases it can indeed be responsible for the appearance of such lines. Our results enforce the idea that surface temperature anisotropy can be an important factor that should be considered and explored also in combination with more sophisticated emission models like atmospheres.

The little-studied cluster Berkeley 90 I. LS III +46 11: a very massive O3.5 If* + O3.5 If* binary

Context. It appears that most (if not all) massive stars are born in multiple systems. At the same time, the most massive binaries are hard to find owing to their low numbers throughout the Galaxy and the implied large distances and extinctions. Aims. We want to study LS III +46 11, identified in this paper as a very massive binary; another nearby massive system, LS III +46 12; and the surrounding stellar cluster, Berkeley 90. Methods. Most of the data used in this paper are multi-epoch high S/N optical spectra, although we also use Lucky Imaging and archival photometry. The spectra are reduced with dedicated pipelines and processed with our own software, such as a spectroscopic-orbit code, CHORIZOS, and MGB. Results. LS III +46 11 is identified as a new very early O-type spectroscopic binary [O3.5 If* + O3.5 If*] and LS III +46 12 as another early O-type system [O4.5 V((f))]. We measure a 97.2-day period for LS III +46 11 and derive minimum masses of 38.80 ± 0.83 M⊙ and 35.60 ± 0.77 M⊙ for its two stars. We measure the extinction to both stars, estimate the distance, search for optical companions, and study the surrounding cluster. In doing so, a variable extinction is found as well as discrepant results for the distance. We discuss possible explanations and suggest that LS III +46 12 may be a hidden binary system where the companion is currently undetected.

On the formation and evolution of the first Be star in a black hole binary MWC 656

We find that the formation of MWC 656 (the first Be binary containing a black hole) involves a common envelope phase and a supernova explosion. This result supports the idea that a rapidly rotating Be star can emerge out of a common envelope phase, which is very intriguing because this evolutionary stage is thought to be too fast to lead to significant accretion and spin up of the B star. We predict ∼10–100 of B-BH binaries to currently reside in the Galactic disc, among which around 1/3 contain a Be star, but there is only a small chance to observe a system with parameters resembling MWC 656. If MWC 656 is representative of intrinsic Galactic Be-BH binary population, it may indicate that standard evolutionary theory needs to be revised. This would pose another evolutionary problem in understanding black hole (BH) binaries, with BH X-ray novae formation issue being the prime example. Future evolution of MWC 656 with an ∼5 M⊙ BH and with an ∼13 M⊙ main-sequence companion on an ∼60 d orbit may lead to the formation of a coalescing BH–NS (neutron star) system. The estimated Advanced LIGO/Virgo detection rate of such systems is up to ∼0.2 yr−1. This empirical estimate is a lower limit as it is obtained with only one particular evolutionary scenario, the MWC 656 binary. This is only a third such estimate available (after Cyg X-1 and Cyg X-3), and it lends additional support to the existence of so far undetected BH–NS binaries.