Systematic Method to Assess Small-Signal Stability of DC-Distributed Power-System-Architecture

The objective of this paper is to present a simplified method to analyze small-signal stability of a power system and provide performance metrics for stability assessment of a given power-system-architecture. The stability margins are stated utilizing a concept of maximum peak criteria (MPC), derived from the behavior of an impedance-based sensitivity function that provides a single number to state the robustness of the stability of a well-defined minor-loop gain. For each minor-loop gain, defined at every system interface, the robustness of the stability is provided as a maximum value of the corresponding sensitivity function. Typically power systems comprise of various interfaces and, therefore, in order to compare different architecture solutions in terms of stability, a single number providing an overall measure of the whole system stability is required. The selected figure of merit is geometric average of each maximum peak value within the system, combined with the worst case value of system interfaces.

Alfredo Payá. Alicante, Spain

In his retreat in Alicante, where he gives calm and deliverate classes at the city's new architecture school , ALFREDO PAYA ls a serene and centered architect who transmits these qualities through the buildings he constructs .

From Analysis Model to Software Architecture: a PIM2PIM Mapping.

To our knowledge, no current software development methodology explicitly describes how to transit from the analysis model to the software architecture of the application. This paper presents a method to derive the software architecture of a system from its analysis model. To do this, we are going to use MDA. Both the analysis model and the architectural model are PIMs described with UML 2. The model type mapping designed consists of several rules (expressed using OCL and natural language) that, when applied to the analysis artifacts, generate the software architecture of the application. Specifically the rules act on elements of the UML 2 metamodel (metamodel mapping). We have developed a tool (using Smalltalk) that permits the automatic application of these rules to an analysis model defined in RoseTM to generate the application architecture expressed in the architectural style C2.

Emergency management in the highways of the future. A performance-based multilayered ITS architecture design proposal

Emergency management is one of the key aspects within the day-to-day operation procedures in a highway. Efficiency in the overall response in case of an incident is paramount in reducing the consequences of any incident. However, the approach of highway operators to the issue of incident management is still usually far from a systematic, standardized way. This paper attempts to address the issue and provide several hints on why this happens, and a proposal on how the situation could be overcome. An introduction to a performance based approach to a general system specification will be described, and then applied to a particular road emergency management task. A real testbed has been implemented to show the validity of the proposed approach. Ad-hoc sensors (one camera and one laser scanner) were efficiently deployed to acquire data, and advanced fusion techniques applied at the processing stage to reach the specific user requirements in terms of functionality, flexibility and accuracy.

Software architecture implementation based on OpenSim

One of the objectives of the European Higher Education Area is the promotion of collaborative and informal learning through the implementation of educational practices. 3D virtual environments become an ideal space for such activities. On the other hand, the problem of financing in Spanish universities has led to the search for new ways to optimize available resources. The Technical University of Madrid requires the use of laboratories which due to their dangerousness, duration or control of the developed processes are difficult to perform in real life. For this reason, we have developed several 3D laboratories in virtual environment. The laboratories are built on open source platform OpenSim. In this paper it is exposed the use of the OpenSim platform for these new teaching experiences and the new design of the software architecture. This architecture requires the adaptation of the platform to the needs of the users and the different laboratories of our University. We will explain the structure of the implemented architecture and the process of creating and configuring it. The proposed architecture is decentralized, each laboratory is housed in different an educational center. The architecture adds several services, among others, the creation and management of users automated, communication between external services and platforms in different program languages. Therefore, we achieve improving the user experience and rising the functionalities of laboratories.

El tiempo como sustancia de la forma : una aproximación al Museo de Arte Romano de Mérida desde los presupuestos del vitalismo

El modelo dominante durante la Era Moderna asume la presencia del hombre como sujeto dentro del gran engranaje mecánico del Cosmos. Asimismo, recoge una idea acerca del ser natural dentro de la tradición ontológica iniciada por el eleatismo presocrático que concibe a éste como lo inmutable y estático frente al cambio y al movimiento, los cuales se constituyen como meras apariencias. Durante el periodo anterior a la aparición de los grandes filósofos griegos se produce una transformación en donde, de la inicial cosmología vinculada a un tiempo primordial, se pasará a una visión del Universo como ente indestructible, atemporal, inmutable, perfecto, geométrico y espacial. Si en Demócrito se admite un universo sometido al azar y a la necesidad, en Platón el Universo sólo atiende a la necesidad. Este modelo ontológico se pone en entredicho cuando el hombre ya no es concebido como pieza de un sistema más amplio, sino como centro radical del pensamiento. La condición radical del hombre es entonces su propia vida, siendo éste el concepto troncal del denominado vitalismo cuyo más influyente representante en España es José Ortega y Gasset. El estatismo del ser –del hombre- pierde sentido; en palabras del propio Ortega, “no es un ser sino un estar siendo” lo que caracteriza a la vida humana. La razón cartesiana es ahora la razón vital y su objeto de estudio no es la naturaleza sino el propio devenir, es decir, el tiempo, la historia. Este planteamiento es fundamental para comprender el edificio que es objeto de este estudio, el Museo de Arte Romano de Mérida (1980-1985) de Rafael Moneo. Por ello el concepto de tiempo es utilizado como marco y estructura de la presente tesis, a sabiendas del notorio y muy significativo papel que este edificio desempeñó en la carrera de su autor y en el panorama nacional e internacional de la arquitectura y de la museología. Este proyecto nos permite acercarnos al pensamiento de su autor a través de un edificio que, aun habiendo sido ampliamente reconocido, no cuenta con un estudio suficientemente exhaustivo que recoja la amplitud y riqueza que encierra. Esta tesis no es un compendio de lo que ya se ha investigado sobre Mérida; es una aproximación global e interpretativa cuyo sentido sólo puede concebirse al vislumbrar la estructura completa de la misma en sintonía con el "lógos" vital, histórico y narrativo que el proyecto encierra. Se revisará la concepción histórica según la cual, la configuración espacial de la forma habría tenido primacía respecto a su configuración temporal, al remitir esta última a una condición espacializada y circunstancial. La componente vicaria de la circunstancia será elevada por Ortega a la categoría de esencial, visualizando así una paradoja cuya reformulación nos lleva a la concepción de un tiempo sustancial. El diccionario de la RAE, en su tercera acepción, define la sustancia como “aquello que permanece en algo que cambia”, lo cual nos remite al pensamiento antiguo. Se mostrará que lo que permanece no necesariamente implica una concepción estática y eleática de la forma, que la arquitectura esencial no es unívocamente la arquitectura atemporal del platonismo y que cabe concebir la "firmitas" desde la atención a la "durée" bergsoniana. Al asociar tradicionalmente la sustancia con el referido estatismo, se margina al tiempo y a la duración a lo no sustancial; por ello, se tratará de aproximar los términos de tiempo y sustancia para definir la forma. Ello conllevará al estudio de las notables patologías derivadas de la asunción de un tiempo cronológico en nuestra contemporaneidad frente a las cuales, las intuiciones contenidas en Mérida, se alinearán con la actual actitud revisionista en el ámbito del pensamiento filosófico y científico. En Mérida, la memoria recogerá los aspectos de la conciencia así como los aspectos vinculados a la experiencia íntima y colectiva como soporte para la consecución de un discurso. La dualidad entre intuición e inteligencia será recogida por Moneo con idea de trascender su incomunicabilidad, mediante una operación que consistirá en la reivindicación de una memoria irreductible, cuya morada estaría incardinada en el propio tiempo de la duración y de la vida y no en la espacialidad coextensiva del presente y de la acción funcional sobre la materia. Moneo asumirá el papel de la memoria como condición central de una forma que se encarnará al concebirse como un teatro. En la respuesta a la contradicción entre el hecho físico y el efecto psíquico de la experiencia humana residirá la pertinencia de un tiempo narrativo. Será entonces el lenguaje el encargado de aportar sentido a la obra mediante el recurso fundado en la dramatización de la experiencia, es decir, a través de una conexión entre la conciencia íntima y el carácter social y colectivo intrínseco en la arquitectura. ABSTRACT TIME AS A SUBSTANCE OF FORM. AN APPROACH TO THE ROMAN ART MUSEUM OF MÉRIDA FROM THE VIEWPOINT OF VITALISM. The dominant model during the Modern Era placed man as a subject inside the great mechanism of the cosmos. It is also based in an idea about natural being within the ontological tradition initiated by the pre-Socratic Eleatism that conceives it as something immutable and static in respect with change and movement, which are considered as mere appearances. Prior to the emergence of the great Greek philosophers occurred a transformation where concepts of cosmology linked to a primordial time, changed to a view of the universe as indestructible, timeless, unchanging, perfect, geometric and spatial. If Democritus accepted a universe subjected to randomness and necessity, Plato thought that the universe only worked by necessity. This ontological model is called into question when man is not conceived as a piece of a broader system, but as a radical center of thinking. The radical condition of man then is his own life. This is the core concept of so-called Vitalism, whose most influential representative in Spain was José Ortega y Gasset. The stillness of being – of man - loses its meaning; in the words of Ortega, “it is not being but being in progress” that characterizes human life. The Cartesian reason is now the vital reason and its subject of study is no longer nature but its own evolution, in other words, time and history. This approach is fundamental to understand the building which is the subject of this study, the Museum of Roman Art in Mérida (1980-1985) by Rafael Moneo. The concept of time is used as a framework and structure of this thesis, demonstrating the notorious and very significant role this building has implied in the career of its author and in the national and international panorama of architecture and museology. This project allow us to approach the thought of its author through a building that, even whilst widely recognized, does not yet have a sufficiently comprehensive study covering its breadth and richness. This thesis is not a compendium of what already has been researched on Merida; it is a global and interpretative approach whose meaning can only be conceived as a study of its complete structure in line with the vital, historical and narrative logos the project implies. We will review the historical idea where spatial configuration of the form would have had primacy with respect to temporary configuration, because the latter refers to a spatial and circumstantial condition. The vicarious nature of the circumstance will be elevated by Ortega to the category of essential, thus showing a paradox which reformulation leads us to the conception of a substantial time. The dictionary of the Spanish Royal Academy, in its third meaning, defines substance as "that which remains in something that changes". This is a reference to ancient thought. It will be shown that what remains does not necessarily imply a static and Eleatic conception of form. It will also be shown that the essential architecture is not uniquely the timeless architecture of Platonism and that it is possible to conceive the "firmitas" parallel to the "durée" of Henri Bergson. As a result of this traditional association between substance and stillness, it marginalizes the time and the duration to the non-substantial; for this reason, we will try to approach terms of time and substance to define the shape. This will involve studying significant pathologies resulting from an assumption of chronological time in our contemporary world against which, the insights contained in Merida, will be aligned with the current revisionist attitude in the fields of philosophical and scientific thought. In Merida, memory includes aspects of consciousness as well as aspects linked to the intimate and collective experience as a foundation for the achievement of discourse. The duality between intuition and intelligence is put forward by Moneo with the idea of transcending its lack of communication, by means of a resource consisting of the vindication of an irreducible memory, whose home would be embodied in the time of duration and life and not in the coextensive spatiality of the present and in the functional action on the matter. Moneo demonstrates the role of memory as a central condition of form as a theatre. In response to the contradiction between the physical fact and the psychological effect of human experience lies the relevance of narrative time. Language then assumes the responsibility of giving meaning to the work through the dramatization of experience, i.e., through a connection between the intimate consciousness and the intrinsic social and collective character of architecture.

Construction History in Spain: the Discipline's Foundation

In the past two decades the History of Construction has started to become an independent discipline. On one hand, the number of articles, theses and books that could be assigned to this field has grown exponentially. Furthermore, there have been numerous and remarkably successful Congresses: 12 National (Spain 8; France 2; United Kingdom 1; Germany 1) and 4 International Congresses (Madrid 2003, Cambridge 2006, Cottbus 2009, Paris 2012), see Table 1 below. However, the situation is far from that corresponding to an already recognized discipline, such as the History of Art or the History of Science. There are no University chairs and departments, and in the reference databases “Construction History” is not listed as a common descriptor. This is not surprising; it reflects the inertia of academia to accept new disciplines. In what follows we will discuss the current state of discipline in Spain. Previous articles have tackled the matter. We will try to avoid unnecessary repetitions and concentrate on: 1) The activities of the Spanish Society of Construction History; 2) Its consequences on teaching and research, taken as a case study the experience in the School of Architecture of Madrid, and 3) We will give a provisional List of dissertations on Construction History read in Spain in the last forty years. First, we will try to define with the least possible ambiguity its field and its objectives. The intention is not to enter into the actual debate on the "definition" of Construction History, but to expose, in as detached as possible way, the ideas behind the actions made.