Taccuino finale MTV Parkour, Brontolo Group by Nico Tiezzi

Ant one l l aAl a gi a N. M.3866295 e ma i l :gi u_a l a gi a 89@hot ma i l . i t Te l .3485635456 Doc e nt e :Gi us e ppeRi dol f i

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Ant oni oBuf f a N. M.4255231 e ma i l :a nt oni obuf f a @a l i c e . i t Te l .3382063307 Doc e nt e :Gi us e ppeRi dol f i

I NDI CE Ca pi t ol oI-Ri c e r c aa360째 :a r c hi t e t t ur eet e c nol ogi edir i f e r i me nt o. . . . . . . pa g.4 Ca pi t ol oI I-I lMa r c hi oMTVel af unz i onePa r kour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pa g.157 Ca pi t ol oI I I-Pr i mei de ee dul t e r i or is punt i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pa g.180 Ca pi t ol oI V-Se r pe nt i neGa l l e r yPa vi l i on2002, ToyoI t o. . . . . . . . . . . . . . . . . . . . . . . pa g.222 Ca pi t ol oV-Conc e pte di t e re vol ut i vopr oge t t o. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pa g.238 Ca pi t ol oVI-Pr oge t t of i na l e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pa g.283 Ca pi t ol oVI I-Pr oge t t or e s t i t uz i onegr a f i c a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pa g.317

Ca pi t ol oI Ri c e r c aa360째 : a r c hi t e t t ur eet e c nol ogi e dir i f e r i me nt o

ELETTROLUMI NESCENZA

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L' e l e t t r ol umi ne s c e nz aèunpa r t i c ol a r et i podil umi ne s c e nz ac hec a r a t t e r i z z aa l c unima t e r i a l ii ngr a dodie me t t e r el uc es ot t ol ' a z i one diunc a mpoe l e t t r i c o,ovve r oqua ndoa t t r a ve r s a t odaunac or r e nt ee l e t t r i c a .L' e l e t t r ol umi ne s c e nz aèdi f f e r e nt eda l l ' e mi s s i onedi l uc edovut aa dunas ol l e c i t a z i onet e r mi c a( i nc a nde s c e nz a )oa l l ' a z i onedia ge nt ic hi mi c i( c hi mi l umi ne s c e nz a ) .Sit r a t t ade lr i s ul t a t o da l l ac ombi na z i onedie l e t t r oniel a c unei nunda t oma t e r i a l e ,dis ol i t os e mi c ondut t or e .Gl ie l e t t r onie c c i t a t ir i l a s c i a nol ' e ne r gi a s ot t of or madif ot oniequi ndil uc e .Pr i made l l ar i c ombi na z i one ,gl ie l e t t r oniel el a c unepr e s e nt ine lma t e r i a l es onos i as e pa r a t i gr a z i ea ldr oga ggi ode lma t e r i a l ei nduedi s t i nz ez one ,f or ma ndos iunagi unz i onepn( ne is e mi c ondut t or il ' e l e t t r ol umi ne s c e nz a a vvi e nec onl os t e s s ome c c a ni s c modif unz i ona me nt ode iLED) ,c hegr a z i ea l l ' e c c i t a z i onedovut aa l l ' i mpa t t odie l e t t r onia da l t a e ne r gi aa c c e l l e r a t idaunf or t ec a mpoe l e t t r i c o( c omea c c a dea if os f ot ine idi s pl a ye l e t t r ol umi ne s c e nt i ) .Es e mpidima t e r i a l i e l e t t r ol umi ne s c e nt i :Zi nc os ol f ur odr oga t oc onr a meoa r ge nt o,Fi l mdiz i nc os ol f ur odr oga t oc onma nga ne s e ,s e mi c ondut t or iI I I V c omeI nP ,Ga As ,eGa N,Di a ma nt ebl una t ur a l e( di a ma nt ec onbor oc omedr oga nt e ) ,Se mi c ondut t or ior ga ni c i .Ge ne r a l me nt el a c omme r c i a l i z z a z i onedique s t os i s t e mal umi nos oa vvi e nei nmodul ie l e t t r ol umi ne s c e nt i ,ovve r os ot t i l is t r i s c eona s t r if l e s s i bi l ie r e a l i z z a bi l is udi s e gno,ec hepe r me t t onol af or ma z i onedis c r i t t eol oghi ,epos s onoe s s e r ea ppl i c a t ic onde lnor ma l i s s i mo bi a de s i vo. Ledi me ns i onima s s i mer e a l i z z a bi l is onodis ol i t opa r ia100me t r idil unghe z z ac onunas t r i s c i adil a r ghe z z adi1c m, me nt r es onodi100x50c mpe rs i ngol omodul o.Une ndopa nne l l ipi ùpi c c ol is ihal apos s i bi l i t àdir e a l i z z a r epa nne l l ididi me ns i oni ma ggi or i .Gr a z i eaque s t os ia pr el apos s i bi l i t àdic r e a r epa r e t ies of f i t t il umi nos i .Pr ot e t t ii nol t r ec onve t r oc a l pe s t a bi l eque s t i s i s t e mida nnovi t aape r c or s il umi nos iopa vi me nt a z i onii l l umi na t e ,pr ot e t t ees e nz aa l c unpe r i c ol odida nne ggi a me nt ope rl a ma t e r i apr i ma . Is i s t e mie l e t t r ol umi ne s c e nt it r ova nopa r t i c ol a r ea ppl i c a z i onene is e t t or is c e nogr a f i c o,de l l ' a l l e s t i me nt oede l l a s e gna l e t i c adis i c ur e z z aene l l ’ i l l umi na z i onede idi s pl a ydia ppa r e c c hi a t ur ee l e t t r oni c he .I ls i s t e mas ic omponediunmodul o e l e t t r ol umi ne s c e nt e ,de t t ol a mpa da ,ediuni nve r t e rc hedaa l i me nt a z i onea l l as t e s s a .Ne lc a s os ivogl i a nor e a l i z z a r ee f f e t t i l umi nos ipa r t i c ol a r ive ngonoi mpi e ga t ii nve r t e rpi ùs of i s t i c a t ic hepe r me t t onol age s t i onede gl ie f f e t t i ,i lt ut t oa t t r a ve r s oun pa nne l l odic ont r ol l o.Ladur a t adiunal a mpa daa dEl e t t r ol umi ne s c e nz aèdic i r c a40. 000or e ,maa l l ’ i nc i r c adopol epr i me 10. 000–12. 000or es ihagi àunde c a di me nt ode lf l us s ol umi nos odic i r c ai l30%.

Cos t r uz i onediunpa nne l l oLEC ht t p: / / i t . kohl s t a e dt . c om/ me mbr a ne f r ont a l i / c os t r uz i one . ht ml Fa s e1:i lr e pa r t odigr a f i c ac r e aunmode l l odis t a mpa , c hes e r vi r àpe rl apr oduz i onede l l os t e nc i l .Sul l os t e nc i l vi e nea ppl i c a t aunapa s t as vi l uppa t aa ppos i t a me nt epe r l apr oduz i onediuname mbr a naa de l e t t r ol umi ne s c e nz a .

Fa s e2:l apa s t al i qui davi e nes pa l ma t ac onun r a s c hi e t t os ulmot i vo,i nmodoc hea t t r a ve r s i l ema gl i epe r me a bi l ide l l os t e nc i lgi unge ndo f i noa l l ame mbr a na .

Fa s e3:vi e nemi s ur a t al af unz i ona l i t àde l l ame mbr a na a de l e t t r ol umi ne s c e nz at r a mi t eunmul t i me t r o. Ve ngonomi s ur a t el ' i nt e ns i t àl umi nos aepos s i bi l i e r r or idis t a mpa . . Fa s e4:l ame mbr a navi e nemont a t ama nua l me nt ene lpl ot t e rl a s e r s ul l ' a ppos i t ot e l a i odimont a ggi oet a gl i a t ac onunl a s e rCNC. . Fa s e5:l af a s edipr oduz i ones uc c e s s i vas e r ve Fa s e6:l ame mbr a naa de l e t t r ol umi ne s c e nz aès t a t ac ompl e t a t a ,i ni z i al ' i nt e gr a z i one a da t t a c c a r ei lc onne t t or ea lc ondut t or e de lpr odot t oi nt e r me di one ls uopr odot t os uc c e s s i vo,i nque s t oc a s ounpa nne l l o s t a mpa t opr e vi s t o. f r ont a l e : vi e nei nc ol l a t ane l l ' a ppos i t oi nc a vof r e s a t oec ope r t ac onl ame mbr a na f r ont a l e . . .

Loop. pHMETABOLI CMEDI A ht t p: / / l oop. ph/ bi n/ vi e w/ Loop/ We bHome

Loop. pHèunos t udi odide s i gnc ons e deaLondr a . Lal or or i c e r c ami r aac ol ma r ei ldi va r i ot r al apr oge t t a z i oneel es c i e nz e na t ur a l i .Sonos pe c i a l i z z a t ine l l apr oge t t a z i one ,c os t r uz i oneef a bbr i c a z i onedipr odot t it e s s i l ie c ol ogi c a me nt es e ns i bi l i pe rl ' a mbi e nt ec os t r ui t o.Sonodi r e t t or iide s i gne rRa c he lWi ngf i e l dei lr i c e r c a t or eMa t hi a sGma c hl .Ra c he l . Loop. pH. I npa r t i c ol a r eDi gi t alDawnèuni nnova t i vodi s pos i t i vol umi nos oi nt e s s ut oe l e t t r ol umi ne s c e nt ef ot os e ns i bi l e ,i s pi r a t oa l f e nome node l l af ot os i nt e s ic l or of i l l i a na .E’unos ma r tma t e r i a l ,hac i oèl ac a pa c i t à ,as e c ondade l l ’ i nput ,dimodi f i c a r el apr opr i a s t r ut t ur a ,f or maoc ol or e .I ldi s pos i t i voa c c umul al al uc ena t ur a l edur a nt ei lgi or nope rc onve r t i r l ai ne ne r gi ae l e t t r i c ada de s t i na r e ,ne l l eor enot t ur ne ,a lt e s s ut os t a mpa t oc ons pe c i a l ipi gme nt ie l e t t r ol umi ne s c e nt ic her i pr oduc onounpi a c e vol e mot i vof l or e a l el umi nos o.I ls i s t e mai nt e gr aunas e r i edif ot oc e l l ul ec hepe r c e pi s c onoi lc a mbi a me nt ode l l ec ondi z i onidi l umi nos i t àde l l ’ a mbi e nt ec i r c os t a nt e ,c a us a ndol ’ a t t i va z i onede l l as upe r f i c i es e ns i bi l e .I nc ondi z i onidia l t al umi nos i t à i ls i s t e mas ia t t i vas ol oi nmi ni mapa r t eme nt r ei nc ondi z i onidiba s s al umi nos i t à ,i ldi s pos i t i vos ia c c e ndepr ogr e s s i va me nt e r i ve l a ndot ut t al at e xt ur ef l or e a l ee de me t t e ndounal uc edi f f us ae domoge ne a . Tut t oi ls i s t e maèa ut onomo,e f f i c i e nt e ,s i c ur o ec ons e nt eunnot e vol er i s pa r mi oe ne r ge t i c os opr a t t ut t os ea bbi na t oade ipa nne l l if ot ovol t a i c ipe ri lr e c upe r ode l l ’ e ne r gi as ol a r e , da ndovi t ac os ìa dunpr odot t ot ot a l me nt ee c os os t e ni bi l ePe rc hivol e s s eve de r l oda lvi voema ga r is it r ovaaLondr apuò t r ova r l one l l ac ol l e z i onepe r me ne nt ede lVi c t or i a &Al be r tMus e um.Ovvi a me nt eimot i vis onope r s ona l i z z a bi l ie ,a t t r a ve r s o is i s t e midis e r i gr a f i c ièpos s i bi l er i pr odur r equa l s i a s idi s e gnoot e s t o. Tut t iidi s pos i t i vie l e t t r ol umi ne s c e nt is onoa l i me nt a t i aba s s at e ns i oneeha nnounc i c l odivi t adide c i nedimi gl i a i adior e ,s e nz ar i c hi e de r epr a t i c a me nt ea l c unama nut e nz i one !

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Loop. pHMETABOLI CMEDI A ht t p: / / l oop. ph/ bi n/ vi e w/ Loop/ We bHome LALUCE“ CORRE”NEIFRUTTIDISOSCO ht t p: / / www. f l i c kr . c om/ phot os / l oopph/ s e t s / 72157606289424554/

Loop. pHMETABOLI CMEDI A ht t p: / / l oop. ph/ bi n/ vi e w/ Loop/ We bHome

SONUMBRA unombr e l l i nof uor imi s ur a ,digi or no,of f r er i pa r oda ls ol e ;dinot t e ,i l l umi naut i l i z z a ndol ' e ne r gi ar a c c ol t ai nc e l l es ol a r i i nc or por a t e . Loop. pHr e a l i z z a t ol apr i mave r s i onediSonumbr ac omes pa z i ogi oc or e a t t i voi nMowbr a yPa r k,Sunde r l a nd.Ès t a t opr oge t t a t o pe rr i s ponde r ea lgi oc oel ' a t t i vi t àde l l epe r s oneor bi t a nt il ' ombr e l l ol a nc i a ndounat ona l i t às onor adil uc e . L' a t mos f e r adir i t mimus i c a l i ,a r moni eede imode l l il umi nos is onoc ompos t eda lmovi me nt ode ivi s i t a t or ia t t i viopa s s i vi . L' ombr e l l oèr e a l i z z a t oi nunr i c a modimol t ef i br ee l e t t r ol umi ne s c e nt i .Que s t omode l l oèa ni ma t o:c onl al uc ei l l us t r a vi s i va me nt el apos i z i onede lvi s i t a t or ea l l ’ i nt e r node l l ac os t e l l a z i oneea de s s aa s s oc i auns uonos ur r ound. Va ga ndoi nc ons a pe vol eoa t t i va me nt egr a vi t a nt ive r s oSonumbr aognipe r s onahaunr uol oedi ve nt a unanot ai nunac ompos i z i oneuni c adil uc e ,s uonoes pa z i o.

Loop. pHMETABOLI CMEDI A ht t p: / / l oop. ph/ bi n/ vi e w/ Loop/ We bHome

Uname mbr a namodul a r ef ot ovol t a i c apuĂ˛e s s e r er i ve s t i t adia r c hi t e t t ur at e s s i l es yne t i c :dur a nt ei lgi or noc a t t ur al uc es ol a r e eunavol t ac hec a l al as e r al al uc eĂ¨r i l a s c i a t aoc ont e s s ut ol umi ne s c e nt eoc onLEDaba s s oc ons umoemi c r oc i r c ui t is t a mpa t i . I lme c c a ni s modic e l l es ol a r it i nge r e s e ns i bi l i z z a t er i pr oduc ei lpr oc e s s odif ot os i nt e s ide l l epi a nt e ,ut i l i z z a ndoc ol or a nt ii nve c e dic l or of i l l a ,pe ra s s or bi r ee ne r gi ada l l al uc e( f ot oni ) .Que s t oa s s or bi me nt odie ne r gi ae c c i t agl ie l e t t r oni ,que s t ie l e t t r onis ono s pos t a t ia l l ' i nt e r node lc l or opl a s t i ,f or ma nol emol e c ol edi ATPeNADPHeunac or r e nt ee l e t t r i c ane l l ec e l l es ol a r i . ht t p: / / www. f l i c kr . c om/ phot os / l oopph/ s e t s / 72157607372265198/

P ANNELLILEC-Cont i nua Li ght ht t p: / / www. c ont i nua l i ght . c om/ I T/ a z i e nda . php Pa nne l l il umi nos iba s a t is ul l at e c nol ogi aLe c( Li ghtEmi t t i ngCa pa c i t or ) . Di s t r i bui t ii nI t a l i adaCont i nua Li ght ,que s t ipa nne l l is onode s t i na t iar i de f i ni r ei l c onc e t t os t e s s odie l e t t r ol umi ne s c e nz a .Fl e s s i bi l i ,l e gge r ic omeunf ogl i odic a r t a es ot t i l ia ppe na1mm,s a nnot r a s f or ma r et ut t el es upe r f i c ii nf ont idil uc euni f or mi es e nz age ne r a z i onedic a l or e .Que s t ipa nne l l ic ont e ngonounos t r a t odif os f or ic he e me t t onol uc es es t i mol a t idaunc a mpoe l e t t r i c o.Lal or os t r ut t ur aèas a ndwi c h, c ons t r a t ipr ot e t t i via l l ’ e s t e r noef os f or ia lc e nt r o,i nme z z oa dunos t r a t odi pol i me r oc ondut t or eea dune l e t t r odo,t r aiqua l is ige ne r ai lc a mpoe l e t t r i c o. Tr al el or oc a r a t t e r i s t i c hepr i nc i pa l i ,i lr i s pa r mi oe ne r ge t i c oel ave r s a t i l i t à , da t ada l l ’ i nc r e di bi l ef l e s s i bi l i t à .Pos s onoe s s e r ea ppl i c a t iapa r e t i ,as of f i t t i , ave i c ol i ,amobi l ioppur epos s onoe s s e r eus a t ipe ri ns e gneepubbl i c i t à .

Lat e c nol ogi aLECèunc ompr ome s s odit r epa r a me t r ic r i t i c i : f os f or iOSRAM SYLVANI Ae mi t t e nt il uc ede l l api ùa l t aqua l i t à , i nt e r mi nidic ol or eel umi nos i t à ; i nnova t i vii nve r t e rFl a t l i nepr ogr a mma bi l ibr e ve t t a t ipe rc ont r ol l a r eil i ve l l i dil umi nos i t à ; nuovima t e r i a l idir i ve s t i me nt ope rr i dur r el ' e mi s s i onedic a l or ee a l l unga r el adur a t al umi nos a . Conf r ont of r al at e c nol ogi aLECel ac onve nz i ona l et e c nol ogi aEL 2Wi r eEL: •okpe rf or ma t imol t opi c c ol i( t a s t i e r e ,c r us c ot t i ,ogge t t ie l e t t r oni c i pe r s ona l i ,e t c . . ) ; •ba s s al umi ne s c e nz a( 5080c d/ m2) ; •e c c e s s i vaEMI( i nt e r f e r e nz ae l e t t r oma gne t i c a ) ; •mol t or umor os i ; •f a c i l eda nne ggi a me nt o. 3Wi r eLEC: •gr a ndif or ma t i ; •a l t al umi ne s c e nz a( 200300c d/ m2) ; •di s pos i t i vipe rl ame s s aat e r r a ; •s c udoEMI( r i duz i onede l l ei nt e r f e r e nz ee l e t t r oma gne t i c he ) ; •di s pos i t i vis i l e nz i os i ; •l as t r ut t ur aa“ s a ndwi c h”ga r a nt i s c eunabuonar obus t e z z a . Al i me nt a z i onepa nne l l imul t i pl i •I lnume r odipa nne l l ic hepuòe s s e r ea l i me nt a t odauns i ngol o I nve r t e rèdi r e t t a me nt epr opor z i ona l ea l l ’ a mmont a r edime t r i qua dr a t ic heunI nve r t e rpuòa l i me nt a r e . L’I NVFL1000puòa l i me nt a r eunas upe r f i c i edi1, 1 10m²qui ndi : •1pa nne l l oAB1000( 0, 91mX1, 22m-1, 0962m² ) •2pa nne l l i AB900( 0, 61mX0, 91m–1, 1 10m² ) •4pa nne l l i AB500( 0, 51mX0, 51m–1, 040m² ) •9pa nne l l i AB300( 0, 28mX0, 43m–1, 084m² ) •18pa nne l l i AB100( 0, 21mX0, 25m–1, 096m² )

Al i me nt a z i onepa nne l l imul t i pl i I nf or ma z i onis uipr i nc i pa l ic ompone nt i P ANNELLILEC •di s poni bi l ii nunagr a ndeva r i e t àdidi me ns i onis t a nda r d pe ri nt e r no,s pa z ia pe r t iope re s t e r nir i s t r e t t ie de s t e s i ; •i lpa nne l l opi ùgr a ndeè104c mx208c m.Sonoi nf a s edi s vi l uppof or ma t ipi ùgr a ndi ; •l ’ i nt e r va l l ode l l at e mpe r a t ur adic ol or eèc ompr e s ot r a 7501Ke1 1000K; •c ons umir i dot t idie ne r gi ae l e t t r i c as ec onf r ont a t ic ona l t r e t e c ni c hedii l l umi na z i onet r a di z i ona l e :i l l umi na z i onea i nc a nde s c e nz a ,ne onef l uor e s c e nz a . I NVERTERMODELLOPI ATTO •f or ni s c eun’ i l l umi na z i oneuni f or medis upe r f i c i ede l99%; •c ont r ol l ac os t a nt e me nt el ’ us c i t ade ipa nne l l iLECe f or ni s c el apot e nz ane c e s s a r i ape rma nt e ne r ei ll i ve l l odi l umi nos i t às e l e z i ona t o; •c onve r t es i ac or r e nt ie l e t t r i c hec ont i nuec hea l t e r na t epe r r i s pe t t a r ei lvol t a ggi ode lpa nne l l oel af r e que nz a ne c e s s a r i a ; •di s poni bi l epe rpa nne l l ididi me ns i ones t a nda r depuò a l i me nt a r emol t e pl i c ipa nne l l idiva r i edi me ns i oni .

P ANNELLILEC-Cont i nua Li ght ht t p: / / www. c ont i nua l i ght . c om/ I T/ a z i e nda . php St r ut t ur ade ipa nne l l iLEC Ipa nne l l is onoe s s e nz i a l me nt ede is a ndwi c hc a pa c i t i vii nt e r f a c c i a t idaunos t r a t o dif os f or one lme z z o. L’ a ppl i c a z i onediunat e ns i onet r al os t r a t odipol i me r o c ondut t or ePETI TOel ’ e l e t t r odo,ge ne r aunc a mpoe l e t t r i c oc hee c c i t agl i a t omidif os f or oc a us a ndoc os ìl ’ e mi s s i onedil uc e Dur a t a Ladur a t ai nt e r mi nidil umi ne s c e nz aol umi nos i t à ,vi e nei ndi vi dua t ai n f unz i onede l l ’ i nt e ns i t àl umi nos ape rme t r oqua dr a t ope rc uis ii nt e nde s f r ut t a r ei lpa nne l l o.

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LI GHTSTONEDUPONT ht t p: / / www. dupont l i ght s t one . c om/ e ngl i s h3/ we l c ome . ht ml Duponts t as vi l uppa ndount i poc ompl e t a me nt enuovodis e gna l e t i c a di gi t a l e( Li ght s t one )c hepe r me t t e ,pe rme z z odif i br eot t i c he ,dipr odur r e i mma gi nidi r e t t a me nt es ul l as upe r f i c i edie l e me nt ii nc a l c e s t r uz z o. Conque s t anuovat e c nol ogi ai nt e r a t t i va ,un' i mma gi nepuòe s s e r e vi s ua l i z z a t adi r e t t a me nt es ul l es upe r f i c ic omeipa vi me nt i ,ima r c i a pi e di of a c c i a t e .Sc he r midigr a ndidi me ns i onipot r a nnodi ve nt a r epa r t ei nt e gr a nt e de l l as t r ut t ur ai nc uis onoc os t r ui t i ,ot t e ne nt ounas upe r f i c i ene ut r aena t ur a l e c hea lc ont e mpopuòe s s e r eut i l i z z a t ape ra ppl i c a z i onidipr oi e z i onedi gi t a l e . Lat e c nol ogi aèc os t i t ui t adaunf a s c i odif i br eot t i c he ,a nne ga t ene l c a l c e s t r uz z o.Ci òc ons e nt ediot t e ne r ee l e me nt ipr e f a bbr i c a t ic onbuone c a r a t t e r i s t i c hedir e s i s t e nz a ,t a l idapot e re s s e r emont a t it r a mi t ei nt e l a i a t ur e i nf a c c i a t a ,one l l epa vi me nt a z i oni ,c onr e s i s t e nz aa nc hea lc a l pe s t i oe d a nc hea lpa s s a ggi odia ut ove i c ol i .Gl ie l e me nt ipr oi e t t a nt ipos s onoe s s e r e c a mbi a t ior i mos s ia bba s t a nz af a c i l me nt e ,s e nz aa ve r ea l c unai nf l ue nz a s ul l epr opr i e t às t a t i c hede l l ' e di f i c i o.Gl ie l e me nt is onodi s pos t is ul l e pr opor z i onidiundi s pl a yi nf or ma t o4: 3epos s onoe s s e r ec ombi na t ipe r f or ma r euna mpi odi s pl a ydiqua l s i a s idi me ns i ones ul l aba s ediuna mol t i pl i c a z i oneve r t i c a l eeor i z z ont a l ede l l edi me ns i onide gl ie l e me nt ide l l o s c he r mo.Ler i s ol uz i onide gl is c he r mipos s onova r i a r eas e c ondade l l a di s t a nz aac uis onode s t i na t ia de s s e r evi s ua l i z z a t i :c onunpa s s o ( di s t a nz api xe l )f i noac i r c a4mm,s ige ne r aun' i mma gi neni t i dadaa ppe na 23me t r i ,me nt r egl is c he r mic onunpa s s opi ùgr a ndede vonoe s s e r e os s e r va t idaunadi s t a nz ama ggi or e ,mas onome noc os t os idapr odur r e . Sa r àpos s i bi l es vi l uppa r ee l e me nt ipi ùc ompl e s s ii nt e r a t t i vi ,gr a z i ea l ' i mpi e godis e ns or iont ouc h.Gl iSc he r midic a l c e s t r uz z ononpos s onof a r ec onc or r e nz aa l l ea t t ua l it e c nol ogi eLEDpe rgr a ndi s c he r mi ,s ul l aqua l i t àde l l ' i mma gi nepe rqua nt or i gua r dai nt e ns i t àdil uc eedic ont r a s t o. Tut t a vi a,unos c he r moi nt e gr a t odic e me nt o,haunai mma gi nege ne r a l me nt ebuonaeni t i dae : •èe s t e t i c a me nt eea r c hi t e t t oni c a me nt eva nt a ggi os o,vi s t oc heèi nt e gr a t o •èi nc r e di bi l me nt ef or t eer obus t oc ont r oa t t iva nda l i c ieda nnic l i ma t i c ieme c c a ni c i •c ogl i el os pe t t a t or edis or pr e s a ,da lmome nt oc heunai mma gi nepuòe s s e r evi s ua l i z z a t as ul l os c he r mo,dovea ppa r e nt e me nt e nonc ' ès c he r mo •puòe s s e r emont a t oc omeunpa vi me nt o,ma r c i a pi e deoa l t r ot i podis t r ut t ur as uc uil os pe t t a t or epuòc a mmi na r eoa nc he muove r s ii nbi c i c l e t t aoi na ut o •puòe s s e r ec ont r ol l a t oda l l os pe t t a t or et oc c a ndol ' i mma gi nes ul l os c he r mo,i nmodoc hel avi s ua l i z z a z i onedipubbl i c i t àe dii nf or ma z i onipos s onoe s s e r emi r a t eer e s imol t opi ùi nt e r e s s a nt ie de f f i c a c i •haunt e mpodivi t amol t opi ùl ungor i s pe t t oaqua l s i a s ia l t r os c he r mo

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Al t r ie s e mpidia ppl i c a z i oni . . . . .

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LAb[ a u] Swa r mDot_ge ne r a t i vea r t wor k_e d.3+1[2009] ht t p: / / l a ba u. c om/ pr oj e c t s / s wa r mdot / #/ pr oj e c t s / s wa r mdot / ' Swa r mDot ' èun' ope r ad' a r t ege ne r a t i vaba s a t as ulc ompor t a me nt ode l l os c i a me :punt i ,s c i a midif or ma z i one , l i ne edimi gr a z i oneet ur bol e nz e ,s ige ne r a no,s e gue ndoi lgi oc oc ombi na t or i ode inume r i .' Swa r mDot ' èi ne s e c uz i ones uun' a r t e c ons ol e ' ,unas c ul t ur ar e a l i z z a t ai nf or madi Ts ha pe dboxdipl e xi gl a s ,c hei nt e gr a4s c he r mie4c omput e ri nr e t e .

LAb[ a u] Bi na r yWa ve s_ki ne t i cl i ghts c ul pt ur e[2008] ht t p: / / l a ba u. c om/ pr oj e c t s / bi na r ywa ve s / #/ pr oj e c t s / bi na r ywa ve s / Bi na r yWa ve sèuni mpi a nt our ba noec i be r ne t i c oba s a t os ul l ami s ur a z i onedif l us s il umi nos i ,s onor iec i ne t i c he . E’c os t i t ui t oda40pa nne l l iLumi noc i ne t i c idi3mdia l t e z z ae60c mdil a r ghe z z a ,pos t iaunadi s t a nz ar e gol a r e .Que s t ipa nne l l i gi r a noi nt or noa ll or oa s s eve r t i c a l e ;unl a t ohaunas upe r f i c i ene r ar i f l e t t e nt e ,el ' a l t r ounabi a nc adi f f us i vape rr a f f or z a r el a l e ggi bi l i t àde l l ar ot a z i one . Ac c e nt uaul t e r i or me nt ei lf e nome noi lbi c r omi s modiLED.Leondedil uc ebi a nc avi s ua l i z z a nol a pr e s e nz al oc a l eel al uc er os s ae duna ppor t os onor oe nf a t i z z a nol apr e s e nz adic a mpie l e t t r oma gne t i c i ,r i l e va t idaduea nt e nne . Las i nc r oni z z a z i onedir ot a z i onege ne r aun' ondavi s i val ac uia mpi e z z aef r e que nz adi pe ndeda l l ave l oc i t àdir ot a z i onediogni pa nne l l o. Ognii mpul s o,a c c ompa gna t oda ls uos uonoc or r i s ponde nt e ,vi e net r a s me s s odapa nne l l oapa nne l l ode s c r i ve ndo unmovi me nt oondul a t or i o:i lpr i nc i pi oèl apr opa ga z i onede l l eondei na c qua .

LAb[ a u] 16ⁿ_ƒ5³_ki ne t i cl i ghts c ul pt ur e[2007-2008] ht t p: / / l a ba u. c om/ pr oj e c t s / f 5x5x5/ #/ pr oj e c t s / f 5x5x5/ 16ⁿ_ƒ5³èunas c ul t ur ac i ne t i c ai nt e r a t t i va ,c hee s t e ndel os c he r mobi di me ns i ona l ea l l os pa z i o.E’uns i s t e madic omuni c a z i one edic a l c ol o,dimol t i pl i c a z i onei nf or madil uc ees uono,de ida t it r a s me s s i .5*5*5f ar i f e r i me nt oaun' a r e adil a vor omodul a r e i nf or ma t i c a,c hi a ma t ounqua dr o.Qui ,ƒ5³' " f r a me s "c os t i t ui s c onoi lqua dr o,unos pa z i oc os t r ui t odac i nquemodul idi2*2m, di vi s oi n5*5e l e me nt is qua dr a t i ,c hei s t i t ui s c eunama t r i c edi5*5*5=125modul i .I nunl a t odi f f ondel al uc e( bi a nc o)e da l l ' a l t r apa r t ea s s or bel al uc e( ne r o) ,imodul ic os t i t ui s c onounl i ngua ggi obi na r i o( 0, 1)eunos pa z i odi125pi xe l ,pe r me t t e ndodi t r a s c r i ve r eida t ia c qui s i t ida l l ' a mbi e nt ef i s i c oi nunac i ne t i c ael umi nos a,gi oc a ndot r aa pe r t ur aec hi us ur a ,t r at r a s pa r e nz ae r i f l e s s i one ,t r al uc eebui o. Da t oc heognif ot ogr a mmac hec os t i t ui s c onol as c ul t ur aèi ngr a dodir uot a r edi180°a t t or noa ls uo a s s e( i nor i z z ont a l eeve r t i c a l e )c on8va r i a nt idil uc epos s i bi l i( 3c i r c ui t ion/of f=2*2*2=8) ,c is ono180*180*2*2*2= 259. 200pos s i bi l iva r i a z i onine l l apos i z i oneedii l l umi na z i one .

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LAb[ a u] s pe c t r | a | um_c ur a t ors hi p+a udi ovi s ua l s[29. 09. 2007] ht t p: / / l a ba u. c om/ pr oj e c t s / s pe c t r a um/ #/ pr oj e c t s / s pe c t r a um/ Haa vut ol uogone lc ont e s t odiBr uxe l l e sNui tBl a nc he2007,ehapr opos t ounas e r a t ac onpe r f or ma nc ea udi ovi s i ves ui145mdi a l t e z z ade l l aDe xi aTowe r ,de l l aqua l ec uis onos t a t ii l l umi na t il es ue4. 200f i ne s t r e .Lal uc ehavi s ua l i z z a t ol amus i c ade l Ba l a ne s c uQua r t e tediFr a nkBr e t s c hne i de r( c hehac ompos t ounbr a nos pe c i f i c ope rque s t aoc c a s i one )gr a z i ea l s of t wa r e' s i l os ' .

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LAb[ a u] Touc h_i nt e r a c t i veur ba ni ns t a l l a t i on[2006] ht t p: / / l a ba u. c om/ pr oj e c t s / t ouc h/ #/ pr oj e c t s / t ouc h/ I lpr oge t t opr e ndec omepunt odipa r t e nz al aDe xi aTowe rdiBr uxe l l e st r a mi t el â&#x20AC;&#x2122; i l l umi na z i onede l l ef i ne s t r ec onba r r eRGBLED, c oma nda bi l is i ngol a r me nt e . Sul l aPl a c eRogi e r ,ne l l apa r t ei nf e r i or ede l l at or r e ,Ă¨s t a t ac r e a t aunas t a z i onedovel epe r s onepos s ono i nt e r a gi r es i ngol a r me nt eoc ol l e t t i va me nt ea t t r a ve r s ouni ldi s pl a ymul t it ouc h.Sonor i c onus c i ut i ,i lt oc c oei lge s t ope rge ne r a r e unl i ngua ggi odigr a f i c ae l e me nt a r edipunt i ,l i ne ees upe r f i c i .

LAb[ a u] Ma ni ne s pa c e _da nc epe r f or ma nc e[2005] ht t p: / / l a ba u. c om/ pr oj e c t s / ma ni ne s pa c e e xt e nde d/ #/ pr oj e c t s / ma ni ne s pa c e e xt e nde d/

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LAb[ a u] Spa [ z ] e360°[2001-… ] ht t p: / / l a ba u. c om/ l a ba u/ La b_a u_J a nua r y2010_Engl i s h. pdf I lpr oge t t opr oponeuni mpi a nt oba s a t os uunac ompl e t ai mme r s i onede gl iut e nt i .Ci òèpr odot t odaunl a t o,a t t r a ve r s ol adi f f us i one qua dr i f oni c ade ls uono,da l l ' a l t r odaunapr oi e z i onepa nor a mi c aa360°ba s a t as uuns of t wa r e ,a ppos i t a me nt es vi l uppa t o, a t t r a ve r s ol ar e a l i z z a z i onedir e nde r i ngi nt e mpor e a l epos s i bi l e .Lapr oi e z i onea360°puòe s s e r ef a t t ot r a mi t e3, 4, 6, 8oa nc he 32s c he r mi/c omput e r .Comput e rs l a ve ,pos s onoe s t e nde r ei lf or ma t oa udi oe s a ,oc t a ,odode c a f oni a .

LAb[ a u] s P ACEna vi ga bl emus i c _s pa t i ovi s ua lmus i cs of t wa r e/pe r f or ma nc e[2001-… ] ht t p: / / l a ba u. c om/ l a ba u/ La b_a u_J a nua r y2010_Engl i s h. pdf I nda gal epos s i bi l i t àde l l et e c nol ogi e3Di nr e a lt i me ,l ei nt e r a z i onivi s i vees onor ei nr e t e .L' a r c hi t e t t ur aèunos pa z i oe l e t t r oni c o ge ne r a t oi nt e mpor e a l eas e c ondade l l apos i z i oneede imovi me nt ide l l ' ut e nt e .

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74: Technical components of the water wall

WATER WALL

74. Componentes técnicos de la pantalla de agua

The urban water wall is an interactive fountain system in which falling streams of water can be controlled by digital means. The streams can be started and stopped or their pressure changed. The wall is urban scaled, like a canal running through the city, but twisted into the vertical plane so that one can experience it from a distance. (Think of the urban roles played by canals in St. Petersburg or Venice.) It need not be a simple vertical sheet. The nozzles can twist towards the horizontal at certain points to create three-dimensional curved (parabolic) surfaces. The water wall is a surface made from parabolic streams that, in the limit (i.e., when exactly vertical), become straight. It can be multi-layered. It can have branches and loops. It need not be programmed in sophisticated ways along its entire length. Some parts can be very simple. Others can be highly interactive and visually varied and complex. The interactivity and complexity can be put where they are most needed, thus keeping the cost to a reasonable level. Individual nozzles can be controlled in some areas, and maybe groups of nozzles can be manipulated together (giving coarser spatial resolution) in others.

The water wall has three design elements that are all equally important (shown in Figure 74): 1. elevated delivery pipe(s) with nozzles, 2. the programmed falling sheet of water, 3. the ground-level catchment and distribution system. It is not just a line, but a fractalized form that engages its surroundings in varied and complex ways, and creates a zone of water-mediated inhabitation.

AS A JAVA code generates a text file from any image or text, indicating the position and color of each pixel. Un código JAVA genera un archivo de texto de cualquier imagen o texto, indicando el color y posición de cada píxel.

AS A C++ code then generates a “rain” of the pixels, matching each valve’s opening time with the color value of each pixel. Un código C++ genera entonces una lluvia de píxeles ajustando el tiempo de apertura de cada válvula con el valor de color de cada píxel.

PL A series of solenoid valves is controlled by the C++ code through a computer. Text and images rain vertically from the water wall pipeline, equipped with sensors that make the wall react to people’s presence. Una serie de válvulas solenoides son controladas por el código C++ a través de ordenador. Texto e imagen caen en vertical desde la tubería de la pantalla de agua equipada con sensores que hacen reaccionar a la pantalla por medio de la presencia de personas.

It can engage the local topographic and hydrological systems in some visible and compelling way – drawing on stormwater runoff stored in underground cisterns, and getting its water pressure from a cistern placed on top of an office tower at a focal point near the Delicias station. Pumping, to the greatest extent possible, should be powered via wind or solar energy. Its very design thus communicates consciousness of the ecological objectives of conserving water and power. It illustrates a variety of urban functions of water – evaporative cooling, production of soothing sound, irrigation, creation of varied recreational opportunities for children and adults, ambient information display, the provision of an environmental sensing surface, street cleaning, and others. It changes in appropriate ways as it engages different urban conditions along its length. It responds actively to the possibilities and constraints of varied environmental conditions – night versus day, still versus windy, low sun versus high sun, summer versus winter, rainy versus dry, etc. It provides opportunities for grassroots, open-source programming of behavior and content. 75: The technical components of the water wall and its accompanying fractal arabesque pavement 75. Componentes técnicos de la pantalla de agua y del pavimento fractal con formas arabescas. AS

AS Large pavement drainage tiles are CNC milled from dense stone. Las grandes baldosas de drenaje son piedras compactas tratadas con torneado CNC.

a) FULL LEVEL Different patterns “appear” from the pavement, depending on slight changes in the water level. a) NIVEL COMPLETO Diferentes formas aparecen en el pavimento dependiendo de los ligeros cambios en el nivel del agua

b) MEDIUM LEVEL

c) LOW LEVEL

b) NIVEL MEDIO

c)NIVEL INICIAL

The city of Zaragoza, Spain, has teamed up with the SENSEable City Laboratory at MIT to rethink the bus stop. Bus stops are traditionally static objects, designed specifically for â&#x20AC;&#x2DC;stopping.â&#x20AC;&#x2122; The adaptable bus stop instead sees the bus stop as a neighborhood landmark and gateway; an interactive object that should be open to the dynamic flows of the city. Through technology, the bus stop becomes an information node, conveying data from riders to the city and from the city to riders, and thus forging stronger connections with the local community. The adaptable bus stop serves transit riders in several ways: 1) Acting as a trip planning map, you can place a finger on your destination using a glass screen with infrared, and the bus stop will draw the shortest bus-travel path from where you are. Using information from a GPS tracking system, it will also show you where the relevant buses are positioned in real time and when they will arrive at your desired destination. You can beam this itinerary to your mobile phone, or request an SMS notification when the bus is almost at your location if you don't want to wait at the bus stop.

2) Riders and passers-by can create digital graffiti on the bus stop by drawing with their fingers on a touch-sensitive surface or by sending an image from their mobile phones. These functionalities can also be used to post ads and community announcements. The bus stop thus becomes a public venue connected to its local neighborhood. Most mobile phones already support high-resolution images, but tiny screens prevent those images from being viewed properly. The bus stop transforms urban furniture into a public interface for mobile devices, harnessing computational power that is now found in the pockets of many ordinary people. 3) Each bus stop is a wireless Internet hotspot. All bus stops in the network are connected through a wireless meshed network, thus spreading Wireless Fidelity WiFi Internet in the city. Due to the high density of bus stops, a mobile device can use triangulation algorithms to calculate the location of a bus with a high level of accuracy. This allows people to receive enhanced location based services through their mobile devices - something that has been limited so far by current positioning technologies.

Just as information responds to people's queries, the architecture of the bus stop responds to its environment. The number of bus riders at a given location determines the size of the bus shelter, varying the length of the roof, bench and touch screen, which are customized at low cost using computer aided design and manufacturing (CAD-CAM) techniques. The roof, like a tree, changes from full opacity to transparency and adapts to weather conditions like sun and rain. It uses a Moorish pattern found in Zaragoza's Aljaferia Palace. The bench itself is formed by raising the ground using a CAD-CAM structure. The position and shape of the bench depend on its relation to the sun and roof in order always to provide areas of shaded seating. Photovoltaic cells placed on the bus stop's roof provide up to 50% of the power required for its operation in Zaragoza.

4: SYSTEMS MEMORY PAVING This section describes the digital and programmatic systems that will allow the Milla Digital’s constitutive urban places (described in Section 2) to function. The design of these spaces will be explicitly informed by the inclusion of novel hardware as well as new institutions and methods of organization. Systems described in the section include: > Memory Paving; > Water Wall; > Urban Pixels (LED lighting); > Smart Parking; > Digital Awnings; > Digital Facades and Display; > Campus Milla Digital; > Water; > Open Source Public Space.

Zaragoza’s urban landscape is distinguished by the physical residue of cultures that have occupied it over the centuries: the Romans, Moors and Christians all passed through the city at various points in its history, and all left behind physical remnants that have shaped the city’s form. On the Milla Digital, developing technologies can be useful in articulating considerably smaller cultural movements, making visible the ways in which residents leave their mark upon the city every day, simply by traveling through it. Memory pavement is intended to record pedestrian movement across a given space by using digitally responsive ground surfacing. Every time a footstep falls on a digital paver, the paver emits an additional increment of light. As time passes and many pedestrians cross the pavement, paths of light are illuminated where pedestrians have tread the most; untread areas emit no light. Pedestrians are made to consider the physical impact their daily travels leave on the city as well as to become aware of places of pedestrian concentration, typical and atypical paths. They are invited to choose their paths accordingly.

72: Impact-sensitive flooring technologies are currently being used in applications such as dance clubs and museums by companies like Lightspace and SmartSlab. 72. Las tecnologías de suelos sensibles al impacto están siendo utilizadas actualmente por compañías como Ligthspace y SmartSlab en aplicaciones como salas de baile y museos. 73: (opposite) The system consists of a series of weather-resistant and load-bearing paving units, each containing a pressure sensor connected to a LED. The location proposed for the memory pavement installation is in the Portillo Digital Place between the Museo de la Milla and the multipurpose buildings, where the pedestrian traffic will be most divergent and the pavement will display the greatest variety of pathways. 73. (página siguiente) El sistema consiste en una serie de unidades de pavimento resistentes a la climatología y al peso, disponiendo cada una de ellas de un sensor de presión conectado a un LED. El lugar propuesto para la instalación del pavimento con memoria es la zona digital del Portillo, entre el Museo de la Milla y los edificios multiusos, lugar en el que el tráfico peatonal será más divergente y el pavimento mostrará la mayor variedad de caminos.

URBAN PIXELS: LED LIGHTING How can we identify and differentiate the zone of the Milla Digital within Zaragoza? The urban display unit is an autonomous lighting device that can be affixed to existing buildings and temporary structures. Placed along a series of façades, it traces the mile-long zone of the Milla Digital in the city and is visible both from the sky and at street level to pedestrians, drivers and train passengers. This “light” footprint intervention can work synchronously or asynchronously to emphasize different moods or zones of the Milla Digital even while the project is under development. Each unit includes an on-board battery and solar charging unit and communicates wirelessly so that no additional wiring is required. A clamp-on mounting system minimizes the units’ impact on existing structures. Please refer to the diagram of the unit in Figure 78 for more detail.

76: Historical photograph of lighting in Zaragoza’s Plaza del Pilár. 76. Foto antigua de la Plaza del Pilar iluminada

77: Plan view of the distributed urban lighting scheme to highlight the Milla Digital. 77. Vista del mapa de distribución de la iluminación urbana para resaltar Milla Digital

78: A diagram of the urban lighting unit – primary elements include the batteries, solar collectors, an ultra-bright LED and mounting “sticker” on the back.

- listening to the “radio” - Escuchando la “radio”

78. diagrama de una unidad de iluminación urbana. Los elementos primarios incluyen baterías, colectores solares y LEDs ultra brillantes, y adhesivo incorporado al dorso para su colocación

activo

- preprogrammed play list of patterns - Lista de escucha preprogramada de patrones - responsive to people’s presence - Responde a la presencia de las personas

- charging during the day - Se carga durante el día

pasivo

79: Pixels on building façades in the vicinity of Portillo. 79. Píxeles en fachadas de edificios cercanos al Portillo.

- sensing the city - Reacciona a la ciudad

80: Residential buildings adjacent to Portillo with installed Urban Pixels. 80. Viviendas cercanas al Portillo con pĂxeles urbanos instalados

81: Urban Pixels on existing residential buildings near Almozara. 81. PĂxeles urbanos en edificios existentes cerca de La Almozara.

82: A view of the residential buildings adjacent to the Aljafería, with attached Urban Pixels. 82. Vista de los edificios de viviendas cercanos a la Aljafería con píxeles urbanos

83: The Delicias train station with Urban Pixels. 83. La estación intermodal de Delicias con píxeles urbanos. SS

84: Urban pixels on existing buildings at Almozara and Delicias. 84. PĂxeles urbanos en edificios existentes en La Almozara y Delicias.

DIGITAL FACADES AND DISPLAY LED displays are generally conceived of, fabricated, and architecturally deployed as close-packed, rectangular arrays suitable for high-resolution display of video imagery and text. But many architectural contexts call for more varied and subtle treatments – which are now technically feasible, and in some cases already commercially available. Among the more interesting possibilities are: > LEDs embedded in glass; > LEDs embedded in metal mesh; > Intelligent fabrics with integrated LEDs; > LEDs on opaque surfaces; > LEDs integrated with reflective surfaces like mirrors.

alternately wet and dry, and which are slowly refreshed through evaporation and re-wetting. In principle, they could even be elements that vary their refractive index, though we have not seen this demonstrated. Imagery on large programmable surfaces has generally been confined to video programming, sports events, and advertising. Mostly it has followed the editing conventions of film and video. This is suitable in some contexts, but there are many more possibilities. Imagery might gradually, almost imperceptibly transform and fade (like the rhythms of shade and shadow) instead of changing rapidly. It might function as animated surface decoration, reinterpreting for the digital era the tradition of Moorish tile decoration. It might be controlled centrally or it might serve as electronic graffiti.

Finally, programmable surfaces can serve as a new way of creating visual unity in public spaces. The traditional,static architectural means for this are arcades and colonnades (as in Zaragoza), and uniform facade treatments (as in the squares and crescents of Georgian and Regency London). Coordinated programmable surfaces can produce the same effect, but much more dynamically – varying by season, by festival and holiday, and so on.

With all of these possibilities, the display surfaces may be flat or curved, regular or irregular, static or in motion, and single-layered or multi-layered to create depth. It is possible to combine the various effects of emitted light, diffusely reflected light, specular reflected light, transmitted light, and refracted light in complex ways by layering or by creating surfaces with multiple types of elements. For example, a diffuse reflecting surface might be embedded with alternating LEDs and small mirrors. Theatrical scrim effects can be produced by varying the balance of transparency and reflectivity of layers and the balance of light levels – either ambient or projected – behind and in front of the layers. Pixels do not have to be glowing points or rectangles, but can take many different forms – as a glance at the works of the artist Chuck Close will quickly demonstrate. They can be elements that move to create relief displays, elements (such as pieces of electrochromic glass) that vary transparency, and elements, like Eink (www.eink. com), that vary reflectivity – particularly useful for displays in bright sunlight. They can be elements that are SS

LEDs embedded in metal mesh

LEDs embedded in glass

This creates similar superimposition and depth effects to LED-in-glass technology, but is suitable for larger displays, and contexts where air flow through the display is important. This technology has been employed in entertainment contexts, for example the recent U2 tour.

This is already a commercial product (e.g. http://www. lightlife.de/index.htm). It allows windows, curtain walls, and other surfaces to function as displays. It opens up the possibility of superimposing displays upon scenes viewed through the glass, and of displays that, through use of sensor technology, respond to dynamic variations in those scenes. Multiple layers of LED glass also create the possibility of displays in depth.

LEDs of different colors and sizes integrated into a metal mesh LED de diferentes colores y tamaños integrados en malla metálica

LEDs in opaque surfaces

LEDs embedded in glass LEDs incrustados en cristal

metal mesh Malla metálica

This technique allows superimposition LEDs embedded into concrete of displays pavers... upon traditional architectural effects of shade and shadow. Through sensor technology it is possible to create subtle interplays between displays and these effects – for example by detecting shadows that are cast and by lighting up LEDs in the depths of shadows to create effects of chiaroscuro. There is also an opportunity to combine LED imagery with projected imagery.

loosely handing elements are sensitive to wind and other natural forces Los elementos sueltos son sensibles al viento y al resto de agentes atmosféricos

LEDs EMBEDDED IN FABRIC This smart fabric technology allows displays that drape, flutter, unfurl, and generally integrate fabric behaviors with programmable surfaces.

a responsive paseo, just follow the markers... Un paseo digital Tan sólo hay que seguir los indicadores

woven fabric fibers Tejido de fibras incrustadas Moorish patterns for digital or built trellises, these can also create an interaction between digital and natural light. Diseño con formas arabescas para las baldosas digitales y no digitales, con la posibilidad también de crear una interacción entre la luz digital y la natural. SS

LEDs woven into the fabric LEDs incrustados en el tejido

87: Digital awnings form space at ground level..

DIGITAL AWNINGS

87. Los toldos digitales forman un espacio a nivel de la calle

Digital awnings are movable fabric screens mounted on the buildings adjacent to the digital plaza and promenade in Portillo. The screens are approximately 4 by 5 meters in size, and are supported by a metal frame formed from a tube and two cross-beams. This frame is attached to the wall by a joint, which can be rotated in two directions: up and down and sideways (left and right). The tube can be telescopic, allowing for differently sized screens. Projectors mounted on canopies (or the water wall) which stand off from the building edge serve to project images on the digital awnings. Projectors can be adjusted to fit the awnings’ changing angles. The movement of the awnings is digitally controlled, either by preprogramming, or in response to people’s movement, the time of day, or season of the year. The awnings can also respond to commands by mobile devices such as phones with SMS or Bluetooth connectivity. The projections and sound installations along the promenade are also digitally controlled in a similar manner.. This digital infrastructure will be used for enhancing atmosphere; displaying abstract, impressionistic, provocative or integrative content; and providing content related to events, Zaragoza’s history, or current events in the city. The set of movable awnings also allows various combinations of spatial configurations that can complement the uses of Portillo’s buildings and a range of individual and collective activities, for example:

configuration can be used to create an open air cinema or as a backdrop for large events or performances.

> Awnings can be parallel to the ground to shade pedestrians on the promenade.

> Awnings forming semi-enclosed spaces with projections inside can serve as an interactive learning environment for children and students.

> Awnings placed upright and parallel to the building edge create a continuous screen, an ideal surface for projections visible from the lawn at Portillo. This

> Awnings perpendicular to the ground and to the building edge allow projections to be visible to those walking along the promenade. For example, awnings

can be brought down to be used as screens, serving as an extension to the museum space. When parallel and diagonal to the pedestrians’ walking direction on the promenade, the awnings can show pictures, photographs, and animations related to exhibitions within the museum building. > Awnings bent up to enclose the balcony of a secondlevel cafe or restaurant can place the screens so that patrons can use them for gatherings and parties. For

example, wireless connectivity can allow people to send pictures and messages in real time from cafe tables. Games like trivia quizzes and karaoke can engage the clients of the cafes, allowing them to post reactions and answers on the screens. > Awings at angles can provide shelter. At a farmer’s market, the awnings can shade the stalls, keep off rain, and provide real time larger-than-life scale projections of fruits, vegetables, and other products. Amplified sounds and images of the market can be transmitted to screens in other places along the Milla Digital to attract customers. > Awnings can also provide exhibition space for local residents’ organizations, Non Govermental Organizations (NGOs), and other groups. The digital infrastructure of the Milla Digital can be easily programmed to communicate messages to a large audience, thus allowing organizations to focus their energy on their content and message, in real space and time. 88: Digital awnings provide shade from above. 88. Los toldos digitales proporcionan sombra desde arriba MS

89: Awnings can be individually controlled or act as a group. 89. Los toldos pueden ser controlados individualmente o en conjunto 90: Content can be accessed from and respond to cell phones. 90. Desde el teléfono móvil se puede acceder a contenidos

SMART PARKING

CONCEPTO

Smart Parking (illustrated in Figure 85) promises to greatly ease the often frustrating process of searching for a parking space. It is a good example of an application of digital technology that could directly benefit Zaragoza residents accessing the Milla Digital. The Milla Digital would be the ideal place to test a technology that could later be extended throughout the city.

El sistema triangula la posición geográfica

¿Busca un lugar para aparcar? Enviar un mensaje SMS que diga “aparcar” a un número memorizado. Sólo apretando un botón. La simplicidad es fundamental.

85: Diagrams describing the function and usage of the Smart Park system. 85. Diagrama describiendo la función y uso del sistema del Aparcamiento.

Aparcar y enviar otro mensaje SMS para empezar el periodo de pago.

Recibirá una respuesta automática mediante MMS o voz para guiarle al sitio libre de aparcamiento más cercano.

DISPOSITIVOS

An LED will light up for parking staff: green if paid for, red if not. Una señal de tipo viral se envía al servidor a través de los nodos adyacentes indicando que ha ocupado el sitio y pagado. Un LED se iluminará indicando al personal del aparcamiento si ha pagado (luz verde) o si no lo ha hecho (luz roja).

Indicador LED

86: Prototype unit of Smart Park showing photovoltaic power unit, circuitry and sensor.

Fotovoltáico plástico flexible

86. Unidad prototipo de Aparcamiento Inteligente mostrando la unidad de energía fotovoltáica, el sistema de circuitos y el sensor.

Sensor infrarrojo de dos caras

Batería de ión de litio

Zaragoza tiene un promedio de 7,7 horas de sol al día (2.824 horas al año). Colocando el sensor en la raya de separación entre dos plazas de aparcamiento, se conseguirá más energía solar y se necesitará un solo sensor para dos coches.

1. Colector fotovoltáico 2. Depósito de la batería 3. Sensor del coche 4. Tarjeta inalámbrica 802.11

802.11 tarjeta LAN inalámbrica + antena

COMPONENTES

Sensor ultrasónico de dos lados Fotovoltaico de plástico flexible

802.11 Puerto Wi-Fi + antena

Indicador LED

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LA SAGOMA o GABARIT Per SAGOMA (ovvero GABARIT come comunemente definita la sagoma, utilizzando il più noto termine francese – o in alternativa in inglese: CLEARANCE TYPES), si intende generalmente l’ingombro massimo che ha un locomotore – treno – vagone o carro, ovvero le dimensioni minime di passaggio libero sulla rete ferroviaria. Più esattamente il Gabarit ferroviario disegna il contorno trasversale di un veicolo ferroviario

che si riferisce a degli standard codificati a livello mondiale dall’UIC.

Nella seguente cartina dell’Europa raffiguriamo, sinteticamente, le differenze che si registrano sulla rete ferroviaria continentale in materia di sagoma limite della rete infrastrutturale, secondo quelli che sono gli standard codificati dall’UIC – Unione Internazionale delle Ferrovie. Carta dei principali sistemi di GABARIT / CLEARANCE TYPES / SAGOMA della rete ferroviaria in Europa

Tipi di Sagoma

Fonte Img UIC

TIPI di SAGOMA

UIC GA

LARGHEZZA in millimetri

ALTEZZA in millimetri

3.290

NOTE

4.350 Prevalente in EUROPA centro-meridionale

UIC GB

3.290

4.350 Largamente diffusa in quasi tutta Europa GB+ diffusa soprattutto in Francia

UIC GC

3.290

4.700 Poco diffusa in Europa usata soprattutto in Ungheria GC+ diffusa nei paesi exURSS

UIC <GA TIPI di sagoma NAZIONALI

3.150 > 3.290

4.280 Poco diffusa in Europa Tipi di sagoma diffusi in

> 4.700 Germania, Regno Unito e Turchia per trasporto container di grandi dimensioni

La sagoma deve, inoltre, essere inserita in un limite di sicurezza ovvero in un gabarit di eventuali ostacoli presenti nella rete ferroviaria di riferimento, come mostrato in fugura:

Questo limite / ostacolo è appunto il contorno che deve essere mantenuto libero al passaggio dei treni ovvero all’utilizzazione della linea, in quanto i treni non possono deviare dalla loro linea di percorso (la via ferrata / rotaia) e pertanto non possono evitare eventuali ostacoli fissi presenti sulla rete. L’armonizzazione dei gabarit è necessaria quindi per permettere una piena interoperabilità delle reti ferroviarie europee (si pensi ai problemi del trasporto merci nei valichi alpini in occasione ad es. del trasporto di container e dei c.d. high cube). Il termine Gabarit però designa anche un profilo metallico, o sagoma, che produce la parte alta dei convogli, siano essi treni passeggeri o merci. È pertanto importante controllare il carico e l’ingombro del medesimo prima di iniziare a far marciare un treno su di una linea con limiti di sagoma. Da quanto sopra esposto si capisce come si debba parlare non soltanto di sagoma limite in senso assoluto, ma anche di sagoma statica (gabarit statique – static gauge), e di sagoma cinematica (gabarit cinématique – kinematic gauge) e di sagoma del carico (gabarit de chargement – loading gauge) che potrebbe anche fuori uscire, soprattutto per i trasporti eccezionali e speciali, dalla sagoma del treno standard. Ovviamente la sagoma è anche definibile in funzione dello scartamento utilizzato, ed in particolare per quanto riguarda quello standard (1,435m), la prima misura di gabarit internazionale fu proprio adottata nel 1914 dalla convenzione di Berna in riferimento a questo tipo di scartamento. La sagoma così definita è conosciuta come il gabarit passe-partout international (PPI) che ha una larghezza di 3,150 metri ed un’altezza di 4,280 metri dalla base del treno. Tutti i veicoli ferroviari rispettano la norma PPI che permette di circolare su tutta la rete ferroviaria europea continentale, siano essi Locomotori

semplici Carri merci

o Treni passeggeri

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S O M E P E O P L E J U S T D O N â&#x20AC;&#x2122;T G E T IT

Aif i nidif arc onos c e rel af i l os of i ap arkouralre s t ode lmondo,Mt vs p ons ori z z a At t rave rs ol amus i c ael agal l e ri amul t i me di al eque s t as t rut t urac onc e p i t ac ome p i az z adiaggre gaz i onede it rac e urs(c ol oroc hep rat i c anop arkour) . I nt e raz i oneemovi me nt ove ngonot ras p ort at ine l l ep i az z eof f re ndoe ve nt idiognit i p o.

STRUTTURA: s t rut t uraade l e vat are s i s t e nz amadiri dot t ave rs at i l i t Ă ,as s e mb l at ac ongi unz i oni b ul l onat e .p ri nc i p al ec arat t e ri s t i c adique s t as t rut t uraĂ¨l amol t e p l i c i t Ă di ri ve s t i me nt iet amp onat ura.

DATITECNI CI : p i as t radiap p oggi ode l l as t rut t uradidi me ns i onimt .24, 5x24, 5x0, 34 ramp ei nl e gnodis p e s s orec m5 ri ve s t i me nt i -moni t orl e d p are t el ab[ au] ve t ro ac c i ai o t ravit ub ol arii nac c i ai o c ons e z i onec m 70 x5 s c he rmimoni t orl c di nt e rni p anne l l il e de s t e rni s up e rf i c i eoc c up at amq 600, 25 af f l ue nz amax.600 p e rs one