Motion Detection by Microcontroller for Panning Cameras

Motion detection is the first essential process in the extraction of information regarding moving objects. The approaches based on background difference are the most used with fixed cameras to perform motion detection, because of the high quality of the achieved segmentation. However, real time requirements and high costs prevent most of the algorithms proposed in literature to exploit the background difference with panning cameras in real world applications. This paper presents a new algorithm to detect moving objects within a scene acquired by panning cameras. The algorithm for motion detection is implemented on a Raspberry Pi microcontroller, which enables the design and implementation of a low-cost monitoring system.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Deep learning-based anomalous object detection system powered by microcontroller for PTZ cameras

Automatic video surveillance systems are usually designed to detect anomalous objects being present in a scene or behaving dangerously. In order to perform adequately, they must incorporate models able to achieve accurate pattern recognition in an image, and deep learning neural networks excel at this task. However, exhaustive scan of the full image results in multiple image blocks or windows to analyze, which could make the time performance of the system very poor when implemented on low cost devices. This paper presents a system which attempts to detect abnormal moving objects within an area covered by a PTZ camera while it is panning. The decision about the block of the image to analyze is based on a mixture distribution composed of two components: a uniform probability distribution, which represents a blind random selection, and a mixture of Gaussian probability distributions. Gaussian distributions represent windows in the image where anomalous objects were detected previously and contribute to generate the next window to analyze close to those windows of interest. The system is implemented on a Raspberry Pi microcontroller-based board, which enables the design and implementation of a low-cost monitoring system that is able to perform image processing.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

CUT-UP CITY. El ready-made como experimento urbano. (www.cutupcity.com)

CUT-UP es un término acuñado por el escritor estadounidense William S. Burroughs basado en la yuxtaposición de pasajes de las obras del propio autor y también de obras de otros escritores para luego volver a ensamblar los fragmentos de forma aleatoria generando sentidos y significados totalmente inéditos. Trasladado al campo de la arquitectura, el propósito de esta operación sería la de definir estrategias que, utilizando las formas existentes, consiguieran efectos completamente diferentes. Así, se puede decir que las nociones de originalidad e incluso de creación, tan presentes en nuestra cultura, se podrían entender de una manera mucho más libre y desprejuiciada.CUT-UP is a term coined by the American writer William S. Burroughs based on the juxtaposition of passages from the own works and also from others in order to re-assemble the random fragments generating completly new senses and meanings. Moved to architecture, the purpose of this operation would be to define strategies, using existing forms, to realise completely different effects. So, we can say that the notions of originality, and even creation, so present in our culture, could be understood in a more freely and unprejudiced way

The filmic space of the Overlook Hotel in the Shining through the sets

Abstract For the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level

The filmic space of the Overlook Hotel in the Shining through the sets

AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level.   

El Pabellón de Barcelona y la Habitación Roja : espacios, imágenes y ficciones del Pabellón a través de Twin Peaks

La Tesis Doctoral “El Pabellón de Barcelona y la Habitación Roja. Espacios, imágenes y ficciones del Pabellón a través de Twin Peaks” investiga en torno al Pabellón Alemán y a sus imágenes, a su presunta inmediatez y a la capacidad que poseen para comprimir espacio y tiempo entre el objeto que representan y aquellos que las observamos, haciéndonos viajar hasta aquel lugar de la misma forma que hace nuestro propio reflejo en el espacio que muestran los espejos. La Historia del Pabellón es la historia de sus imágenes, de las físicas y de las literarias, pero, también, de las mentales que nosotros mismos les superponemos, y de cómo, bajo todas ellas, acaban emergiendo aquellos espacios en blanco y negro capturados por el fotógrafo Sasha Stone en 1929 que, como un pentimento, nos devuelven a los orígenes del objeto. La marca del Pabellón Alemán en la Historia de la Arquitectura del siglo XX es, sobre todo, la de un vacío. Su ausencia ha supuesto el germen de una nostalgia hacia sus desaparecidos espacios, al deseo de habitar aquel ámbito congestionado de reflejos ha llevado a una pertinaz revisión de sus fotografías en forma de visita virtual pero, sin un objeto real al que confrontarse, éstas han introducido en el Pabellón un contenido simbólico que, gracias a la diseminación del discurso de la arquitectura a través de medios ajenos, ha desplazado el entendimiento de sus espacios hacia su interpretación como un laberinto de espejos en el que el único habitante que nos encontramos es nuestro propio reflejo. La Habitación Roja de Twin Peaks, a través del medio cinematográfico, construye de forma literal las interpretaciones literarias del Pabellón no sólo por ciertas similitudes formales y estratégicas en la construcción de los ámbitos. También por un paralelismo entre la arquitectura y su representación fotográfica con el cine, pues éste conjuga simultáneamente la construcción física del ámbito en el que la acción tiene lugar y su representación artística o estética para dotar a ese espacio de las condiciones expresivas que favorezcan la comprensión de la historia. La mediación de la Habitación Roja sirve como elemento de contraste para extrapolar el contenido simbólico del Pabellón, pero también como metáfora de su propia historia, invitando a una reflexión sobre los lazos reales y ficticios que unen ambos espacios, sobre el sustrato compartido que permite identificar los elementos que la construyen. De esta manera, la tesis investiga, a lo largo de sus tres episodios, las pruebas y testimonios que, desde diferentes medios, han construido la identidad del Pabellón. Mediante el estudio de fuentes primarias y secundarias, y de su conexión con especulaciones personales, la tesis doctoral toma la estructura de una novela negra, en la que las obsesiones se entrelazan con pruebas y conjeturas para conformar una imagen del Pabellón que se desdobla. Se desdobla literalmente en dos cuerpos, el de 1929 y el de 1986. También en innumerables ideas e imágenes subjetivas que cada uno de sus visitantes proyecta sobre ellos, convirtiéndolo en un proyecto permanentemente inacabado, fruto de la tensión entre las cosas y las ideas que las representan, en el que lo que se ve tiene tanto peso como lo que se imagina, en el que un espacio se conecta con el mundo imaginario a través de su paso por diferentes tiempos conformando un laberinto de objetos e imágenes duplicadas en el que nos introducimos para descubrir qué es lo subyace, lo que ha suscitado determinadas visiones en la interpretación del Pabellón. Lo que hay bajo la superficie. Un laberinto que se recorre hacia atrás, en sentido inverso en el tiempo para, al igual que en la Habitación Roja, ponerlo delante de un espejo y que así cobre sentido. Un laberinto que nos adentrará en los meses previos a la inauguración del Pabellón Alemán y a las influencias y visiones del Surrealismo que Sasha Stone imprime sobre el reportaje de la Berliner Bild-Bericht mostrando unos espacios que, como los de la Habitación Roja, son simultáneamente reales e imaginarios, lugares que se fusionan con los pensamientos y deseos de quienes los recorren, produciendo imágenes que se vuelven borrosas, fragmentadas, duplicadas, invertidas o deformadas y que se enmarañan, en el tiempo, como miles de huellas sobre un mismo camino. ----------ABSTRACT---------- The Doctoral Thesis entitled “The Barcelona Pavilion and the Red Room. Spaces, images and fictions of the Pavilion through Twin Peaks“ studies the German Pavilion and its images, their presumed immediacy and the capacity they have to compress space and time between the object they represent and those who observe them, making us travel to that place in the same way that our own reflection does in the virtual space of mirrors. The History of the Pavilion is the story of its images, both physical and literary, but also the story within the mental projections we overlap with them, and how, under all of those images, the black and white spaces captured by the photographer Sasha Stone in 1929 emerge for, as a pentimenti, returning us to the origins of the object. The trace of the German Pavilion in the 20th-century Architecture is mostly a void. Its absence has been the germ of a nostalgia casting a longing for its missing spaces. The desire to inhabit that atmosphere flooded with reflections has led to a persistent analysis of the photographs in the form of a virtual stay that have introduced a symbolic content in the bodiless Pavilion. Due to the architectural discourse dissemination through outer means, the understanding of its spaces has been displaced towards its labyrinth-of-mirrors-like interpretation in which the unique inhabitant that we can find is our own reflection. The Twin Peaks Red Room, through the cinematographic medium, could be a literally construction of the literary interpretations on the Pavilion not only by certain formal or strategic similarities. Also by a parallelism between the architecture and its photographic representation with cinema, since the later conjugates simultaneously the physical construction of the place in which the action takes place and its artistic representation, endowing to that space of the expressive conditions that ease the understanding of the story to be told. The mediation of the Red Room serves as contrast to extrapolate the symbolic content of the Pavilion, but also as a metaphor of its own history, encouraging a reflection on the real and fictional facts that links both spaces, on the common background which allows the identification of their shared elements. In this way, the thesis studies, throughout its three episodes, the evidences and testimonies that, spreaded from different types of medium, have constructed the identity of the Pavilion. Through the study of primary and secondary sources, permanently linked to personal speculations, the doctoral thesis borrows the structure of a roman noir in which obsessions are intertwined with evidence and conjectures to make an unfolding image of the Pavilion, already unfolded in two bodies, that of 1929 and that of 1986. Also in a myriad of ideas and subjective images that any visitor project on them, turning the Pavilion into a permanently unfinished project as a result of the tension between things and ideas, in which what is seen has as much weight as what is imagined, and the real space connects with the imaginary world through a travel around different times to build up a labyrinth of duplicated objects and images in which we enter to discover the lying object beneath the surface. A labyrinth that is wandered backwards, against the arrow of time to, as in the Red Room, be placed it in front of a mirror so as it makes sense. A labyrinth that will take us to the months before the opening of the German Pavilion and the influences and visions of Surrealism that Sasha Stone impose on the Berliner Bild-Bericht prints depicting spaces like those of the Red Room, simultaneously real and imaginary, places in constant flux fusing with the thoughts and desires of those who wander, projecting images that become blurred, fragmented, duplicated, inverted or deformed, entangling, in time, as thousands of footprints on a path

El espacio fílmico del Hotel Overlook en The Shining a través de sus decorados

ResumenPara la construcción del Hotel Overlook (The Shining ,1980), Stanley Kubrick recurre a la reproducción de réplicas a escala 1:1 en los estudios Elstree de Londres de diferentes fragmentos de hoteles, moteles y resorts de vacaciones esparcidos por Estados Unidos. Mediante un trabajo minucioso de observación de fotografías y elaboración de maquetas se construyen unos decorados de los diferentes ámbitos que conforman el hotel. Kubrick compone una arquitectura que surge de un cuerpo fragmentario, construido y ensamblado que, mediante las posibilidades narrativas que ofrecen la steadicam y el montaje cinematográfico, se transforma en un espacio fílmico aparentemente unitario. El hotel se muestra como una arquitectura verosímil que, sin embargo, está repleta de paradojas, de referencias externas, de subtextos y de imposibilidades espaciales, pues al observar detenidamente la película se encuentran múltiples puntos que subvierten la lógica del espacio. A través de maquetas, fotografías y entrevistas, y su confrontación con la película, se elaboran planos de los diferentes ámbitos del Overlook con el objetivo de abrir un campo de reflexión sobre la intención de su posible ensamblaje. También sobre la relación que existe entre la estructura narrativa de la película, basada en tiempos y espacios que se entrelazan y la manera en que los decorados se unen entre sí, en la pantalla. Mediante un análisis basado en la expresión arquitectónica, el artículo estudia algunas de estas incongruencias espaciales para especular sobre una posible interpretación de la película en la que la arquitectura juega un papel nuclear desde su concepción, no sólo por la importancia de sus decorados en el desarrollo, sino también a un nivel iconográfico y narrativo.AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level.  

El espacio fílmico del Hotel Overlook en The Shining a través de sus decorados

Resumen Para la construcción del Hotel Overlook (The Shining ,1980), Stanley Kubrick recurre a la reproducción de réplicas a escala 1:1 en los estudios Elstree de Londres de diferentes fragmentos de hoteles, moteles y resorts de vacaciones esparcidos por Estados Unidos. Mediante un trabajo minucioso de observación de fotografías y elaboración de maquetas se construyen unos decorados de los diferentes ámbitos que conforman el hotel. Kubrick compone una arquitectura que surge de un cuerpo fragmentario, construido y ensamblado que, mediante las posibilidades narrativas que ofrecen la steadicam y el montaje cinematográfico, se transforma en un espacio fílmico aparentemente unitario. El hotel se muestra como una arquitectura verosímil que, sin embargo, está repleta de paradojas, de referencias externas, de subtextos y de imposibilidades espaciales, pues al observar detenidamente la película se encuentran múltiples puntos que subvierten la lógica del espacio. A través de maquetas, fotografías y entrevistas, y su confrontación con la película, se elaboran planos de los diferentes ámbitos del Overlook con el objetivo de abrir un campo de reflexión sobre la intención de su posible ensamblaje. También sobre la relación que existe entre la estructura narrativa de la película, basada en tiempos y espacios que se entrelazan y la manera en que los decorados se unen entre sí, en la pantalla. Mediante un análisis basado en la expresión arquitectónica, el artículo estudia algunas de estas incongruencias espaciales para especular sobre una posible interpretación de la película en la que la arquitectura juega un papel nuclear desde su concepción, no sólo por la importancia de sus decorados en el desarrollo, sino también a un nivel iconográfico y narrativo. Abstract For the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level

Museo de la arquitectura en Nueva York

Museo de la arquitectura en Nueva York. Convocatoria Noviembre. Plan 1996. Proyecto fin de carrera. Universidad Politécnica de Madrid. Escuela Técnica Superior de Arquitectur

Museo de la arquitectura en Nueva York

Museo de la arquitectura en Nueva York. Convocatoria Noviembre. Plan 1996. Proyecto fin de carrera. Universidad Politécnica de Madrid. Escuela Técnica Superior de Arquitectur