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Funding Information: The work of M. Jooshaki was supported in part by the Circular Economy Solutions Unit, Geologian Tutkimuskeskus (GTK), Espoo, Finland , and in part by the Department of Electrical Engineering and Automation, Aalto University, Espoo, Finland . The work of M. Fotuhi-Firuzabad was partly supported by the Iran National Science Foundation (INSF) . The work of G. Muñoz-Delgado, J. Contreras, and J. M. Arroyo was supported in part by the Ministry of Science, Innovation and Universities of Spain , under Projects PID2021-122579OB-I00 , PID2021-126566OB-I00 , RTI2018-096108-A-I00 , and RTI2018-098703-B-I00 (MCIU/AEI/FEDER, UE), in part by the Junta de Comunidades de Castilla-La Mancha under Project SBPLY/21/180501/ 000154 , and in part by the University of Castilla-La Mancha , under Grant 2021-GRIN-30952 . Publisher Copyright: © 2022 The Authors This paper presents an original approach for the evaluation of reliability of active distribution networks with unknown topology. Built upon novel reformulations of conventional definitions for distribution reliability indices, the dependence of system-oriented reliability metrics on network topology is explicitly formulated using a set of mixed-integer linear expressions. Unlike previously reported works also modeling mathematically the relationship between reliability assessment and network topology, the proposed approach allows considering the impact of distributed generation (DG) while accounting for switching interruptions. Moreover, for the first time in the emerging closely related literature, the nonlinearity and nonconvexity of the customer average interruption duration index are precisely characterized. The proposed mixed-integer linear model is suitable for various distribution optimization problems in which the operational topology of the network is not specified a priori. Aiming to exemplify its potential applicability, the proposed formulation is incorporated into a distribution reconfiguration optimization problem. The effectiveness and practicality of the proposed approach are numerically illustrated using various test networks.

Tourette Syndrome (TS) is a heritable, early-onset neuropsychiatric disorder that typically begins in early childhood. Identifying rare genetic variants that make a significant contribution to risk in affected families may provide important insights into the molecular aetiology of this complex and heterogeneous syndrome. Here we present a whole-genome sequencing (WGS) analysis from the 11-generation pedigree (>500 individuals) of a densely affected Costa Rican family which shares ancestry from six founder pairs. By conducting an identity-by-descent (IBD) analysis using WGS data from 19 individuals from the extended pedigree we have identified putative risk haplotypes that were not seen in controls, and can be linked with four of the six founder pairs. Rare coding and non-coding variants present on the haplotypes and only seen in haplotype carriers show an enrichment in pathways such as regulation of locomotion and signal transduction, suggesting common mechanisms by which the haplotype-specific variants may be contributing to TS-risk in this pedigree. In particular we have identified a rare deleterious missense variation in RAPGEF1 on a chromosome 9 haplotype and two ultra-rare deleterious intronic variants in ERBB4 and IKZF2 on the same chromosome 2 haplotype. All three genes play a role in neurodevelopment. This study, using WGS data in a pedigree-based approach, shows the importance of investigating both coding and non-coding variants to identify genes that may contribute to disease risk. Together, the genes and variants identified on the IBD haplotypes represent biologically relevant targets for investigation in other pedigree and population-based TS data.

La arquitectura interior opera hoy en la intersección entre los espacios físicos y los mediados, como aquellos de la comunicación de masas, las plataformas digitales o las artes visuales. Si consideramos cualquier forma de representación como una arquitectura en potencia —desde la escritura hasta la fotografía, desde el dibujo hasta el cine—, este ensayo aborda los interiores contemporáneos como plataformas de “medios expandidos” que pertenecen a diferentes lugares y temporalidades y que reafirman el papel de la arquitectura interior en la construcción de la contemporaneidad.

Que penser de la multiplication de ces quelques icônes du design réduites au statut d’attrape-likes sur les réseaux sociaux ? Aperçu sur l’Instagram de Bella Hadid et d’autres influenceurs, le miroir Ultrafragola d’Ettore Sottsass estdevenu viral. Dématérialisé en cadre à selfies, il sort du champ de l’intérieur pour passer dans celui du meme, calibré pour le profil designista, avant de retourner dans le réel sous des formes détournées. Par exemple, sur une toile de Romane de Watteville, jeune artiste romande lauréate du Prix Mobilière 2022, ou dans les simulations 3D que l’Espagnol Dani Miras vend en poster ou en NFT. Avec l’avènement des métavers, l’influence qu’exerce le médium sur la conception d’environnements domestiques, urbanistiques ou commerciaux évolue du web 2.0 au web 3.0. Tel Néo, dans le film « Matrix », sorti en 1999, on s’interroge alors sur la pilule à choisir. La bleue, qui nousgarde dans l’illusion d’une vie normale (la virtuelle) ? Ou la rouge, qui révèle un dispositif dans lequel l’existencehumaine se réduit à une batterie censée alimenter la machine tentaculaire produisant la fiction ? Dans son documentaire « The pervert's guide to cinema », le philosophe Slavoj Žižek voulait en avaler une troisième afin de trouver la réalité dans l’illusion même. Aujourd’hui, il compare la pilule bleue à celle que nous tend Mark Zuckerberg dans son projet de métavers.Nous avons demandé son avis à Javier Fernández Contreras, responsable du département d’architecture d’intérieur de la Haute Ecole d’Art et de Design (HEAD) de Genève.

L’architecture d’intérieur opère aujourd’hui à l’intersection des espaces physiques et médiatisés que sont, par exemple, la communication de masse, les plateformes digitales ou les arts visuels. Partant du principe que n’importe quelle forme de représentation est potentiellement architecturale, de l’écriture à la photographie ou du dessin au cinéma, Javier Fernández Contreras situe à la Renaissance les origines de ce processus d’hybrida­tion entre espaces et médias, et envisage les inté­rieurs comme les laboratoires expérimentaux de la modernité tardive. De l’érudition historique à la création d’hypothèses, son essai se penche sur les intérieurs contemporains comme sur des plateformes de « médias élargis » qui attestent du rôle de l’architecture d’intérieur dans la construc­tion de la contemporanéité.

The increased deployment of distributed generation calls for the coordination and interaction between the transmission and distribution levels. This requirement is particularly relevant for planning purposes when renewable-based generation is involved. Unfortunately, in current industry practice, transmission and distribution network planners solve their problems independent of each other, thereby leading to suboptimal solutions. Within this context, this paper addresses the integrated expansion planning problem of transmission and distribution systems where investments in network and generation assets are jointly considered. Several alternatives are available for the installation of lines as well as conventional and renewable-based generators at both system levels. Thus, the optimal expansion plan identifies the best alternative for the candidate assets under the uncertainty associated with demand and renewable-based power production. The proposed model is an instance of stochastic programming wherein uncertainty is characterized through a set of scenarios that explicitly capture the correlation between the uncertain parameters. The resulting stochastic program is driven by the minimization of the expected total cost, which comprises the costs related to investment decisions and system operation. The associated scenario-based deterministic equivalent is formulated as a mixed-integer linear program for which finite convergence to optimality is guaranteed. Numerical results show the effective performance of the proposed approach, El mayor despliegue de generación distribuida exige la coordinación e interacción entre los niveles de transmisión y distribución. Este requisito es particularmente relevante a efectos de planificación cuando se trata de generación basada en energías renovables. Desafortunadamente, en la práctica actual de la industria, los planificadores de redes de transmisión y distribución resuelven sus problemas de forma independiente, lo que conduce a soluciones subóptimas. En este contexto, este documento aborda el problema de la planificación integrada de la expansión de los sistemas de transmisión y distribución donde se consideran conjuntamente las inversiones en activos de red y generación. Hay varias alternativas disponibles para la instalación de líneas y generadores convencionales y renovables en ambos niveles del sistema. De este modo, el plan de expansión óptimo identifica la mejor alternativa para los activos candidatos bajo la incertidumbre asociada con la demanda y la producción de energía renovable. El modelo propuesto es una instancia de programación estocástica donde la incertidumbre se caracteriza a través de un conjunto de escenarios que capturan explícitamente la correlación entre los parámetros inciertos. El programa estocástico resultante está impulsado por la minimización del costo total esperado, que comprende los costos relacionados con las decisiones de inversión y la operación del sistema. El equivalente determinista basado en escenarios asociado se formula como un programa lineal de enteros mixtos para el que se garantiza una convergencia finita a la optimización. Los resultados numéricos muestran el desempeño efectivo del enfoque propuesto

International audience; Marco Costantini (MC): How do you define your practice to your first year students? How do you put words on this practice?Javier Fernández Contreras (JFC): Our work focuses on repositioning the role of Interior Architecture in the construction of contemporaneity. In that sense, there are recurrent mantras that we repeat to our students at HEAD – Genève. These are critical times for the profession, its epistemology and agency. Nowadays interior spaces are laboratories of modernity: whether it is through renovation projects, temporary scenography or artistic installations, interiors have become an endless arena for the exploration of cultural, environmental and political agendas that transform the contemporary condition from within. In the early 20th century, a significant production of architectural discourse was related to urban planning and the territorial expansion of cities, a process that has left its mark on contemporary societies. Parallel to the institutionalisation of modern interiors by means of new department stores, international exhibitions and mass media, it was urban planning, associated with ideas of order and functionalism, which used to construct architectural discourse. Today, especially in the West, most buildings and urban environments have already been developed, and often have a heritage listing. Hence, the laboratory for architectural experimentation has shifted towards the transformation of interior spaces, both permanent and temporary. Whether in airports, museums, domestic spaces or retail facilities, all transformations in contemporary societies are linked to constantly changing interior spaces, while the facades of the buildings remain the same. Interiors are way more flexible and deregulated, changing much more rapidly according to mutations in contemporary societies. When it comes to practice, our agenda for interiors has always been public and explicit. Our department regularly engages in life-size projects that enable our students to transfer their ideas from speculation to reality. This is a pedagogy of action. With students on the BA and MA programmes, we have developed new concepts through real projects, always seeking to address, explore and circulate the agendas that articulate physical and mediated interiors. Projects recently developed by the Interior Architecture Department, in teams consisting of students, teachers and assistants, have included proposals presented at Designers’ Saturday in Langenthal, the Design Parade in Toulon and the Salone del Mobile in Milan, as well as collaborations with brand names such as Aesop, Bucherer and USM, and NGOs such as Hospice General and Caritas Geneva. This constant interaction with reality does not diminish its speculative condition, but rather creates a context of opportunity for teachers and students. We are a small team of around one hundred students on BA and MA programmes, plus thirty teachers and assistants, all practitioners in various fields from architecture to interior design, product design, cinema, digital media, theory, journalism, photography and ecology, to name a few. Our organisation is the institutional expression of the tension between academia and practice, between discourse and agency.Graeme Brooker (GB): We are only a postgraduate institution. Our students, when they come to us, already have an undergraduate experience. When we first meet with them, we explore the range of the interior. The work that we will undertake with them is, at one end of this spectrum, about thinking very pragmatically, for instance the subject, the profession, about what it means to be called an interior designer or an interior architect. And on the other end of that bandwidth, we will talk to them about ideas, esoteric aspects such as the smell of a building and so on. We’ll explore intangible things that they may never have considered before. Then we talk to them about things like the room, about gender, about history, about theory, and about essentially how they might combine this work and develop their own voice. In the first year, we make this explicit through three phases of work: Proximities, Inhabitations and Identities. Proximities is all about learning from what’s around us, it’s about the buildings we reuse, it’s about understanding site and its physical and immaterial properties. Inhabitations is about social dimensions, humans, people. The third phase of year one is Identities: effectively surfaces and people. There we work specifically with material identities but also in what constitutes human behaviour, what it means to be a person in space, etc. In the first year we deal with the broad range of the interior because we always describe it as something that is very open. At the same time it has the capacity to be narrow and focused but it also has this propensity to open itself up to all kinds of areas and disciplines. In the second year the students undertake their thesis in a specifically situated platform of their choice in order to make explicit their research and practice.Claire Favre Maxwell (CFM): Can you tell us more about this relationship between the outside and the inside? Your teaching seems to confine you to the inside and yet both are so intimately linked. How do you deal with this notion with your students? […]