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El Plan MARS para Londres constituye probablemente la principal aportación británica a la modernidad y una importante contribución internacional al urbanismo moderno. Su proceso proyectual, sin embargo, es poco conocido y ha sido insuficientemente analizado. En este artículo se pretende estudiar tanto sus elementos como su trazado y expresión gráfica, confrontando las fuentes coetáneas y estudiando críticamente sus bases, sus puntos comunes y su carácter diferencial, resaltando su carácter de proyecto total que une las escalas territoriales y edificatorias.

Abstract Background Myeloid-derived suppressor cells (MDSCs) constitute a recently discovered bone-marrow-derived cell type useful for dealing with neuroinflammatory disorders. However, these cells are only formed during inflammatory conditions from immature myeloid cells (IMCs) that acquire immunosuppressive activity, thus being commonly gathered from diseased animals. Then, to obtain a more clinically feasible source, we characterized IMCs directly derived from healthy bone marrow and proved their potential immunosuppressive activity under pathological conditions in vitro. We then explored their neuroprotective potential in a model of human cerebellar ataxia, the Purkinje Cell Degeneration (PCD) mouse, as it displays a well-defined neurodegenerative and neuroinflammatory process that can be also aggravated by invasive surgeries. Methods IMCs were obtained from healthy bone marrow and co-cultured with activated T cells. The proliferation and apoptotic rate of the later were analyzed with Tag-it Violet. For in vivo studies, IMCs were transplanted by stereotactic surgery into the cerebellum of PCD mice. We also used sham-operated animals as controls of the surgical effects, as well as their untreated counterparts. Motor behavior of mice was assessed by rotarod test. The Purkinje cell density was measured by immunohistochemistry and cell death assessed with the TUNEL technique. We also analyzed the microglial phenotype by immunofluorescence and the expression pattern of inflammation-related genes by qPCR. Parametric tests were applied depending on the specific experiment: one or two way ANOVA and Student’s T test. Results IMCs were proven to effectively acquire immunosuppressive activity under pathological conditions in vitro, thus acting as MDSCs. Concerning in vivo studios, sham-operated PCD mice suffered detrimental effects in motor coordination, Purkinje cell survival and microglial activation. After intracranial administration of IMCs into the cerebellum of PCD mice, no special benefits were detected in the transplanted animals when compared to untreated mice. Nonetheless, this transplant almost completely prevented the impairments caused by the surgery in PCD mice, probably by the modulation of the inflammatory patterns. Conclusions Our work comprise two main translational findings: (1) IMCs can be directly used as they behave as MDSCs under pathological conditions, thus avoiding their gathering from diseased subjects; (2) IMCs are promising adjuvants when performing neurosurgery.

Abstract The period 1922-1943 —the so-called fascist venthenium— was a fruitful and creative time in Italian architecture. Its rich and plural fundamentals established singular relationships between classical and modern cultures, which transcends their historical moment and present new topics for analysis and reflection. To know and appreciate its architecture, we will use the journeys of the professionals who came to Rome from all over the world to participate in the International Congress of Architects in 1935, considering the Congress as a space of opportunity for that reflection, and taking the visits around Rome scheduled by the organizers as a source of the architectural and urban interests of its time, and a reflection of the trends that were stirring then in Italy. Resumen El periodo entre 1922 y 1943 —el llamado ventenio fascista— fue una época fecunda y creativa en la arquitectura italiana. Sus bases ricas y plurales establecieron relaciones singulares entre el mundo cultural clásico y el moderno, que trascienden su momento histórico y plantean en nues-tros días nuevos temas de análisis y reflexión. Para conocer y valorar su arquitectura y su modelo urbano, nos serviremos del viaje al que fueron llevados los profesionales que de todo el mundo llegaron a Roma para participar en el Congreso Internacional de Arquitectos en 1935, considerando el Congreso como un espacio de oportunidad para esa reflexión y tomando las visitas a la ciudad programadas por los organizadores como fuente de los intereses arquitectónicos y urbanos de su tiempo, reflejo de las tendencias que se agitaban entonces en Italia.

The main olfactory bulb (MOB) is a neural structure that processes olfactory information. Among the neurotransmitters present in the MOB, nitric oxide (NO) is particularly relevant as it performs a wide variety of functions. In this structure, NO is produced mainly by neuronal nitric oxide synthase (nNOS) but also by inducible nitric oxide synthase (iNOS) and endothelial nitric oxide synthase (eNOS). The MOB is considered a region with great plasticity and the different NOS also show great plasticity. Therefore, it could be considered that this plasticity could compensate for various dysfunctional and pathological alterations. We examined the possible plasticity of iNOS and eNOS in the MOB in the absence of nNOS. For this, wild-type and nNOS knock-out (nNOS-KO) mice were used. We assessed whether the absence of nNOS expression could affect the olfactory capacity of mice, followed by the analysis of the expression and distribution of the NOS isoforms using qPCR and immunofluorescence. NO production in MOB was examined using both the Griess and histochemical NADPH-diaphorase reactions. The results indicate nNOS-KO mice have reduced olfactory capacity. We observed that in the nNOS-KO animal, there is an increase both in the expression of eNOS and NADPH-diaphorase, but no apparent change in the level of NO generated in the MOB. It can be concluded that the level of eNOS in the MOB of nNOS-KO is related to the maintenance of normal levels of NO. Therefore, our findings suggest that nNOS could be essential for the proper functioning of the olfactory system.

The progression of neurodegenerative diseases is reciprocally associated with impairments in peripheral immune responses. We investigated different contexts of selective neurodegeneration to identify specific alterations of peripheral immune cells and, at the same time, discover potential biomarkers associated to this pathological condition. Consequently, a model of human cerebellar degeneration and ataxia -the Purkinje Cell Degeneration (PCD) mouse- has been employed, as it allows the study of different processes of selective neuronal death in the same animal, i.e., Purkinje cells in the cerebellum and mitral cells in the olfactory bulb. Infiltrated leukocytes were studied in both brain areas and compared with those from other standardized neuroinflammatory models obtained by administering either gamma radiation or lipopolysaccharide. Moreover, both myeloid and lymphoid splenic populations were analyzed by flow cytometry, focusing on markers of functional maturity and antigen presentation. The severity and type of neural damage and inflammation affected immune cell infiltration. Leukocytes were more numerous in the cerebellum of PCD mice, being located predominantly within those cerebellar layers mostly affected by neurodegeneration, in a completely different manner than the typical models of induced neuroinflammation. Furthermore, the milder degeneration of the olfactory bulb did not foster leukocyte attraction. Concerning the splenic analysis, in PCD mice we found: (1) a decreased percentage of several myeloid cell subsets, and (2) a reduced mean fluorescence intensity in those myeloid markers related to both antigen presentation and functional maturity. In conclusion, the selective degeneration of Purkinje cells triggers a specific effect on peripheral immune cells, fostering both attraction and functional changes. This fact endorses the employment of peripheral immune cell populations as concrete biomarkers for monitoring different neuronal death processes.

Abstract Few current methods are efficient to detect a high number of lysosomal storage disorders (LSDs) in newborn screening. Therefore, we propose a stepwise procedure that starts with the use of paper borne urine samples (Berry-Woolf specimen) for the inexpensive detection of elevated lysosomal content and the identification of which of the three majors biochemical groups -mucopolysaccharides, oligosaccharides, and glycosphingolipids- is detected. Urine samples are preferable to blood samples because of their higher concentrations of the relevant analytes. Subsequent steps would precisely determine which enzyme deficiency is involved. As a summary, following our previous papers on the detection of elevated oligosaccharides and mucopolysaccharides, here we describe how elevated urinary glycosphingolipids (GSLs) could be fluorometrically detected using the reagent 5-hydroxy-1-tetralone (HOT) and subsequently identified with precision by continuous thin layer chromatography or other techniques. We also outline the steps required for the validation of this procedure for its introduction in newborn screening programs.

Resumen “Arquitectura y representación” es un tema plural que abarca tanto la figuración como la manifestación, imagen y escenografía de la arquitectura. Dentro de él, se analiza aquí cómo Le Corbusier plantea una interdependencia entre la arquitectura y su imagen que conlleva no sólo un nuevo sentido del espacio, sino también nuevos medios de representarlo, sirviéndose de los más variados vehículos expresivos: de la acuarela al diorama, del plano a la maqueta, de los croquis a los esquemas científicos y, en general, de todos los medios posibles de expresión y representación para dar a conocer sus inquietudes y sus propuestas en un certamen singular: el Salón de Otoño de París; cuna de las vanguardias. Le Corbusier concurrió al Salón d’ Automne con su arquitectura en múltiples ocasiones. A él llevó sus dibujos de Oriente y a él volvió en los años veinte a exhibir sus obras, recorriendo el camino del arte-paisaje a la arquitectura y, dentro de ella -en un orden inverso, anti-clásico-, de la gran escala o escala urbana a la escala edificatoria y a la pequeña escala de los espacios interiores y el amueblamiento.

Abstract “Architecture and Representation” is a plural theme that includes both figuration as manifestation, image and scenography of architecture. Within it, here it is analyzed how Le Corbusier proposes an interdependence between architecture and image that entails not only a new sense of space, but also new means of representing it, using the most varied expressive vehicles: from watercolor to diorama, from plans to models, from sketches to scientific schemes and, in general, using all possible expression and representation means to make known their concerns and their proposals, all of them within a singular contest: the Paris’s Salon d’ Automne; cradle of art avant-gardes.Le Corbusier attended Le Salon d’ Automne with his architecture on multiple occasions. He brought there his Orient drawings and he returned in the 1920s to exhibit his works, going on from art-landscape to architecture and, within it —in an inverse, anti-classical order— from urban scale to building scale and to small scale of interiorism and furnishing.

La Cité Internationale Universitaire de París vio la luz en una Europa que, tras la Guerra de 1914-1918, reformulaba sus modelos universitarios. Sus edificios presentan un amplio registro arquitectónico que pasa de los estilos nacionales a la modernidad, haciendo de la Cité un reflejo de la pluralidad de la arquitectura del siglo XX. El Pabellón Suizo y el Colegio de España reflejan esa pluralidad (Figura 1). Si el Pabellón es emblema de la modernidad y de la arquitectura corbuseriana, el Colegio simboliza los compromisos aún vigentes con la tradición. La coincidencia del programa y el paralelismo del lugar permiten confrontarlos y analizarlos comparativamente. Basado en documentos depositados en la Cité Universitaire, el Pabellón Suizo, el Colegio de España y otros archivos, este trabajo se propone explicar y analizar su arquitectura, oponiendo ambas obras para entenderlas mejor y entender así un tiempo histórico que se debate en toda Europa entre tradición y vanguardia.

It is very common to understand the home of the masters of architecture as a manifesto of their respective architectures. Nevertheless, those houses are usually identified with single-family models, relegating collective examples. Only the apartment-atelier that Le Corbusier elevated in Porte Molitor (1930-33) is saved from this oblivion. However, there are at the same time two other examples of house-studio by two masters of the moment: Perret and Piacentini. Both are parallel in their vital dynamics and in their programs: The Roman house-studio of Piacentini in Lungotevere Tor di Nona (1929-31) and the Parisian building of Raynouard (1929-33), where Perret established his home and his agence (office). The coincidence of theme and the parallelism of place facilitate the comparative analysis in a common historical time, with their debates between tradition and vanguard.

The standard method of primary neonatal screening for congenital adrenal hyperlasia (CAH), determination of 17-hydroxyprogesterone (17OHP) in heelprick blood, is the object of recurrent controversy because of its poor diagnostic and economic efficiency. The superior ability of urinary pregnanetriolone levels to discriminate between infants with and without classical CAH has been known for some time, but has not hitherto been exploited for primary screening. Here we propose an economical neonatal CAH-screening system based on fluorimetric determination of the product of reaction between urinary pregnanetriolone and phosphoric acid.

In mid 2019, the author reminded the (International Society for Neonatal Screening) ISNS of the happy occasion of the 100th birthday of one of the living pioneers of neonatal screening, Professor Louis Isaac Woolf [...]

Resumen Considerado siempre como el hábitat corbuseriano por excelencia, el apartamento-atelier de Le Corbusier en Porte Molitor es una villa individual sobre un edificio colectivo edificado --según su propia expresión-- en condiciones de Ville Radieuse. Radieuse, radiante, es el término empleado para definir la ciudad ideal: una urbe moderna imaginada dentro de un gran parque. Este texto pretende analizar esa casa radiante: el lugar y el espacio donde Le Corbusier vivía y sus modos de habitarlo a través del tiempo, desde 1934 hasta su muerte, tres décadas más tarde. Porque 24NC supone el paso del proyecto a la vida: de proyectar la Ville Radieuse, a vivir en ella. Abstract Ever considered the corbusian habitat for excellence, the appartement of Le Corbusier at 24NC Porte Molitor is an individual villa over a rent collective building edified –as he used to say-- on Ville Radieuse conditions. Radieuse, radiant, is the word used to define the ideal city: a modern urbs imagined within a large park. This paper tries to analyse this maison radieuse: the place and the space where Le Corbusier lived in and his ways of living in along the time, from 1934 to his death in 1965. To study the double aspect of habitat and living. To analyse the place and the space where Le Corbusier lived, at his projects and his metaphors: the maison radieuse, the urbs in ortu, the crystal house, the labour archipielago, with its different islands of paints and books, of papers and memories... Because 24NC suppose the transit from project to life: from planning Ville Radieuse, to living in.

ResumenLe Corbusier simboliza el urbanismo moderno racional, cuyo esfuerzo riguroso de planificación exige un esfuerzo paralelo de comprensión. Se opone a ese urbanismo contemporáneo que quiere percibir y disfrutar la ciudad sensiblemente. Sentimiento y razón, sin embargo, no son opuestos y Le Corbusier nos dio en su momento las claves para intentar una síntesis, uniéndolos de modo singular por medio de sus ‘boîte à miracles’ o ‘cajas mágicas’: esos "espectáculos arquitectónicos de síntesis" que definiría en el Ciam de 1951. Pretendemos aproximarnos aquí a la primera de esos ‘espectáculos’: el ‘diorama’, viéndolo como estrategia corbuseriana de mediación entre lo racional y lo sensible en la ciudad moderna y contemporánea.Palabras claveLe Corbusier, diorama, Ville Contemporaine, Plan Voisin, Plan MaciáAbstractLe Corbusier symbolizes the modern rational urbanism, whose rigorous effort of town planning demands a parallel effort of comprehension. It opposes to these contemporary urbanism that wish to perceive and to enjoy cities in a sensible way. Nevertheless, sentiment and reason are not adverses and Le Corbusier gives us at his moment keys to intent a synthesis, joined them in a singular way by means of his ‘boîtes à miracles’ or ‘magic boxes’: those "architectural spectacles of synthesis" that he defined in 1951 Ciam. Here we try to approach to the first of those ‘spectacles’: the ‘diorama’, considering it as a corbusean strategy of mediation between rational and sensible in modern and contemporary city.Key wordsLe Corbusier, diorama, Ville Contemporaine, Plan Voisin, Plan Maciá.

José Ramón Alonso Pereira This study seeks to analyze a key work from the second half of the twentieth century: the Pompidou Center in Paris, read as a piece of city, although logically not in a classical or haussmanian sense, but rather in a corbusierian modern sense. Throughout the 1960's, criticism and rejection of the modern city came to question the discipline of architecture approach. New formulations emerged a debate utopian architectural responses to an undesired reality. The oppositions between the reality of the modern city and the utopian nature of the analogous city was the center of cultural debate. In that debate, some of architectural works emerge as a scientific or technological cottage. One of the emblematic example was the Pompidou Center by Renzo Piano and Richard Rogers, whose approach is almost a pure constructed diagram. The temporary coincidence in 1923, between the publication of "Vers une Architecture" and the beginning of demolitions at the Ilot Insalubre nº 1, at the Plateau Beaubourg serves as a start for the article and a way of join the two approaches.

AbstractLe Corbusier symbolizes the modern rational urbanism, whose rigorous effort of town planning demands a parallel effort of comprehension. It opposes to these contemporary urbanism that wish to perceive and to enjoy cities in a sensible way. Nevertheless, sentiment and reason are not adverses and Le Corbusier gives us at his moment keys to intent a synthesis, joined them in a singular way by means of his ‘boîtes à miracles’ or ‘magic boxes’: those "architectural spectacles of synthesis" that he defined in 1951 Ciam. Here we try to approach to the first of those ‘spectacles’: the ‘diorama’, considering it as a corbusean strategy of mediation between rational and sensible in modern and contemporary city.Key wordsLe Corbusier, diorama, Ville Contemporaine, Plan Voisin, Plan Maciá

Desde comienzos del siglo XX, la arquitectura española busca insistentemente nuevas fórmulas de aproximación a las vanguardias y a la modernidad. Junto a los factores estilísticos, en este proceso es preciso resaltar el papel jugado por la construcción y por el hormigón armado, en particular. Este Artículo presenta un panorama acerca de los orígenes del hormigón armado en la arquitectura española.