Journal articles on the topic 'Air Fortress'

Introduction. The author’s architectural project of museumification of fragments of the fortress jail of Omsk fortress, where the world-famous Russian writer Fyodor Dostoevsky served hard labor, is proposed. The implemented project will become an open-air Museum in the future. The main idea of the project is to recreate the fragments of the jail on an authentic Foundation in the center of Omsk. On the eve of the 200th anniversary of the birth of F. M. Dostoevsky, in 2021, the project is relevant not only for the region but also for the entire world community. Museumification of fragments of the jail, preserving the historical and cultural heritage and ensuring the continuity of generations, will contribute to the cultural development of Omsk, and attract many tourists to the region. Materials and methods. Scientific publications, normative and archival documents: description, copies, drawings, drawings, literary work of F.M. Dostoevsky “Notes from the Dead house” and his letters to his brother; implemented projects analogues; General scientific research methods (analysis, synthesis, generalization); methods: comparison, classification; design method, including pre-design analysis, development: concept and architectural drawings, 3D-visualization and mock-up visualization of fragments of the fortress of Omsk. Results. The author’s project of museumification of fragments of the fortress of Omsk fortress — historically authentic tourist object. For popularization and speedy implementation of the project, the created layout, as a more visual presentation of the architectural project, is exposed for public discussion by Omsk citizens in the resurrection Cathedral of the Omsk fortress. Conclusions. Museumification of fragments of the fortress of Omsk fortress is classified as a complex open-air Museum. The profile of the exhibited objects of the Museum is fortification (military-historical museums) and literary (literary-memorial museums). To obtain the status of an open-air Museum and tourist attraction, all the principles of museumification of historical and cultural heritage are taken into account: historical significance, preservation, information content, accessibility and modern significance.

The purpose of this research is to design a pond water quality monitoring tool using a microcontroller. The results showed that the temperature value at the location of the pond in the Palopo City fortress ranged from 24,339 0C to 26,044 0C for the first pond. While on the second pond, the temperature value ranges from 24,648 0C to 25,793 0C. For data on the condition of water salinity in the first and second ponds in the fortress area of Palopo, respectively are 500.72 ppm to 528.72 ppm and 536.39 ppm to 540.84 ppm. While data from the measurement of water quality in the rongkong river area shows that the temperature of the first pond is in the range of 27,011 0C to 27,835 0C. The temperature for the second pond is in the range of 26,418 0C to 27,392 0C. The condition of the first and second pond watersheds were 499.86 ppm to 524.60 ppm and 508.92 ppm to 536.16 ppm respectively.

In the year 1150 (1737–38) the recorder of the Prophet's Meccan biography by Veysi Üskübi, may God's mercy be upon him, the humble and deficient Defter Kethüdasi Mehmet ibn Mustafa Efendi, was by an imperial order with the army of the Bosnian province at the battle of Özü. On the 14th day of the month of Rebiülevvel of that year, which was a Saturday, the large ammunition store situated in the citadel of the city fortress was hit by a spark of fire and in an instant the citadel was turned upside down, and inside the fortress and on its walls many men, women, and children perished flying into the air and [scattering] on the ground. After this, the next day, on Sunday, all that was left of the army of the aforementioned province, the governor of the abovementioned fortress, his Excellency the Honorable Vizier Yahya Paşa, his household, the people of four Rumeli sancaks, five Janissary regiments from the imperial headquarters, and all of the garrison forces and its inhabitants, together with women and children, by the will of God Almighty all [fell] prisoner to the Muscovite infidel, most of them with their heads uncovered and barefooted…

A field study was conducted at the US Army Aviation Center to determine whether workload-coping and attention-management skills developed through structured video game experience would generalize to flight training. Three groups of 24 trainees were compared: (1) One received 10 hours of training on an IBM-PC version of Space Fortress, replicating an earlier study; (2) The second played a commerical video game (Apache Strike) for 10 hours which also required tracking, monitoring, situation assessment, and memory; (3) The third matched group receive no game training. Flight school records were monitored during the next 18 mos to compare performance of the three groups during initial flight training. Check ride ratings began to show an advantage for the group trained with Space Fortress by the Instrument stage of training, as predicted. Furthermore, attrition rates were lower for this group, replicating the results of an earlier study conducted by Gopher (1990) in the Israeli Air Force Flight School.

Abstract The annual Royal Air Force Display at Hendon was a hugely popular form of aerial theatre, with attendance peaking at 195,000. Most discussions of Hendon have understood it as ‘a manifestation of popular imperialism’, focusing on the climactic set-pieces which portrayed the bombing of a Middle Eastern village or desert fortress. However, scenarios of this kind were a small minority of Hendon’s set-pieces: most depicted warfare against other industrialized states. Hendon should rather be seen as an attempt to persuade spectators that future wars could be won through the use of airpower rather than large armies or expensive navies.

A state has a government as the supreme authority that has a complete and exclusive jurisdiction over its territory. It is very important to Indonesia, with its vast territory, to preserve and uphold the state’s sovereignty, particularly over its airspace. Especially in this global era, when the rapid development of technologies resulting in the end of geography era, and the world seems to be borderless. The issue discussed in this paper is Indonesia’s air sovereignty issues in the global era. The things to be concerned by the Government of Indonesia on the management and protection of the state’s sovereignty over the airspace in the global era are: (1) the take over of the Flight Information Region above Riau and Natuna from Singapore FIR; (2) the prevention and suppression of airspace violation incidents; and (3) the impact of Indonesia’s ratification on the ASEAN Open Skies Policy to the protection of the sovereignty over Indonesia’s airspace. A state’s airspace is very strategic because it is the first fortress of a state, in which all foreign forces can fly in first. Therefore as a state with vast territory, the Government of Indonesia must work hard to be able to preserve and uphold the sovereignty over its territory, especially in defending the state’s sovereignty over its airspace in the global era.

The article is devoted to the analysis of archaeological materials obtained during the excavations of the Tara fortress / town Tara by Omsk archaeologists. In the more than four-meter cultural layer, seven building horizons have been preserved, in which all of its history has been contained. The peculiarities of the cultural layer contributed to the unique preservation of large objects (dwellings, outbuildings, defensive structures, pavements), as well as cultural and household items made of leather (shoes, belts, covers), wood (plates and cups, tues, whorls, shovels). Perfectly preserved foundations of churches and lower crowns (up to the ninth) of fortress and prison towers, powder magazines, lower crowns of huts with furniture and stoves make it possible not only to study data on material culture not reflected in written materials, but to raise the question of creating museum complexes «under open air», combining them with full-fledged reconstruction of these buildings. The temples of the 18th — 19th centuries, of which only one has survived, and are still known from excavations of foundations, merchant mansions and residential buildings of the late 19th century complement archaeological materials and allow studying the culture of the Tara population for four centuries. Keywords: Western Siberia, Tara, Russian archaeology, historical cities

Outdoor thermal environment is affected by variables like air temperature, wind velocity, humidity, temperature of the radiant surfaces, and solar radiation, which can be expressed by a single number - the thermal index. Since these variables are subject to annual and diurnal variations, prediction of thermal comfort is of special importance for people to plan their outdoor activities. The purpose of this research was to develop and apply the extreme learning machine for forecasting physiological equivalent temperature values. The results of the extreme learning machine model were compared with genetic programming and artificial neural network. The reliability of the computational models was accessed based on simulation results and using several statistical indicators. According to obtained results, it can be concluded that extreme learning machine can be utilized effectively in short term forecasting of physiological equivalent temperature.

We saved trainer time and resources by reducing hands-on practice in training-team protocols without reducing computer-based learning. During 1-h sessions, young adults learned Space Fortress, a video task that has been employed during pilot training. Observers (Experiment 1) learned more in 3 sessions than did test-only trainees. Individuals, dyads, triads, and tetrads (Experiment 2) learned in 3 sessions with no differences in learning or interaction between learning and protocol. Individuals, dyads, and tetrads (Experiment 3) learned in 10 sessions with no differences in learning or interaction between learning and protocol. As predicted by social learning theory, observational learning seems to compensate for hands-on practice efficiently and effectively. Applications of this research have been developed for computer-based group training of airline and air force pilots.

Military tourism is one of the forms of tourism that is not sufficiently researched throughout Poland. It is only in recent years, after the period of political transformation, that interest in this phenomenon has been growing every year. This research has aimed to indicate the possibilities of military tourism development in northern and northeastern Poland. It includes an analysis of data concerning the Naval Museum in Gdynia, the "Wolf's Lair" Fortress in Gierloz and an example of a military event - an air show, which took place on the premises of the 44th Airborne Museum in Gdynia. Results of the analysis of the military tourism development in northern and northeastern Poland indicate that military sites and military-themed events attract considerable tourist traffic and play an important role in the overall development of tourism.

Abstract. Blowing snow transport has considerable impact on the hydrological cycle in alpine regions both through the redistribution of the seasonal snowpack and through sublimation back into the atmosphere. Alpine energy and mass balances are typically modeled with time-averaged approximations of sensible and latent heat fluxes. This oversimplifies nonstationary turbulent mixing in complex terrain and may overlook important exchange processes for hydrometeorological prediction. To determine if specific turbulent motions are responsible for warm- and dry-air advection during blowing snow events, quadrant analysis and variable interval time averaging was used to investigate turbulent time series from the Fortress Mountain Snow Laboratory alpine study site in the Canadian Rockies, Alberta, Canada, during the winter of 2015–2016. By analyzing wind velocity and sonic temperature time series with concurrent blowing snow, such turbulent motions were found to supply substantial sensible heat to near-surface wind flows. These motions were responsible for temperature fluctuations of up to 1 ∘C, a considerable change for energy balance estimation. A simple scaling relationship was derived that related the frequency of dominant downdraft and updraft events to their duration and local variance. This allows for the first parameterization of entrained or advected energy for time-averaged representations of blowing snow sublimation and suggests that advection can strongly reduce thermodynamic feedbacks between blowing snow sublimation and the near-surface atmosphere. The downdraft and updraft scaling relationship described herein provides a significant step towards a more physically based blowing snow sublimation model with more realistic mixing of atmospheric heat. Additionally, calculations of return frequencies and event durations provide a field-measurement context for recent findings of nonstationarity impacts on sublimation rates.

Considering ancient monuments and historical buildings, it seems that these mortars have proved to be durable and reliable materials. The restoration and maintenance of old renders is one of the key aspects of correct rehabilitation practice. The ideal course of action is to replace the damaged material by a material with compatible characteristics.The study in development presents the chemical, physical and morphologic analysis performed for ancient air lime mortars belonging to historical monuments: Santa Marta Fortress in the coast line Lisbon-Cascais dated from XVII century and Defense Wall of Lisbon dated from XI century, which layout could be associated to roman period. It is important to underline that the studied samples of ancient portuguese air lime mortars, have been submitted during centuries to very severe maritime environment that includes daily cycles of wet/dry, wind, friction and the constant presence of salts, generally aggressive. However, they show very good performance and conservation state, unlike most of the new air lime mortars, which are generally considered weak, not very durable, materials. This work is included in a study intending to determine key factors to the durability of these ancient materials in presence of water. Visible reaction rims around some aggregates suggests the occurrence of pozzolanic reactions between aggregates and the lime binder that creates neoformation products, such as calcium-silico-aluminates, which seems be, besides the pores filling, the responsible for the resistance and cohesion of these ancient mortars submitted to aggressive humid environments.

Abstract: Has been Community Service for Micro-Business White Oyster Mushroom "Temperature control and humidity, Lower Fortress, Deli Serdang. Temperature control and humidity of white oyster mushrooms using Ardurino Uno R-3-based DHT 11 temperature sensor with 16x2 LCD display and HP Android. Controlling the temperature and humidity of white oyster mushrooms work automatically to help the mushroom farmers in controlling the temperature and humidity of white oyster mushroom kumbung .. If temperature> 300C and humidity <650C sensors will read the temperature and humidity in the kumbung and regulate the movement of the water pump in automatic and turn the water nozzle in water spraying onto the kumbung section and baglog mushrooms. This tool works to help white oyster mushroom farmers in increasing their harvest production. Keywords: Temperature Control and Humidity, Website Abstrak: Telah dilakukan Pengabdian Masyarakat bagi Usaha Mikro Jamur Tiram Putih”Pengendalian suhu dan kelembaban, Benteng Hilir, Deli Serdang. Pengendalian suhu dan kelembaban jamur tiram putih menggunakan sensor suhu DHT 11 berbasis Ardurino Uno R-3 dengan tampilan LCD 16x2 dan HP Android. Pengontrolan suhu dan kelembaban kumbung jamur tiram putih bekerja secara otomatis membantu para petani jamur dalam mengendalikan suhu dan kelembaban kumbung jamur tiram putih.. Jika suhu > 300C dan kelembaban <650C sensor akan membaca suhu dan kelembaban yang berada di kumbung dan mengatur pergerakkan pompa air secara otomatis dan menghidupkan nozzle air dalam penyemprotan air ke bahagian kumbung dan baglog jamur. Alat ini bekerja untuk membantu petani jamur tiram putih dalam peningkatan produksi panennya. Kata Kunci : Pengendalian Suhu dan kelembaban, Website

Whole crop wheat (WCW) is a relatively new crop as a feed for dairy cows, and little information is available on its dry matter yield and nutritive value relative to stage of growth at harvest. Also, the role of urea (which hydrolyses to ammonia in the crop) addition in reducing fermentation and aerobic spoilage losses has not been investigated.The aim of this experiment was to examine three stages of growth at harvest for WCW, with and without urea.An area of winter wheat (cv Fortress) was cut (5 cm above ground) at three growth stages (GS 49, 71 and 87). The resultant forages were chopped through a precision-chop harvester and stored in air-tight barrels of 0.225 m3 capacity. Urea was added at 0 and 40 g/kgDM at each stage of growth and there were three replicates of each treatment. Thermocouples placed centrally were used to monitor temperature changes. The mini silos held approximately 100 kg of forages and they were opened after 90 days. Vertical cores were taken as samples and the mini silos were left open for a further 18 days to assess aerobic deterioration.

The Italian building stock consists of buildings mainly constructed until the mid-20th century using pre-industrial construction techniques. These buildings require energy refurbishment that takes into account the preservation of their architectural heritage. In this view, this work studies an innovative integrated modelling and simulation framework consisting of the implementation of Historical Building Information Modeling (HBIM) for the energy retrofit of historical buildings with renewable geothermal HVAC system. To this aim, the field case study is part of a medieval complex in Central Italy (Perugia), as representative ancient rural offshore architecture in the European countryside. The system involves of a ground source heat pump, a water tank for thermal-energy storage connected to a low-temperature radiant system, and an air-handling unit. The building heating energy performance, typically influenced by thermal inertia in historical buildings, when coupled to the novel HVAC system, is comparatively assessed against a traditional scenario implementing a natural-gas boiler, and made inter-operative within the HBIM ad hoc platform. Results show that the innovative renewable energy system provides relevant benefits while preserving minor visual and architectural impact within the historical complex, and also in terms of both energy saving, CO2 emissions offset, and operation costs compared to the traditional existing system. The integrated HBIM approach may effectively drive the path toward regeneration and re-functioning of heritage in Europe.

?New age? was a trend which appeared in the music of the 1980?s, bringing a new dimension to art music in general, especially in its reception. At first its development was stimulated by technological inventions, ?the technological craze?, by new carriers of sound, simultaneously globalizing art and making it widely accessible. This new trend includes quite disparate categories. It does not distance itself from subculture, and in art music it gravitates towards cosmopolitism while being permeated with other musical trends such as pop, rock, jazz and other phenomena of show business and popular art. This trend was originally found in the large number of occult writing which flooded book markets all over the world, to which Umberto Eco gave an important base (Foucault's Pendulum and others). In his essay on the music of the eighties, Peter Niklas Wilson, one of the most significant theoreticians of this movement, researches into all elements of those novelties, not hesitating to call this art eclectic, commercial and the like. Examples of Serbian music get into such style directives. The New Ideas Symphony by film score composer Zoran Simjanovic, was performed in the open air at Kalemegdan fortress in 2006, before an audience of about one thousand people. Since then the recording has often been broadcast on television and radio channels. In its combination of folklore and film models, traces of rock, pop, and jazz can also be found, in a score with all symphonic characteristics. This attempt is a fascinating item for research as well as a pleasure to be listened to.

AbstractThe following article presents the results of analyses of source materials regarding the presence of a defense work in the city space and the results of one case – the Warsaw Fortress System. Information on the characteristics of the fortified landscape was presented, with particular reference to one of the types of fortifications – the ring fortress. A very important element was to trace the history of this object and its changes in the last 150 years. Individual objects characterized by interesting architecture, terrain and interesting vegetation perform different functions in the city landscape. These functions result primarily from the different use of objects. It is also evident that these objects in the future may also develop as a result of adaptation to new purposes or use. They have a very large spatial and natural potential.

Reconstruction of a ceiling in the north-eastern wing of a former water fortress in Jeseník was carried out during the repair of its roof structure and replacement of the roof. The most damaged parts of the bearing ceiling beams were removed and partially replaced with new timber in the 70s of the 20th C. The way the work was carried out corresponded to the methods and approaches of the cultural heritage protection of that time. The replacement of damaged heads of ceiling beams with new timber that was fitted without connection to the original ceiling beams and only simply hanged on a metal girder can be considered highly provisional from the current perspective. That is why the repair of timber structures of the water fortress included also a reconstruction of the original ceiling system. Surveys focusing on the building archaeology and material assessing the condition of the incorporated timber were important for the final design of the repair and the concept of presentation of the Baroque ceilings.

This project provides for the restoration of Sant Julià's fortress complex, built at the end of the 19th century . The restoration is planned to create a facility to host a contemporary arts center with complementary services: workshops for artists, an auditorium for 450 people and a hotel-restaurant. The fortress is formed by a complex of independent structures, built with vaults and stone walls of considerable thickness, the majority being semi buried and connected by 1500 m of tunnels and galleries dug into the mountain. The lower part of the complex hosts the museum, while the hotel is located at the higher level, in the former "stronghold", the space where explosives were stored. In front of the main entrance, an oval-shaped auditorium is planned, with a height of 7.5 m and a vault made of concrete.All the new buildings are mostly made of reinforced concrete, with glass and corten steel being prominent, to avoid mimicry of the existing structures and to work with the old and the new as two joined parts of a whole set.The planned dome is an oval space of 34 x 24 m, covering a surface area of 524 m2, built underground to comply with current urban planning legislation. For the construction of the new dome, a formwork system with natural earth from the site has been used. This article analyzes different issues related to the concept of adaptive architecture, taking as an example the construction system used and the different phases of the process, planned and directed by the authors of this article.

one thousand years, in northern shanxi frontier area always all is the central and northern nomadic tribes for focus in urban construction, also reflect the very strong frontier military defense characteristics, after the passage of time, which also gives birth to the frontier town of shanxi unique frontier fortress culture. Based on the national historical and cultural city led by general layout, DaiXian city as an example, from its natural environment, history, military defense, ancient city pattern and architectural characteristics of shanxi discusses ancient frontier town history culture and the characteristics of the development of city.

In basketball, you want to win the game not only have sharp offense, but more impregnable fortress-like defense. With the development of basketball, individual technical ability in the game is growing, shooting is more and more accurate, offensive means are more and more rich, together with the positive moves of the players in the game, facing the complex and changing field conditions, if just blindly individual defense, it is difficult to obtain significant results. Zone defense, with variability and flexibility, can effectively limit the player with strong individual ability and come through the defense to win the game, and therefore zone defense tactics attract more teams’ attention.

The paper deals with the causes of pronounced colour inconsistency in the facades of Vrchotovy Janovice Castle. The original stone Gothic fortress has undergone a number of reconstructions, the last one taking place in the mid 19th century when the castle acquired its current neo-Gothic, romantic look. At the beginning of the second half of the 20th century the sporadic maintenance of the castle led to a decline in facade quality and the eventual restoration was very insensitive. Major restoration work was carried out on the facades in 2006 but once this was complete, the renewed facades started to show marked colour inconsistency. This paper analyses the causes of these defects with regard to the technological processes applied and sets out possible steps that can be taken to eliminate them.

The aim of the work is to form conceptual solutions of the ecological and archaeological site "Donskaya Troya’. The unique archaeological site founded in the 17th century, BC by the tribes of the North Caucasian catacomb culture locates westward Rostov-on-Don, on the right bank of the Mertvy Donets River, between Karataevo and Liventsovka villages in the Soviet region. The stone fortresses discovered by archaeologists in the 1960s, are the oldest in Eastern Europe. The preservation of the Liventsovka archaeological ensemble is very relevant, since today it is in a deplorable state, namely excavations with bushes, dacha garbage dumps, dilapidated walls and ditches filled with stones. The media quite keenly discuss the sad fate of this territory. The paper proposes to create a museum to show the unique historical and cultural potential of the Karataevo and Liventsovka fortresses, which will be and open-air museum, a festival space with a research center and other educational and entertainment areas. Urban planning, scenario-functional and artistic-figurative concepts of the museum relate to the existing historical and cultural artifacts, the ideas of a "living ethnic landscape", the life of people from re-created times and modern trends in the design of museum complexes.

The architectural heritage was seriously hit by the earthquake that occurred on April 6th 2009 in the Abruzzo region, especially considering the effects on a city with the size and with historical and strategic importance as a capital of a region, L’Aquila. The activities to protect that heritage have been centralized in the structure “Protection of Cultural Heritage” at Di.Coma.C. (Command and Control Quarter), managed by the Civil Protection Department. This allowed the cooperation among different involved subjects (Ministry of Cultural Heritage officers, experts on structural engineering from Universities and Fire Brigade teams), with their own specific knowledge. Keystone of the operating process was the standardization of the damage survey and of its immediate and correct interpretation, through dedicated survey forms for churches and palaces. The experience in the field of temporary safety measures was extremely interesting: ideas for engineering the process were developed, in cooperation with the work of the fire brigade men, that are highly experienced technicians in the “emergency” field. Finally, monitoring plans for some important monuments have been set up for the control of the damage progression and the analysis of the structural behavior of buildings after the earthquake and the execution of temporary interventions: two cases (St. Mark Church and the Spanish Fortress) are discussed.

AbstractGrape cane is a waste product from viticulture, which can be used as a source of stilbenes, such as resveratrol and viniferins with high antioxidant values. These stilbenes have also important healthy effects for humans. Resveratrol and viniferins are known as phytoalexins since 1977. Biomass of grape canes in annual pruning is a very valuable source of stilbenes, e.g.trans-resveratrol, andtrans-ε-viniferin in dry grape canes. The main goal of this article was to compare the distribution of resveratrol and viniferins in the grape cane varieties of Laurot, Hibernal, Malverina and Chardonnay. The highest content oftrans-resveratrol was found in Hibernal (6,111 mg kg−1); fortrans-ε-viniferin and r2-vinifein, the highest levels were found in Malverina (2,211 and 654 mg kg−1). These compounds can be obtained from this waste product (grape cane), by easy extraction process in winemaking or food-processing industry.

This work investigates the impact of long-term climate change on heritage sites in Latin America, focusing on two important sites in the Panamanian isthmus included in the World Heritage List: the monumental site of Panamá Viejo (16th century) and the Fortresses of Portobelo and San Lorenzo (17th to 18th centuries). First of all, in order to support the conservation and valorisation of these sites, a characterisation of the main construction materials utilized in the building masonries was performed together with an analysis of the meteoclimatic conditions in their vicinity as provided by monitoring stations recording near-surface air temperature, relative humidity, and rainfall amounts. Secondly, the same climate variables were analysed in the historical and future simulations of a state-of-the-art global climate model, EC-Earth, run at high horizontal resolution, and then used with damage functions to make projections of deterioration phenomena on the Panamanian heritage sites. In particular, we performed an evaluation of the possible surface recession, biomass accumulation, and deterioration due to salt crystallisation cycles on these sites in the future (by midcentury, 2039–2068) compared to the recent past (1979–2008), considering a future scenario of high greenhouse gas emissions.

This undertaking clarifies the structure and utilization of electronic structure subject To GSM (Global System for Mobile correspondence) for controlling the air parameters via SMS (Short Message Service) in nursery. The essential explanation for this structure begin is the far off control of the climatic parameters that impact the advent in nursery (Temperature, relative sprinkled nature of air, moderate and soil stickiness). The shape proposed on this paper gathers 'Green House Effect' is the development to provide plants and wooden the favored sustenance from the light and to preserve the looking the ruinous pieces/impacts of daylight. In like way as nursery trademark data, for example, temperature, keeping up light power correspondingly as satisfying water necessities and so on. As necessities be, checking crop itself is as noteworthy as plan indoor conditions. Using these gathered nursery trademark information, indoor conditions can be comprehensively more maybe controlled, and checking crop itself can add to improve advantage and to keep crops from harms by risky sun part. An unnatural characteristic change isn't just the issue of the arrangement or individual alliance it is the key issue of each person. The key driver for an Earth-wide temperature lift is green residence gases (GHG). Watching and choosing the ozone devastating materials are a significant testing paintings. Clearing, over the variety everything considered decades, humanactuated exercises like present day tormented and eating up of oil fortresses in power stations, vehicle transport structures and affiliations contribute on a fundamental dimension to the discharge and blending of GHG in condition.

Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and government-sponsored slum clearance in the UK (Power 190; Baker). Brutalism’s promise to accommodate an astonishing number of civilians within a minimal area through high-rise configurations and elevated walkways was alluring to architects and city planners (High Rise Dreams). Concrete was the material of choice due to its affordability, durability, and versatility; it also allowed buildings to be erected quickly (Allen and Iano 622).The Brutalist style was used for cultural centres, such as the Perth Concert Hall in Western Australia, educational institutions such as the Yale School of Architecture, and government buildings such as the Secretariat Building in Chandigarh, India. However, as pioneering Brutalist architect Alison Smithson explained, the style achieved full expression by “thinking on a much bigger scale somehow than if you only got [sic] one house to do” (Smithson and Smithson, Conversation 40). Brutalism, therefore, lent itself to the design of large residential complexes. It was consequently used worldwide for public housing developments, that is, residences built by a government authority with the aim of providing affordable housing. Notable examples include the Western City Gate in Belgrade, Serbia, and Habitat 67 in Montreal, Canada.Brutalist architecture polarised opinion and continues to do so to this day. On the one hand, protected cultural heritage status has been awarded to some Brutalist buildings (Carter; Glancey) and the style remains extremely influential, for example in the recent award-winning work of architect Zaha Hadid (Niesewand). On the other hand, the public housing projects associated with Brutalism are widely perceived as failures (The Great British Housing Disaster). Many Brutalist objects currently at risk of demolition are social housing estates, such as the Smithsons’ Robin Hood Gardens in London, UK. Whether the blame for the demise of such housing developments lies with architects, inhabitants, or local government has been widely debated. In the UK and USA, local authorities had relocated families of predominantly lower socio-economic status into the newly completed developments, but were unable or unwilling to finance subsequent maintenance and security costs (Hanley 115; R. Carroll; The Pruitt-Igoe Myth). Consequently, the residents became fearful of criminal activity in staircases and corridors that lacked “defensible space” (Newman 9), which undermined a vision of “streets in the sky” (Moran 615).In spite of its later problems, Brutalism’s architects had intended to develop a style that expressed 1950s contemporary living in an authentic manner. To them, this meant exposing building materials in their “raw” state and creating an aesthetic for an age of science, machine mass production, and consumerism (Stadler 264; 267; Smithson and Smithson, But Today 44). Corporeal sensations did not feature in this “machine” aesthetic (Dalrymple). Exceptionally, acclaimed Brutalist architect Ernö Goldfinger discussed how “visual sensation,” “sound and touch with smell,” and “the physical touch of the walls of a narrow passage” contributed to “sensations of space” within architecture (Goldfinger 48). However, the effects of residing within Brutalist objects may not have quite conformed to predictions, since Goldfinger moved out of his Brutalist construction, Balfron Tower, after two months, to live in a terraced house (Hanley 112).An abstract perspective that favours theorisation over subjective experiences characterises discourse on Brutalist social housing developments to this day (Singh). There are limited data on the everyday lived experience of residents of Brutalist social housing estates, both then and now (for exceptions, see Hanley; The Pruitt-Igoe Myth; Cooper et al.).Yet, our bodily interaction with the objects around us shapes our lived experience. On a broader physical scale, this includes the structures within which we live and work. The importance of the interaction between architecture and embodied being is increasingly recognised. Today, architecture is described in corporeal terms—for example, as a “skin” that surrounds and protects its human inhabitants (Manan and Smith 37; Armstrong 77). Biological processes are also inspiring new architectural approaches, such as synthetic building materials with life-like biochemical properties (Armstrong 79), and structures that exhibit emergent behaviour in response to human presence, like a living system (Biloria 76).In this article, we employ an autoethnographic perspective to explore the corporeal effects of Brutalist buildings, thereby revealing a new dimension to the anthropological significance of these controversial structures. We trace how they shape the physicality of the bodies interacting within them. Our approach is one step towards considering the historically under-appreciated subjective, corporeal experience elicited in interaction with Brutalist objects.Method: An Autoethnographic ApproachAutoethnography is a form of self-narrative research that connects the researcher’s personal experience to wider cultural understandings (Ellis 31; Johnson). It can be analytical (Anderson 374) or emotionally evocative (Denzin 426).We investigated two Brutalist residential estates in London, UK:(i) The Barbican Estate: This was devised to redevelop London’s severely bombed post-WWII Cripplegate area, combining private residences for middle class professionals with an assortment of amenities including a concert hall, library, conservatory, and school. It was designed by architects Chamberlin, Powell, and Bon. Opened in 1982, the Estate polarised opinion on its aesthetic qualities but has enjoyed success with residents and visitors. The development now comprises extremely expensive housing (Brophy). It was Grade II-listed in 2001 (Glancey), indicating a status of architectural preservation that restricts alterations to significant buildings.(ii) Trellick Tower: This was built to replace dilapidated 19th-century housing in the North Kensington area. It was designed by Hungarian-born architect Ernő Goldfinger to be a social housing development and was completed in 1972. During the 1980s and 1990s, it became known as the “Tower of Terror” due to its high level of crime (Hanley 113). Nevertheless, Trellick Tower was granted Grade II listed status in 1998 (Carter), and subsequent improvements have increased its desirability as a residence (R. Carroll).We explored the grounds, communal spaces, and one dwelling within each structure, independently recording our corporeal impressions and sensations in detailed notes, which formed the basis of longhand journals written afterwards. Our analysis was developed through co-constructed autoethnographic reflection (emerald and Carpenter 748).For reasons of space, one full journal entry is presented for each Brutalist structure, with an excerpt from each remaining journal presented in the subsequent analysis. To identify quotations from our journals, we use the codes R- and N- to refer to RB’s and NC’s journals, respectively; we use -B and -T to refer to the Barbican Estate and Trellick Tower, respectively.The Barbican Estate: Autoethnographic JournalAn intricate concrete world emerges almost without warning from the throng of glass office blocks and commercial buildings that make up the City of London's Square Mile. The Barbican Estate comprises a multitude of low-rise buildings, a glass conservatory, and three enormous high-rise towers. Each modular building component is finished in the same coarse concrete with burnished brick underfoot, whilst the entire structure is elevated above ground level by enormous concrete stilts. Plants hang from residential balconies over glimmering pools in a manner evocative of concrete Hanging Gardens of Babylon.Figure 1. Barbican Estate Figure 2. Cromwell Tower from below, Barbican Estate. Figure 3: The stairwell, Cromwell Tower, Barbican Estate. Figure 4. Lift button pods, Cromwell Tower, Barbican Estate.R’s journalMy first footsteps upon the Barbican Estate are elevated two storeys above the street below, and already an eerie calm settles on me. The noise of traffic and the bustle of pedestrians have seemingly been left far behind, and a path of polished brown brick has replaced the paving slabs of the city's pavement. I am made more aware of the sound of my shoes upon the ground as I take each step through the serenity.Running my hands along the walkway's concrete sides as we proceed further into the estate I feel its coarseness, and look up to imagine the same sensation touching the uppermost balcony of the towers. As we travel, the cold nature and relentless employ of concrete takes over and quickly becomes the norm.Our route takes us through the Barbican's central Arts building and into the Conservatory, a space full of plant-life and water features. The noise of rushing water comes as a shock, and I'm reminded just how hauntingly peaceful the atmosphere of the outside estate has been. As we leave the conservatory, the hush returns and we follow another walkway, this time allowing a balcony-like view over the edge of the estate. I'm quickly absorbed by a sensation I can liken only to peering down at the ground from a concrete cloud as we observe the pedestrians and traffic below.Turning back, we follow the walkways and begin our approach to Cromwell Tower, a jagged structure scraping the sky ahead of us and growing menacingly larger with every step. The estate has up till now seemed devoid of wind, but even so a cold begins to prickle my neck and I increase my speed toward the door.A high-ceilinged foyer greets us as we enter and continue to the lifts. As we push the button and wait, I am suddenly aware that carpet has replaced bricks beneath my feet. A homely sensation spreads, my breathing slows, and for a brief moment I begin to relax.We travel at heart-racing speed upwards to the 32nd floor to observe the view from the Tower's fire escape stairwell. A brief glance over the stair's railing as we enter reveals over 30 storeys of stair casing in a hard-edged, triangular configuration. My mind reels, I take a second glance and fail once again to achieve focus on the speck of ground at the bottom far below. After appreciating the eastward view from the adjacent window that encompasses almost the entirety of Central London, we make our way to a 23rd floor apartment.Entering the dwelling, we explore from room to room before reaching the balcony of the apartment's main living space. Looking sheepishly from the ledge, nothing short of a genuine concrete fortress stretches out beneath us in all directions. The spirit and commotion of London as I know it seems yet more distant as we gaze at the now miniaturized buildings. An impression of self-satisfied confidence dawns on me. The fortress where we stand offers security, elevation, sanctuary and I'm furnished with the power to view London's chaos at such a distance that it's almost silent.As we leave the apartment, I am shadowed by the same inherent air of tranquillity, pressing yet another futuristic lift access button, plummeting silently back towards the ground, and padding across the foyer's soft carpet to pursue our exit route through the estate's sky-suspended walkways, back to the bustle of regular London civilization.Trellick Tower: Autoethnographic JournalThe concrete majesty of Trellick Tower is visible from Westbourne Park, the nearest Tube station. The Tower dominates the skyline, soaring above its neighbouring estate, cafes, and shops. As one nears the Tower, the south face becomes visible, revealing the suspended corridors that join the service tower to the main body of flats. Light of all shades and colours pours from its tightly stacked dwellings, which stretch up into the sky. Figure 5. Trellick Tower, South face. Figure 6. Balcony in a 27th-floor flat, Trellick Tower.N’s journalOutside the tower, I sense danger and experience a heightened sense of awareness. A thorny frame of metal poles holds up the tower’s facade, each pole poised as if to slip down and impale me as I enter the building.At first, the tower is too big for comprehension; the scale is unnatural, gigantic. I feel small and quite squashable in comparison. Swathes of unmarked concrete surround the tower, walls that are just too high to see over. Who or what are they hiding? I feel uncertain about what is around me.It takes some time to reach the 27th floor, even though the lift only stops on every 3rd floor. I feel the forces of acceleration exert their pressure on me as we rise. The lift is very quiet.Looking through the windows on the 27th-floor walkway that connects the lift tower to the main building, I realise how high up I am. I can see fog. The city moves and modulates beneath me. It is so far away, and I can’t reach it. I’m suspended, isolated, cut off in the air, as if floating in space.The buildings underneath appear tiny in comparison to me, but I know I’m tiny compared to this building. It’s a dichotomy, an internal tension, and feels quite unreal.The sound of the wind in the corridors is a constant whine.In the flat, the large kitchen window above the sink opens directly onto the narrow, low-ceilinged corridor, on the other side of which, through a second window, I again see London far beneath. People pass by here to reach their front doors, moving so close to the kitchen window that you could touch them while you’re washing up, if it weren’t for the glass. Eye contact is possible with a neighbour, or a stranger. I am close to that which I’m normally separated from, but at the same time I’m far from what I could normally access.On the balcony, I have a strong sensation of vertigo. We are so high up that we cannot be seen by the city and we cannot see others. I feel physically cut off from the world and realise that I’m dependent on the lift or endlessly spiralling stairs to reach it again.Materials: sharp edges, rough concrete, is abrasive to my skin, not warm or welcoming. Sharp little stones are embedded in some places. I mind not to brush close against them.Behind the tower is a mysterious dark maze of sharp turns that I can’t see around, and dark, narrow walkways that confine me to straight movements on sloping ramps.“Relentless Employ of Concrete:” Body versus Stone and HeightThe “relentless employ of concrete” (R-B) in the Barbican Estate and Trellick Tower determined our physical interactions with these Brutalist objects. Our attention was first directed towards texture: rough, abrasive, sharp, frictive. Raw concrete’s potential to damage skin, should one fall or brush too hard against it, made our bodies vulnerable. Simultaneously, the ubiquitous grey colour and the constant cold anaesthetised our senses.As we continued to explore, the constant presence of concrete, metal gratings, wire, and reinforced glass affected our real and imagined corporeal potentialities. Bodies are powerless against these materials, such that, in these buildings, you can only go where you are allowed to go by design, and there are no other options.Conversely, the strength of concrete also has a corporeal manifestation through a sense of increased physical security. To R, standing within the “concrete fortress” of the Barbican Estate, the object offered “security, elevation, sanctuary,” and even “power” (R-B).The heights of the Barbican’s towers (123 metres) and Trellick Tower (93 metres) were physically overwhelming when first encountered. We both felt that these menacing, jagged towers dominated our bodies.Excerpt from R’s journal (Trellick Tower)Gaining access to the apartment, we begin to explore from room to room. As we proceed through to the main living area we spot the balcony and I am suddenly aware that, in a short space of time, I had abandoned the knowledge that some 26 floors lay below me. My balance is again shaken and I dig my heels into the laminate flooring, as if to achieve some imaginary extra purchase.What are the consequences of extreme height on the body? Certainly, there is the possibility of a lethal fall and those with vertigo or who fear heights would feel uncomfortable. We discovered that height also affects physical instantiation in many other ways, both empowering and destabilising.Distance from ground-level bustle contributed to a profound silence and sense of calm. Areas of intermediate height, such as elevated communal walkways, enhanced our sensory abilities by granting the advantage of observation from above.Extreme heights, however, limited our ability to sense the outside world, placing objects beyond our range of visual focus, and setting up a “bizarre segregation” (R-T) between our physical presence and that of the rest of the world. Height also limited potentialities of movement: no longer self-sufficient, we depended on a working lift to regain access to the ground and the rest of the city. In the lift itself, our bodies passively endured a cycle of opposing forces as we plummeted up or down numerous storeys in mere seconds.At both locations, N noticed how extreme height altered her relative body size: for example, “London looks really small. I have become huge compared to the tiny city” (N-B). As such, the building’s lift could be likened to a cake or potion from Lewis Carroll’s Alice in Wonderland. This illustrates how the heuristics that we use to discern visual perspective and object size, which are determined by the environment in which we live (Segall et al.), can be undermined by the unusual scales and distances found in Brutalist structures.Excerpt from N’s journal (Barbican Estate)Warning: These buildings give you AFTER-EFFECTS. On the way home, the size of other buildings seems tiny, perspectives feel strange; all the scales seem to have been re-scaled. I had to become re-used to the sensation of travelling on public trains, after travelling in the tower lifts.We both experienced perceptual after-effects from the disproportional perspectives of Brutalist spaces. Brutalist structures thus have the power to affect physical sensations even when the body is no longer in direct interaction with them!“Challenge to Privacy:” Intersubjective Ideals in Brutalist DesignAs embodied beings, our corporeal manifestations are the primary transducers of our interactions with other people, who in turn contribute to our own body schema construction (Joas). Architects of Brutalist habitats aimed to create residential utopias, but we found that the impact of their designs on intersubjective corporeality were often incoherent and contradictory. Brutalist structures positioned us at two extremes in relation to the bodies of others, forcing either an uncomfortable intersection of personal space or, conversely, excessive separation.The confined spaces of the lifts, and ubiquitous narrow, low-ceilinged corridors produced uncomfortable overlaps in the personal space of the individuals present. We were fascinated by the design of the flat in Trellick Tower, where the large kitchen window opened out directly onto the narrow 27th-floor corridor, as described in N’s journal. This enforced a physical “challenge to privacy” (R-T), although the original aim may have been to promote a sense of community in the “streets in the sky” (Moran 615). The inter-slotting of hundreds of flats in Trellick Tower led to “a multitude of different cooking aromas from neighbouring flats” (R-T) and hence a direct sensing of the closeness of other people’s corporeal activities, such as eating.By contrast, enormous heights and scales constantly placed other people out of sight, out of hearing, and out of reach. Sharp-angled walkways and blind alleys rendered other bodies invisible even when they were near. In the Barbican Estate, huge concrete columns, behind which one could hide, instilled a sense of unease.We also considered the intersubjective interaction between the Brutalist architect-designer and the inhabitant. The elements of futuristic design—such as the “spaceship”-like pods for lift buttons in Cromwell Tower (N-B)—reconstruct the inhabitant’s physicality as alien relative to the Brutalist building, and by extension, to the city that commissioned it.ReflectionsThe strength of the autoethnographic approach is also its limitation (Chang 54); it is an individual’s subjective perspective, and as such we cannot experience or represent the full range of corporeal effects of Brutalist designs. Corporeal experience is informed by myriad factors, including age, body size, and ability or disability. Since we only visited these structures, rather than lived in them, we could have experienced heightened sensations that would become normalised through familiarity over time. Class dynamics, including previous residences and, importantly, the amount of choice that one has over where one lives, would also affect this experience. For a full perspective, further data on the everyday lived experiences of residents from a range of different backgrounds are necessary.R’s reflectionDespite researching Brutalist architecture for years, I was unprepared for the true corporeal experience of exploring these buildings. Reading back through my journals, I'm struck by an evident conflict between stylistic admiration and physical uneasiness. I feel I have gained a sympathetic perspective on the notion of residing in the structures day-to-day.Nevertheless, analysing Brutalist objects through a corporeal perspective helped to further our understanding of the experience of living within them in a way that abstract thought could never have done. Our reflections also emphasise the tension between the physical and the psychological, whereby corporeal struggle intertwines with an abstract, aesthetic admiration of the Brutalist objects.N’s reflectionIt was a wonderful experience to explore these extraordinary buildings with an inward focus on my own physical sensations and an outward focus on my body’s interaction with others. On re-reading my journals, I was surprised by the negativity that pervaded my descriptions. How does physical discomfort and alienation translate into cognitive pleasure, or delight?ConclusionBrutalist objects shape corporeality in fundamental and sometimes contradictory ways. The range of visual and somatosensory experiences is narrowed by the ubiquitous use of raw concrete and metal. Materials that damage skin combine with lethal heights to emphasise corporeal vulnerability. The body’s movements and sensations of the external world are alternately limited or extended by extreme heights and scales, which also dominate the human frame and undermine normal heuristics of perception. Simultaneously, the structures endow a sense of physical stability, security, and even power. By positioning multiple corporealities in extremes of overlap or segregation, Brutalist objects constitute a unique challenge to both physical privacy and intersubjective potentiality.Recognising these effects on embodied being enhances our current understanding of the impact of Brutalist residences on corporeal sensation. This can inform the future design of residential estates. Our autoethnographic findings are also in line with the suggestion that Brutalist structures can be “appreciated as challenging, enlivening environments” exactly because they demand “physical and perceptual exertion” (Sroat). 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