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Journal articles on the topic 'Architectonic space'
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1
Wagner, Kirsten, and Jonathan Blower. "Animating Architecture: Empathy and Architectonic Space." Art in Translation 6, no. 4 (December 2014): 399–435. http://dx.doi.org/10.1080/17561310.2014.11425537.
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Kapliński, Oleg. "ON MORPHOLOGY OF BUILT-UP SPACE." Engineering Structures and Technologies 11, no. 2 (October 14, 2019): 74–77. http://dx.doi.org/10.3846/est.2019.10495.
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Kacmaz Erk, Gul, and Blayne Fulton. "Cinematic and Architectonic Space in Tarkovsky's "Solaris"." International Journal of Arts Theory and History 7, no. 3 (2013): 27–38. http://dx.doi.org/10.18848/2326-9952/cgp/v07i03/36226.
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Margenot, John B. "Architectonic Space in Jesus Fernández Santos’Los bravos." Studia Neophilologica 63, no. 1 (January 1991): 107–12. http://dx.doi.org/10.1080/00393279108588065.
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Sun, Z. B., X. W. Zou, W. Guan, and Z. Z. Jin. "The architectonic fold similarity network in protein fold space." European Physical Journal B 49, no. 1 (January 2006): 127–34. http://dx.doi.org/10.1140/epjb/e2006-00026-0.
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KLEIN, GEORG. "From the sound installation to the sound situation: on my work transition – berlin junction eine klangsituation." Organised Sound 8, no. 2 (August 2003): 187–93. http://dx.doi.org/10.1017/s1355771803000098.
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Since mid-1999 I have been working on an expanded concept of musical space not only incorporating space according to its spatial characteristics in the narrow sense (acoustic, architectonic, sculptural, perspective and ambient). Beyond this my installation works conceive of space in its site-specificity, usually existing in several layers: a social layer, a historical-political layer and a situational layer. This concept of space is thus not limited to interior spaces and architectonic-formal relationships, a position which naturally also defines my working methods: only subjective, on-site research yields the theme and concept of an installation. I call such installations sound situations, following the ‘conscious creation of situations’ conceived by Guy Debord (International Situationists) in the 1950s. This means first that I open myself up to situations – usually in public spaces – in order to sense their site-specific tensions and to draw them out in all their possible relationships. Secondly, I alter these situations in order to make them more dense through intensification. The concept can be defined as articulating the space, the site; for this reason I prefer to work with site-specific acoustic and visual material found at the site, but also introduce foreign material when it serves to reinforce communication with the site and its occupants and visitors.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.
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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Vasov, Miomir, Dragan Cvetkovic, Veliborka Bogdanovic, and Igor Bjelic. "Assessment of reliability predictions of the reverberation time by using the architectonic software package Ecotect." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 359–70. http://dx.doi.org/10.2298/fuace170808022v.
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Contemporary architectonic design mostly relies on the software tools which enable the engineers to analyze multiple factors affecting a space, and to timely detect and correct certain errors in designing, resulting from attempting to satisfy certain aspects of a space at the expense of others. Those tools which apart from architecture itself also consider other fields of science, depending on the function of these areas are important; thus in the lecture halls designing process, adequate software for analysis is used. In addition to a number of acoustic parameters characterizing the acoustic response of a room, in terms of design, one of the most important factors affecting the acoustics of the indoor areas is reverberation time, which is characterized by the architectonic parameters: room volume (dimensions), shape (form) and materialization (finish material). In this paper, for the purposes of acoustic analysis of the A amphitheater, the parametric values obtained in two ways, by experimental measuring and by software - Autodesk Ecotect and Autodesk Revit Architecture are compared. The software is increasingly used in contemporary architectonic software because of the option to analyze acoustics of indoor space, so there is a need to analyzed the values provided by the software and compare them with actually measured reverberation time.
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Jovanovic, Goran. "Flexible organization of floor composition and flexible organization of dwelling space as a response to contemporary market demands." Facta universitatis - series: Architecture and Civil Engineering 5, no. 1 (2007): 33–47. http://dx.doi.org/10.2298/fuace0701033j.
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The paper presents the application of the principle of flexibility of architectonic space on the concrete example of flat composition. This example demonstrates that with a proper choice of structural spans dimensions and regular arrangement of sanitary and ventilation vertical assemblies, a structure with high flexibility in terms of flat space organization and floor space organization, can be achieved.
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Voet, Caroline. "The poetics of order: Dom Hans van der Laan's architectonic space." Architectural Research Quarterly 16, no. 2 (June 2012): 137–54. http://dx.doi.org/10.1017/s1359135512000450.
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The Dutch architect and monk, Dom Hans van der Laan (1904–1991) leaves us with a legacy of architectural writings and realisations arising from his search for fundamental principles of architecture. His 1977 manifesto Architectonic Space aims to combine spatial philosophical concepts with practical design tools [1, 2]. The book is a series of fifteen lessons linking concepts, such as the relationships of inside-outside or mass-space, to his proportional series which he refers to as the Plastic Number. This article aims to offer an understanding and critical assessment of Dom van der Laan's poetics of order by unravelling how his buildings are made and how they are perceived [3]. I focus on the case study of the Jesu Moder Marias Convent in Tomelilla, Sweden.
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Krasic, Sonja, Petar Pejic, Nikola Cekic, and Milica Veljkovic. "Architectonic analysis of common space organization in contemporary student dormitories around the world." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 507–26. http://dx.doi.org/10.2298/fuace161101039k.
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In the paper, the organization of space for common facilities in modern student dormitories was analyzed. The detailed analysis of 42 student dormitories, built in the last 10 years, all over the world indicated 6 types of space organization. These examples are located mainly in the most economically advanced countries of Europe and North America. The most common type of space organization of common facilities is "Type 3", even though it does not satisfy the social criteria which are, according to the latest research, very important. This type involves the space for the common facilities for all residents at the entrance to the dormitory, which is connected with student rooms via communication paths. This trend of the space organization of the common facilities in new student dormitories resulted from the balance between economic and social factors.
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Üveges, Gábor. "Experimental Space and Form Creation on the Borderline in Art and Architecture." Periodica Polytechnica Architecture 48, no. 2 (March 20, 2018): 113–21. http://dx.doi.org/10.3311/ppar.11829.
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In the process of the specialisation of arts and sciences and the fragmentation of knowledge, architecture - in certain aspects - has isolated itself from the other disciplines of fine arts. Yet, distinctive points of connection have continuously persisted between them. The ability to understand, oversee and associate the knowledge accumulated in the different disciplines also has the potential to facilitate progress and inspiration, both in intellectuality as well as in the creation of forms and spaces. This paper demonstrates four distinct directions of the creative work at the Budapest University of Technology and Economics Department of Graphics, Form and Design, each of which aims to explore new territories in this unique borderline between arts and architecture through interdisciplinary approaches and interoperability. The first direction, titled “The architecture of the picture and the picture of architecture” was the earliest research project, best described as an architectonic planar and spatial thinking exercise. Another, still ongoing project series has been titled “Folding – creating forms and spaces in light of a philosophical concept”. The third group of research projects could be best summarized under the title “Ideas and Forms–from conceptual thinking to visualisation”. And the final direction “Research Team – experimental architectonic form creation in the virtual space” includes the most recent research projects conducted at the department. These four directions of research projects spanning over a 15-year period have confirmed that the border area between architecture and fine arts carries an exceptional potential in the development of visual thinking, spatial and formal sensitivity and creativity of architecture students.
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Goodman, Joel H. "Architectonic Studies with Selected Reflector Concentrating Solar Collectors." Journal of Green Building 2, no. 2 (May 1, 2007): 78–108. http://dx.doi.org/10.3992/jgb.2.2.78.
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Solar concentrating collectors with reflectors are a developing technology for thermal applications that can be useful to avoid fossil fuel greenhouse gas emissions, reduce demand for imported fuels and lessen biomass burning. The selected reflector concentrators for building integration studies are: fixed nonimaging compound parabolic concentrator (CPC) E-W line troughs, (building interior with evacuated tubes [ET] for the Temperate Zone, and exterior for the Tropics) with N-S involutes and adjustable end “wall” reflector options; and two-axis tracking small heliostats central receiver tower systems. When these reflector concentrating collector systems are integrated within building form, structure, and site planning, they are one of the main organizing design influences—an essential aspect of conceptual design. Schematic architectonic design studies are presented for mid temperature process heat applications beyond temperatures delivered with typical flat-plate thermal collectors (>≈80°C/176°F). Relations between: solar collector technologies, CPC optical characterization, daylighting, building structure, construction, site planning, and interior space usage are discussed for selected building types. These include CPC solar community and institutional kitchens for the Tropics, and house-size verification facilities with building interior ET and reflectors for the Temperate Zone.
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Kim, Ransoo. "The tectonically defining space of Mies van der Rohe." Architectural Research Quarterly 13, no. 3-4 (December 2009): 251–60. http://dx.doi.org/10.1017/s1359135510000102.
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In a unique architectural style of the twentieth century, Ludwig Mies van der Rohe (1886–1969) realised a new type of modern space defined by an unobstructed clear volume enclosed by framed glass skin. This is generally referred to as Mies's universal space and this paper will attempt to interpret Miesian universal space in terms of the idea of tectonically defining space. Mies referred to the term ‘tectonic’, or ‘architectonic’, as constructive appearance exposing the skeleton structure. For Mies, the concept of tectonic was connected to a glassy materiality that permitted the unambiguously constructed appearance of a skeletal structure. He regarded the glass skin as a ‘tectonic means’ and the instrument of a new art of building.
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Voet, Caroline, and Yves Schoonjans. "El espacio arquitectónico de Dom Hans van der Laan como interpretación contemporánea de 'connaissance poetique' en la arquitectura sacra." Actas de Arquitectura Religiosa Contemporánea 2, no. 2 (October 29, 2013): 125–35. http://dx.doi.org/10.17979/aarc.2011.2.2.5064.
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En este trabajo se analizará la relevancia del espacio arquitectónico de Van der Laan para el s. XXI.La mayoría de los escritos sobre Van der Laan se basan en sus tres principales publicaciones o realizaciones. Esta investigación parte de fuentes primarias, como cartas inéditas, bocetos de diseño y conferencias. Por este medio, los motivos subyacentes y las interconexiones entre el fondo benedictino de Van der Laan y la teoría de la arquitectura pueden ser revelados.Desde su formación católica y benedictina, que en el caso de Van der Laan se desplegó fuertemente alrededor del acto de hacer, él desarrolló una construcción filosófica universal del espacio arquetípico: Architectonic Space. El análisis para esta ponencia se centra en su objetivo de hacer inteligible el espacio (sagrado), donde el sistema de proporciones se ve sólo como una parte de un proceso de conocimiento que equilibra los sentidos y el intelecto.Los conceptos en los que Van der Laan se centró en eran radicalmente diferentes de la corriente moderna en curso y las tendencias tradicionalistas seguidas por sus contemporáneos. Nuestro objetivo es ir más allá de las consideraciones del siglo XX de la estructura y función, para remontarnos al pensamiento de finales del siglo XIX sobre la superficie y la ornamentación, que dio lugar a la fenomenología del espacio. Otros conceptos espaciales, que no apuntan a una ruptura radical, sino que basan en los conceptos de superficie y la ornamentación, también estaban en juego. Architectonic Space incorpora varias interpretaciones de estos conceptos espaciales que fueron repensados, a saber: la incorporación de la experiencia del sujeto junto con la percepción, el movimiento de la masa en el espacio; el replanteamiento de la superficie y la ornamentación, la incorporación del tiempo y el movimiento en el espacio, la materialidad de la arquitectura, o su aspecto físico. Estos temas se consideran relevantes en la teoría de la arquitectura contemporánea, con el objetivo de entender el trabajo de arquitectos como Peter Zumthor, Herzog y de Meuron o SANAA.En este sentido, Van der Laan puede ser visto como una figura clave para vincular el pensamiento del siglo XIX sobre el espacio y la arquitectura contemporánea. Desde este punto de vista, Architectonic Space formula elementos importantes para redefinir el espacio religioso.
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Hernández, Luis A., Javier Taibo, David Blanco, José A. Iglesias, Antonio Seoane, Alberto Jaspe, and Rocío López. "Physically Walking in Digital Spaces — A Virtual Reality Installation for Exploration of Historical Heritage." International Journal of Architectural Computing 5, no. 3 (September 2007): 487–506. http://dx.doi.org/10.1260/147807707782581783.
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Immersive Virtual Reality Systems have been extensively used during recent years for the exploration of architectonic spaces. This paper describes how the use of transitable immersive virtual reality systems, that is, those that allow the user to physically walk while exploring the virtual world, can greatly empower the experience of perception of space in architecture. The text describes a particular example of one installation of this kind that was developed by the authors and how it was implemented for the interactive experience of the virtual reconstruction of a housing unit on a pre-roman settlement. This installation is open to the public as part of a permanent exhibition and constitutes the final output of the research at this time.
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Reichl, Pavel. "Leaving the Enchanted World Behind: Kant on the Order of Nature, Empirical Space and the Possibility of Miracles." Kantian Review 24, no. 1 (February 1, 2019): 103–25. http://dx.doi.org/10.1017/s1369415418000547.
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AbstractDespite relative neglect in the literature, Kant’s published and unpublished writings in theoretical philosophy reveal a sustained and at times ambivalent effort to come to terms with the problem of miracles. Because they entail a form of supernatural causation that undermines the law-governedness of the order of nature, miracles pose a significant problem for Kant’s metaphysics. I explore in detail Kant’s account of miracles in conjunction with the relevant aspects of his metaphysics of nature in order to establish in what sense miracles are possible, and how they fit into Kant’s architectonic more generally.
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Shipova, Irina A. "ARCHITECTONIC SPEECH FORMS OF NARRATION AS A COMPONENT OF METASEMIOTIC SPACE IN GERMAN FICTION TEXTS." Вестник Пермского университета. Российская и зарубежная филология, no. 2 (2016): 59–65. http://dx.doi.org/10.17072/2037-6681-2016-2-59-65.
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Deliіa, Oksana Viktorivna. "ARCHETYPE OF THE PLACE IN ARCHITECTONIC OF THE ENVIRONMENT OF PUBLIC POLICY." UKRAINIAN ASSEMBLY OF DOCTORS OF SCIENCES IN PUBLIC ADMINISTRATION 1, no. 14 (June 16, 2018): 114–23. http://dx.doi.org/10.31618/vadnd.v1i14.104.
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The review of the concept of public policy environment in the modern public-management scientific discourse is actualized due to the lack of systematic and comprehensive studies on this problem. The results of consideration of the state policy environment as a place through the application of the archetypal paradigm are presented. The connection between archetypal ideas about the place and the modern course of state policy is also outlined and highlighted. The evaluation of the environment as a “place” is historically connected with the statement of the existence of a thing or phenomenon and lies in the plane of spatial terminology. The place, within the framework of the approach, is considered as a part of the space occupied by a person or an object, while the place is given the value of the minimum limit, and the space is given a maximum limit. Within the framework of the research, other approaches are highlighted that disclose the category of place in disciplinary and interdisciplinary contexts: sociological-behavioral, phenomenological, systemic, etc. Іt is noted that the spatial revolution in the structure of cognition determined the analysis of state policy in spatial categories, which substantiated modern interdisciplinary measurements of the environment of state policy. Аnd — the appearance in the thesaurus public policy topological and metric features reality: location periphery, a center, location and interaction “places”, theme composition state policy, etc. Therefore, the category “place” confers on the environment of state policy a social and cognitive entity, which, in particular, is defined in the concept of identity and leads to the emergence of new approaches to the analysis of identity: regional, local identities, identification with a place, environment or residence.
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Gonçalves, José Fernando. "Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 220–29. http://dx.doi.org/10.17979/aarc.2017.5.0.5153.
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The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation.For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter.
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Voet, Caroline. "Dom Hans van der Laan’s Architectonic Space: A Peculiar Blend of Architectural Modernity and Religious Tradition." European Legacy 22, no. 3 (March 2, 2017): 318–34. http://dx.doi.org/10.1080/10848770.2017.1288465.
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TAGSOLD, CHRISTIAN. "Modernity, space and national representation at the Tokyo Olympics 1964." Urban History 37, no. 2 (July 6, 2010): 289–300. http://dx.doi.org/10.1017/s0963926810000362.
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ABSTRACT:The 1964 Tokyo Olympics acted as a rite of passage for post-war Japan, symbolizing the modernization of the city and the country. This was reflected by the space and architecture of the venues. Urban development of Olympic cities has been scrutinized recently but the symbolic implications have been touched upon only in passing, most especially in Tokyo's case. This article will show how symbolic layers of architecture and space aimed at linking history and modernity while bypassing the highly problematic legacy of ultra-nationalism and World War II. An important hub for transmitting this message was the Meiji Shrine dedicated to the first emperor of modern Japan. The hallmark building of the 1964 Games, Kenzo Tange's National Gymnasium, interacted with the shrine by way of an architectonic axis connecting them. This contrasted with the different spatial styles evident at the 1960 Olympics in Rome and 1972 Olympics in Munich, which testified to their different relationships to the national past. While developing infrastructure such as canalization and traffic was very important for Tokyo, symbolic revitalization of the city's fabric was equally crucial.
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Kallio, Tomi J., Kirsi-Mari Kallio, and Annika Johanna Blomberg. "Physical space, culture and organisational creativity – a longitudinal study." Facilities 33, no. 5/6 (April 7, 2015): 389–411. http://dx.doi.org/10.1108/f-09-2013-0074.
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Purpose – The purpose of this study is to explore the potential positive effects of the design of a physical organisational environment on the emergence of an organisational culture conducive to organisational creativity. Design/methodology/approach – The study is based on an in-depth, longitudinal case study, the aim being to enhance understanding of how a change in physical space, including location, spatial organisation and architectonic details, supports cultural change. Findings – It is suggested that physical space plays an implicit yet significant role in the emergence of a culture conducive to organisational creativity. It appears from the case analysis that there are three aspects of culture in particular, equality, openness and collectivity, that may be positively affected by the design of an organisation’s physical environment. Practical implications – The careful choice, planning and design of an organisation’s physical location, layout and style can advance the appearance of an organisational culture conducive to creativity. Originality/value – The paper describes a longitudinal study comparing a case organisation before and after a change in its physical environment. The longitudinal data illustrates how a change in the spatial environment contributes to the emergence of a culture conducive to organisational creativity.
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Franco, Abel B. "Our Everyday Aesthetic Evaluations of Architecture." British Journal of Aesthetics 59, no. 4 (August 31, 2019): 393–412. http://dx.doi.org/10.1093/aesthj/ayz018.
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Abstract I argue that our everyday evaluations of architecture are primarily evaluations of spaces and, in particular, of their inhabitability— that is, whether they serve or can serve to the realization of our individual ideal of life. Inhabitability is not only a functional criterion but an aesthetic one as well. It is aesthetic insofar as the evaluations about inhabitability include evaluations about the quality of the experience of actually doing something in —or simply occupying—a particular space. This aesthetic aspect of our everyday evaluations explains, on one hand, the distinctive features of our everyday preferences for some architectonic spaces over others—namely, (a) their very personal nature; (b) their noticeable value in our daily lives; (c) their inseparability from the activities we plan to realize in those spaces; and (d) the importance of the spaces which are contiguous to the one we are evaluating. And on the other, it both reveals architecture’s significance for the quality of our daily life and serves as a guide for us to choose spaces that improve that quality.
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Krejčí, Markéta. "Function of the vegetative elements in contemporaneous interpretation of the architectonic work." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 56, no. 4 (2008): 239–46. http://dx.doi.org/10.11118/actaun200856040239.
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The creative process during which a vegetation element finds itself in the position of a fundamental part of material design of the building can be found in the field of modern architectural production. Along with other building materials, it has its own task to participate in the composition of architectural space. This represents an authentic approach of the current production where the dominating position of the vegetation material determines the unique character of the final work. In these existing factors of practice, the vegetation material is treated, according to the three branches of purposefulness after Friedrich Schinkel, as fundamental part of structural composition of the architectural work. In considered cases, when the vegetation material is removed, the building loses its functional qualities or basic value of expression. Studied cases have proved the existing application of vegetation motives and their combinations the garden art has worked with for centuries. However, modern architectural production adapts them to fields of application that are completely new. It develops these original sources of inspiration that lead modern architecture to totally inventive and new results. The above-mentioned factors are the subject of this paper the purpose of which is to provide basic determination of real applicability of the green mass in the materials applied in the building construction and give examples of current leading finished examples. On the one hand, architectural objects restore, with the application of vegetation elements, natural form of greenery in urban interior on the individual level of human dimension. On the other hand, with their help, when siting a project in open space you can also prevent building of a totalitarian wall in the form of a building mass. Thus contextuality of the executed project is achieved in relation to its surroundings. In the presented architectural initiatives the vegetation element plays the role of a structural element of the building shell, the shading and sunlight protection design, rendering of the components of interior projects, the building roof, or in inspiring transformation of a vegetation motive applied to extend the nature‘s boundary to dead building materials. The fact that frequent application of vegetation material is perceived on an individual level implies that architecture applies this type of creative approach in the building forms in which the biggest possible effect can be achieved. This includes the field of non-manufacturing building forms of housing structures and civic buildings. Thus in modern architecture the extension of the range of application of vegetation elements results in shifting of the limits of their possible and feasible applications and this again leads to the fact that the historic interconnection of co-operation of the building trades and the landscape architecture is stressed even more. Original treatment and development of the general vegetation motive in the landscape work is definitely clear in any finished projects presented. This implies the search for innovative approach that always shows an original idea of the team of authors in the field of the current creative process.
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Sousa, G., and M. Alcindor. "SYMBOLIC USE OF DOMESTIC SPACE IN THE UPPER SVANETIAN (GEORGIA) VERNACULAR HOUSE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 95–100. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-95-2020.
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Abstract. Upper Svaneti (Georgia) is a territory in almost permanent isolation amid the Caucasus mountain range. This strategic position, along with the military nature of its settlements made its defence so effective that Svaneti served as Georgia`s safehouse, protecting its chief historical and religious relics in times of crisis. This isolation also ensured the preservation of archaic cultural traditions and ancient rituals, such as animal sacrifices, ritual shaving and blood feuds, establishing what is known as popular religion. Some of these rituals, mainly those performed by women, take place in the domestic space. This paper, developed under the scope of the 3DPast project, aims to interpret the symbolic use of space in vernacular houses of Upper Svaneti. The methodological strategy combines architectonic survey with documental analysis and brings forward an interpretation of this vernacular house from a space anthropology perspective. The traditional svanetian house (machubi), is composed of a single volume, of rough quadrangular plan. The ground floor (machub) houses, during winter, the family and the cattle, while the upper floor (darbazi) was mostly used as the family residence during warmer periods. This analysis will focus specifically on the machub, where there are traces of the symbolic use of domestic space. The machub is composed of a single space with a central fireplace. This element is the axis of segmentation of female and male spaces inside the house. The present paper will address this gender-differentiated symbolic use of the domestic space through the scope of anthropology and of the Svanetian history.
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Petherbridge, Deanna. "Drawing: Practice and politics." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 43–57. http://dx.doi.org/10.1386/drtp_00019_1.
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This article focuses on my recent pen and ink drawings, which are multi-panelled works on paper dealing with wars, migration and political themes. They are contextualized in relation to a long career of disruptive themes, as well as the critique and celebration of cities and places through the employment of architectonic, mechanistic and landscape imagery. They are intended to function as visual metaphors for social, cultural and historical narratives. My subject-matter and the deliberate referentiality of drawn detail and semi-recognizable objects, constructions and spaces are discussed in relation to formal issues of texture, manipulation of space and perspectival ambiguity. These relate to some of the ideas about the strategies of making and the special status and properties of drawing that I formulated in my book The Primacy of Drawing: Histories and Theories of Drawing, 2010. I suggest in conclusion that my life-long commitment to the austerity and economy of drawing reflects my early training in South Africa.
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Vaneyan, S. S. "Desert and ruins — landscapes of anger and traces of unbelief (landscape and Scripture)." Russian Journal of Church History 1, no. 4 (December 31, 2020): 22–54. http://dx.doi.org/10.15829/2686-973x-2020-4-45.
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The article treats of the experience of using two fundamental motives in architectural semantics — “desert” and “ruin” in order to resolve the hermeneutic paradox, which is peculiar to sacred architecture, considered in the context of Abrahamic tradition: canonical texts related to architecture either prescribe, or describe construction experience. Yet, purely construction motives can be supplemented not only by motives of creation, but also motives of destruction. Thus, the necessary critical (crisis) position of interpretation will be provided, revealing the pre- and post-architectonic dimensions of theophanic experience. The rhetorical topic of “desert” and “ruin” has two dimensions: one deals with phenomena of space and object, and the other with literary metaphors. Both are presented in the article in a threefold sequence: literature is replaced by the theory of memory, which in turn passes the baton to philosophy, primarily the philosophy of space, but also of time, with a return to history, either asserted or cancelled.
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Vaneyan, S. S. "Desert and ruins — landscapes of anger and traces of unbelief (landscape and Scripture)." Russian Journal of Church History 1, no. 4 (December 31, 2020): 22–54. http://dx.doi.org/10.15829/2686-973x-2020-4-45.
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The article treats of the experience of using two fundamental motives in architectural semantics — “desert” and “ruin” in order to resolve the hermeneutic paradox, which is peculiar to sacred architecture, considered in the context of Abrahamic tradition: canonical texts related to architecture either prescribe, or describe construction experience. Yet, purely construction motives can be supplemented not only by motives of creation, but also motives of destruction. Thus, the necessary critical (crisis) position of interpretation will be provided, revealing the pre- and post-architectonic dimensions of theophanic experience. The rhetorical topic of “desert” and “ruin” has two dimensions: one deals with phenomena of space and object, and the other with literary metaphors. Both are presented in the article in a threefold sequence: literature is replaced by the theory of memory, which in turn passes the baton to philosophy, primarily the philosophy of space, but also of time, with a return to history, either asserted or cancelled.
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Fuentes Farías, Francisco. "On the condition of urban and architectural design." Estoa, no. 15 (2019): 33–42. http://dx.doi.org/10.18537/est.v008.n015.a03.
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Postmodern architecture, across the 1960 and 1970 decades, was concerned to semiotic and meaning theories, including the existential and phenomenological philosophy. Build space’s perceptual experiences took relevance under new space-thinking view, shared by another same matter researching disciplines in a phenomenological frame, but constructivist, poststructuralist, and deconstructivist too, which drives the stream of architectonic and urban design forward to today. The importance of a revision and critique of key concepts such as identity or urban imaginaries, which refer to the point of view of the city's actors, is raised as an indispensable factor in understanding the "complex nature of design". The result is a change of theories and concepts to understand both the complex reality faced by design and one of its levels of reality: the significant dimension of urban actions, interactions, and imaginaries.
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Coelho, Rodrigo. "Designing the city from public space. A contribution to (re)think the urbanistic role of public space in the contemporary enlarged city." Journal of Public Space 2, no. 1 (May 1, 2017): 95. http://dx.doi.org/10.5204/jps.v2i1.53.
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<p>Considering the tendency for expansion, diversification and fragmentation of the present city´s urban spaces, and considering that in the last decades public space lost much of the formal and functional attributes that it held in the past (in the historical city), the main problem that we currently face as architects and planners, seems to be how to articulate and (re) build (new) public places that materialise, in a qualified manner, the collective experience (the new ways of living, social interaction and displacement) of the “newer parts” of the city, and that simultaneously incorporate attributes that transform them into memorable and perennial spaces - landmarks of the city that is to come.<br />The recent practical and theoretical outputs contradictorily appear to demonstrate a relative devaluation of the structuring role of public space, especially in those less consolidated parts of the city. Regarding the architectonic and urbanistic practice, we conclude that, in a time of mediatisation of architecture (in particular by the enhancement of the image and of iconographic values), the construction of the city and the materialisation of public space expresses, in many cases, generic and epidermal responses with visible consequences in terms of urban structure and perception of the city. Regarding the theoretic outputs, the insights also do not appear, in general, to contribute towards a theoretical framework committed to a consistent practical knowledge, or the resolution of the key issues and challenges that the city faces today.<br />Taking into account these considerations, and starting with a brief diagnosis that will focus on the major “weaknesses or controversies” that we identify in the theoretical discourse on the city and on public space, this paper will seek to focus on the importance of the urbanistic vocation of public space by identifying three main issues or key purposes to think and retrieve the public space project in the contemporary city. The three key purposes that will help us to recognize the strategic importance of public space in the contemporary European “enlarged city”, and that will be analysed by using a case study, are:<br />- The public space as an ordering element of “new urban expansion”;<br />- The public space as a factor of reconstruction of the “city without a plan”;<br />- The public space as a (re)structuring element of the “metropolitan city”.</p>
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Bradford, Tonya Williams, and John F. Sherry. "Dwelling dynamics in consumption encampments." Marketing Theory 18, no. 2 (September 22, 2017): 203–17. http://dx.doi.org/10.1177/1470593117732460.
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Tailgating is an institutionalized form of public revelry and emplacement of brand community that occurs within the context of a consumption encampment. In this ethnographic investigation of tailgating in an American collegiate football setting, we explore the dwelling practices of stakeholders involved in the event. In the duration of a tailgate, a city is raised, and ultimately razed. Over the course of a day, a nomadic brand community encampment arises, replete with ersatz homes, a grid of streets with ingenious address coordinates, playing fields, and channels of information exchange. By examining the process of dwelling, we unpack the mechanics of the space-to-place transformation that characterizes consumption encampments. We analyze the role of three architectonic pillars of tailgating—chorography, conviviality, and community—in the emplacement of brand community and theorize the spatial essence of the collegiate brand.
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Shatskikh, Marina. "Metaphor as a Basic Component of the Emotional Space of Texts." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 96–111. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-96-111.
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The article discusses the emotional space of a text fragment and ways of its verbalization. Emotions play a huge role in politics and ideology, since it is in this area that emotions and feelings of the modern generation can and should most clearly manifest themselves, in regard to both what is happening now and what awaits humanity in the future. The main purpose of the article is to identify the features of metaphorical representation of reality. Using the descriptive method as well as the methods of classification and context analysis and leaning on the work done by P. K. Anokhin, Y. Reykovsky, V. I. Shakhovsky and others, the author analyzes mechanisms and patterns of the metaphor at the intersection of the linguistic and emotional aspects and presents it as the most expressive language means. Among features of emotional speech specific for newswriting there are such patterns as changes in the architectonic structure of utterances, various repetitions, elliptical constructions, interjections and filler words, distortion of word order, violation of semantic integrity, various kinds of syntactic constructions with quoted speech, etc. However, the main indicators of emotionality in written texts are words that represent ey characteristics of the writer’s emotional attitude to her subject matter, and metaphors remain the primary tool that reflect the writer’s perception of and emotions towards what she describes. The article presents possible groups of sensory metaphors and thus provides additional theoretical and practical material for courses in the theory of language, linguistic analysis of the text, and lexicology.
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Jebavý, M. "A relationship between the verdure system and land use planning of a small town." Horticultural Science 34, No. 4 (January 7, 2008): 152–58. http://dx.doi.org/10.17221/1895-hortsci.
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Small towns are defined as towns with the population not exceeding 15,000 (20,000) residents. They are organisms that can be embraced visually, mostly with the clearly demarcated area. Residents know their small town very well, the majority of buildings and structures is constructed at a reasonable scale and architectonic dominants allow easy orientation. Verdure in a small town is either a separate functional space (park, landscaped area, forest, scattered green vegetation) or it is associated with another function (residential green spaces, green spaces of housing estates, line verdure, verdure of self-retained areas – sports grounds, cemeteries, schools, etc.). The verdure of a small town is formed to make up a system. It may be realised but its functionality may be diminished by barriers of different type. Verdure significantly contributes to the image of a small town and its particular spaces. From the recreation aspect it is important to create near and easily accessible green spaces that may be used for the short- or long-time recreation of residents and visitors; the good connection of the urban verdure system with suburban landscape is desirable. To accentuate the basic landscape values and to realise the potential of the verdure system of a small town it is advisable to use the system of land-use planning while the landscape plan becomes its integral part.
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Filatov, A. V. "Two approaches to the analysis of spatial and temporal organizations of a literary work (M.M. Bakhtin and V.M. Zhirmunsky)." Solov’evskie issledovaniya, no. 4 (December 15, 2020): 151–61. http://dx.doi.org/10.17588/2076-9210.2020.4.151-161.
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This article examines two methodologies for analyzing a literary work. The first one was developed by M.M. Bakhtin on the basis of a broad aesthetic and philosophical approach; the second one was developed by V.M. Zhirmunsky on the basis of a more specific formal and poetological approach. These methodologies were applied by both researchers to A.S. Pushkin’s poems in the 1920s. It is argued that Bakhtin’s methodology was worked out in opposition to the main provisions of Zhirmunsky, who was close to the position of Russian formalism, also taking into account L.V. Shcherba’s achievements in the field of the linguistic analysis of a poetic text. This article describes the fundamental differences in the methodological conceptions of the philosopher and the literary critic concerning the nature of verbal creativity and understanding of the spatial and temporal organization of a literary work. The comparison of two analyses of Pushkin’s poem “For the Shores of Distant Homeland…”, shows that Zhirmunsky reduces the spatial and temporal aspects of a work of art to the compositional arrangement of verbal and sound material, since he considers verbal creativity as a linguistic phenomenon, while Bakhtin refers to the space and time of aesthetic reality, drawing a distinction between the composition and the architectonics of the literary work. It appears that the philosopher perceives the work as a field of dialogue between various subjects of consciousness (the author, the characters, the reader), while the literary critic proceeds from the author’s primacy as creator of a system of artistic techniques, giving the reader a position of passive perception. It is concluded that both methods of analysis complement each other organically, Zhirmunsky analyzing the verbal-compositional dimensions of a literary work and Bakhtin its objective-architectonic dimension.
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Richards, Shaun. "‘A Question of Location’: Theatrical Space and Political Choice in The Plough and the Stars." Theatre Research International 15, no. 1 (1990): 28–41. http://dx.doi.org/10.1017/s0307883300009500.
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Space is the essence of theatre, for while we may have theatre without text we can have none without space. This, however, is only to refer to the architectonic space itself, while the problematic concern is not with the space in which we have theatre, but with the space from which the dynamic of the drama itself is derived, particularly as it is located in the analysable dramatic text. This, of course, leads to the contentious question as to whether text or performance has primacy in determining understanding; an issue dismissed by Jiři Veltruský as ‘perfectly futile’ as, in his view, ‘Drama is a work of literature in its own right; it does not need anything but simple reading to enter the consciousness of the public.’ While Veltruský locates the essence of drama in the dialogue, and so argues for ‘Dramatic Literature’, he does acknowledge the dimension of performance in a highly significant qualification to the self-sufficiency of the text: ‘Consequently, the individual arts in their turn influence the development of dramatic literature through the intermediary of theatre. Indeed, when he writes a play, the dramatist is not unaware of the existing theatrical structure and of the various openings it presents to new developments. This is true even though the play is a self-sufficient work of literature which does not necessarily require theatrical performance; the creating subject usually feels, though often unconsciously, the possible applications of his work.’
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Liu, Mei, and Steffen Nijhuis. "The Application of Advanced Mapping Methods and Tools for Spatial-Visual Analysis in Landscape Design Practice." Sustainability 13, no. 14 (July 16, 2021): 7952. http://dx.doi.org/10.3390/su13147952.
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Spatial design is at the core of landscape architecture. Mapping spatial–visual characteristics is of significance for landscape architects to interpret and talk about space. Advanced mapping methods and tools for spatial–visual analysis (i.e., mapping techniques describing landscape architectonic compositions from both qualitative and quantitative perspectives) offer great potential to increase knowledge of spatial organization and reveal design principles. Despite the availability and wide range of possibilities, the application of advanced mapping methods and tools for spatial–visual analysis is still not common in landscape architecture. The main reasons include the lack of awareness and prejudice. In order to get a more detailed understanding of the problem, this study presents the outcome of semi-structured open-ended interviews with 11 practitioners with a design background in landscape architecture. The paper discusses the relevance of advanced mapping methods and tools with practitioners in order to gain a better understanding about what methods landscape practitioners use to describe and experience space in their daily work. Findings demonstrate the critical bottlenecks of implementing advanced mapping methods in daily practices and how the practitioners think about the implementation of advanced mapping methods in the future of landscape practices.
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Толстых and A. Tolstykh. "Clinical Features of Bone Architectonic Reconstruction in the Case of Multifragmental Fractures of the Proximal Brachial Part." Journal of New Medical Technologies 21, no. 1 (June 4, 2014): 73–76. http://dx.doi.org/10.12737/3317.
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Questions of treatment of seldom met pathology – multisplintered changes of a head of a humeral bone with shift of an articulate surface to 180º in literature practically don´t reflected. The author’s experience consisted of treatment of 9 patients by such pathology in the period from 1999 to 2011. The endoprosthesis was not applied. The author’s technique of recovery of very tectonics of a bone at reconstruction of a head of a shoulder was developed. This technique consists in osteosynthesis fragments using modular designs of the basic T- and L-shaped plates with reconstructive plate. The developed technique of surgical intervention allows to restore architectonics of the proximal humerus when multisplintered fractures with the turn of the articular surface of the head arm 180. Implementation of operative intervention on the restoration of the architectonics of the bone with a complex multisplintered the turn of using plates, which are collected in the form of a module directly in the operating wound after reposition fragments are technically more doable than osteosynthesis cumbersome implants type «leaf clover» and Pelon´s plate. From 9 patients with difficult multisplintered changes, three patients were operated by the offered technique with use of modular designs. When performing operations surrounding tissues were injured minimum. Duration of operation was reduced from 1,5-2h. at the using bulky plates till, 1h. at the using modular designs. A smaller amount of metal in subacromial space allowed to reduce the severity of collision syndrome.
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Ozola, Silvija. "PLANNING AND THE SPATIAL SOLUTION OF FORTIFIED URBAN STRUCTURES IN SECULAR POWER CENTRES BUILT BY THE LIVONIAN BROTHERS OF THE SWORD (1202–1237)." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 775. http://dx.doi.org/10.17770/sie2020vol5.4872.
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On conquered lands inhabited by the Balts, brothers-knights built stone castles with chapels and churches in order to implement Crusaders’ policy. The location of cult buildings adapted to the terrain and traffic roads influenced planning and architectonic space of secular power centres created by the Livonian Brothers of the Sword (Latin: Fratres militiæ Christi Livoniae, German: Schwertbrüderorden; 1202–1237). Research goal: analysis of planning of fortifird urban structures in order to determine the cult buildings’ impact on the layout and the spatial solution of power centres created by the Livonian Brothers of the Sword. Research problem: the influence of cult buildings’ location on construction of power centres designed by the Livonian Brothers of the Sword have not been studied sufficiently. Research novelty: detailed studies of construction of fortified courtyards adapted to the terrain and environment. Research methods: analysis of archive documents, projects and cartographic materials of urban planning, as well as study of published literature and inspection of buildings in nature.
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Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (March 24, 2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.
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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically inspired architectonic symbolism, employing far older techno-cultural suppositions about interior space. I thereby offer an account of the intellectual and spiritual heritage upon which Romantic writers in the United States drew to articulate cognitive interiority. These Romantics did more than value creativity in contradistinction to Enlightenment rationalism; they were acknowledging themselves as recipients of the ancient belief in cosmogenesis as self-transformation.
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Pernišová, Alena. "Requirements and Solution of Barrier-Free Measures upon Architectonic – Construction Solution of Kitchen and Bathroom in a Flat of Special Determination." Applied Mechanics and Materials 820 (January 2016): 51–56. http://dx.doi.org/10.4028/www.scientific.net/amm.820.51.
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Healthy person does not often realize its certainty when he moves around in the flat and makes activities related to running of the household. Persons on wheelchairs, moving with crooks or walking stick, or otherwise handicapped, are in more difficult situation. Therefore barrier-free environment in flats defined for persons with limited ability of movement and orientation is very important. This group of people faces the biggest problem with barrier-free transfer when working in the kitchen, as well as when moving around in the bathroom or WC. In order to better understand the wheelchair person we have to take into consideration how this person moves around in the kitchen, how he gets from and on the wheelchair in the bathroom and WC. He movers either alone or with his assistant, therefore the project engineer shall also consider the handling space for another person when designing the size of floor area. Persons with handicap must deal with safe movement around their flat on everyday basis.
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Ozola, Silvija. "LOW-RISE RESIDENTIAL BUILDING AND PLANNING DEVELOPMENT OF LIEPAJA “NEW WORLD” AND THE LAKE TOSMARE SHORE TILL WORLD WAR II." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 484. http://dx.doi.org/10.17770/sie2018vol4.3422.
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Russian Army Headquarters and Maritime Fleet planned to build a sea and land fortress, and Major General Ivan Alfred McDonald developed a project on August 30, 1892. Near Naval Port and the Lake Tosmare Apparent Heir’s Grove and residential buildings with streets were built. Residential buildings were built in “New World” – land between Romny Railway and Grobin Highway. In Liepaja 1922 administrative border plan development was started to include the Lake Liepaja’s northern part into the urban territory. Low-rise residential buildings of Aspazija’s (former Apparent Heir’s) Grove were supplemented. Research issue – building structure and development of residential buildings of Libava Maritime fortress territory has been studied insufficiently. Novelty characteristics – low-rise residential buildings’ construction and street network of Apparent Heir’s Grove has been analysed. Research goal – analyse “New World” and low-rise residential building and planning of the Lake Tosmare surroundings till World War II. Principal research methods – planning and construction observation in nature, archive and cartographic material analysis. Brief description of research outcomes: fortress built on the Baltic Seacoast affected further development of the territory. Nowadays development of qualitative architectonic space without historical development analysis is impossible.
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Nemeth, T. "Chelpanov: The Psychologist as a Realist Neo-Kantian." Solov’evskie issledovaniya, no. 2 (June 30, 2021): 84–113. http://dx.doi.org/10.17588/2076-9210.2021.2.084-113.
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This essay explores the writings of Georgij Chelpanov, who recognized the value of both psychology and philosophy, much to the displeasure of all. Chelpanov only very guardedly expressed his own philosophical views, which stand, I conclude, in stark contrast with the neo-Kantianisms of both the Marburg and the Baden Schools. We see that in his earliest writings on spatial perception, he not so much differs with Kant as saw the matter from a different perspective. Nonetheless, he shares Kant’s affirmation that the universality and necessity associated with our representation of space affirms its apriority as a condition of cognition, particularly with respect to mathematics. Chelpanov departs from Kant in rejecting the exclusive subjectivity of space and time, arguing that there is something in noumenal reality that corresponds to our specific representations of an object’s temporal and spatial position. Otherwise, there is no way to account for their specificity, for why a perceived object is here and not there. Chelpanov argues this from a psychological viewpoint, but he acknowledges that Kant argues from a logical viewpoint. Turning to the issue of free will, he, in short, argues for a soft determinism that is quite consistent with Kantianism, even though Chelpanov’s argument is bereft of the metaphysics and the architectonic of Kant’s system. In conclusion, although scholars dispute his allegiance to neo-Kantianism, his philosophical writings demonstrate his subdued advocacy of a neo-Kantianism, albeit one more akin to the transcendental realism of Riehl and Paulsen.
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Milojkovic, Aleksandar, and Marko Nikolic. "Museum architecture and conversion: From paradigm to institutionalization of anti-museum." Facta universitatis - series: Architecture and Civil Engineering 10, no. 1 (2012): 69–83. http://dx.doi.org/10.2298/fuace1201069m.
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The majority of art museums all over the world have found their accommodation in buildings whose primary function and service, at the time of construction, was completely different. Conversion was more a rule than an exception during (not so long) museum history, and it is unambiguous that typological structure of renaissance and baroque palaces have had dominant influence on museum organization and structure. The further important step forward, considering museum accommodation in historical buildings, happened after the Second World War, with reevaluation and representation of old artistic works by means of new architectonic tools. During the late seventies, reaction of artists to contemporary prevailing trends in museum architecture resulted in creation of numerous unconventional museums, placed in abandoned industrial facilities, warehouses, powerplants, on the margins of official culture, as a contrast to the overdesigned museums as sites of luxury and entertainment. Not long afterwards, the network of museum institutions has accepted the vital elements of this "parallel cultural system" concept and reaffirmed conversion as an equally worthy solution for collection accommodation and temporary exhibition space. In this paper, we have presented the history of conversion as a part of museum architectural typology evolution, advantages and disadvantages of conversion, as well as the contribution of conversion to the sustainable urban development.
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Markovic, Sladjana, Igor Svetel, and Zoran Lazovic. "Redefinition of the process of design and realization in emerging architecture on the principle of "digital chain"." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 295–306. http://dx.doi.org/10.2298/fuace160526026m.
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The setting of design and architectural realization today cannot be considered separately from the emerging architecture, which is based on digital technology. Digital technology has primarily affected the architectural presentation, and eventually began to represent a design tool directly connected with the realization, which was across various digital techniques establishing continuity of a ?digital gap? as a global problem of discontinuity of design and realization in architecture and fulfilling complex design requirements of the architecture today. With the characteristics of continuous connection, this relation design - realization is increasingly manifested as a C?AD/CAM technology and the most commonly researched as a ?digital chain? principle. Primarily, the term ?digital chain? is defined and investigated (theoretically, experimentally and practically) at the CAAD department at ETH Zurich (germ. ETH Zuerich) within the research projects of this institute. Today the tool has become an indispensable, inevitable and active, and the architect seemingly passive and in an unclear position in the whole process and the offered solutions of space and architecture. Accordingly, the paper explains the principle of "digital chain", and overlapping with elements of a conventional (standard) architectural approach, based on the settings of the positioning architects in new conditions, redefines the process of design and realization in the emerging architecture in architectonic sense.
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LOMBER, STEPHEN G., and BERTRAM R. PAYNE. "Contributions of cat posterior parietal cortex to visuospatial discrimination." Visual Neuroscience 17, no. 5 (September 2000): 701–9. http://dx.doi.org/10.1017/s0952523800175042.
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The purpose of the present study was to examine the contributions made by cat posterior parietal cortex to the analyses of the relative position of objects in visual space. Two cats were trained on a landmark task in which they learned to report the position of a landmark object relative to a right or left food-reward chamber. Subsequently, three pairs of cooling loops were implanted bilaterally in contact with visuoparietal cortices forming the crown of the middle suprasylvian gyrus (MSg; architectonic area 7) and the banks of the posterior-middle suprasylvian sulcus (pMS sulcal cortex) and in contact with the ventral-posterior suprasylvian (vPS) region of visuotemporal cortex. Bilateral deactivation of pMS sulcal cortex resulted in a profound impairment for all six tested positions of the landmark, yet bilateral deactivation of neither area 7 nor vPS cortex yielded any deficits. In control tasks (visual orienting and object discrimination), there was no evidence for any degree of attentional blindness or impairment of form discrimination during bilateral deactivation of pMS cortex. Therefore, we conclude that bilateral cooling of pMS cortex, but neither area 7 nor vPS cortex, induces a specific deficit in spatial localization as examined with the landmark task. These observations have significant bearing on our understanding of visuospatial processing in cat, monkey, and human cortices.
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Linares de la Torre, Oscar. "Apuntes sobre el Palais des Machines de París de 1889: espacio, estructura y ornamento." VLC arquitectura. Research Journal 5, no. 1 (April 19, 2018): 33. http://dx.doi.org/10.4995/vlc.2018.7713.
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<p><em>The </em>Palais des Machines <em>of the Paris Universal Exposition of 1889, designed by the architect Charles Louis Ferdinand Dutert (1845-1906) and the engineer Victor Contamin (1840-1893), is undoubtedly an icon of the 19</em><em>th </em><em>century architecture: its powerful spatiality, its portentous structure and its straightforward tectonics have rightly received high praise by critics and architects from the second half of the 20</em><em>th </em><em>century. However, critical tradition and historiography from the end of the last century have frequently offered a biased interpretation of this work, aimed at underlining certain architectonic values for then presenting them as a direct product of the author’s will. The aim of this article is to explain, altogether and with maximum transparency, how the conjunction between certain circumstantial issues and the will/ability of both authors made possible the construction of one of the most important works of the nineteenth-century architecture. To achieve this, the three most celebrated architectural aspects of the building are analysed: the huge scale of the central space, the particular structural system chosen and the uneven usage of ornament.</em></p>
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Puchkov, Andrii. "Vasyl Stus’s Poem “Let Me about Sixth Today…”: Attempt of Orphean Spatial Analysis of One Dream." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 58–73. http://dx.doi.org/10.33608/0236-1477.2019.05.58-73.
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The paper presents an attempt to slowly read the poem by Vasyl Stus “Let me about sixth today…” (1975–1979) in order to identify connotative motifs of historical, cultural and subject-spatial nature. It is shown that the fixation of these motifs with the help of nouns (image), adjectives and verbs (motive) generates in the reader’s mind not so much an artistic space aimed at forming an “artistic image” as an architectonic space (plot) aimed at depicting the actions that cause (or subject to them) the semantic construction of the poem. The research methodology is based on the classical method of analyzing a poem, a comparative statistical one, which was proposed and developed by Boris Yarkho and Mikhail Gasparov. Counting nouns is carried out within such groups of them: objects; abstract concepts of the external world; abstract concepts of the inner world; appearance. The use of nouns made it possible to see that all concepts meaning things are subject to the compilation of a certain landscape or — more broadly — a space saturated with par excellence negative visual stimuli that one doesn’t want to notice. The figurative means of the poem that form spatial constructions and show temporal characteristics are indicated. The researcher explains the presence of the mythical motive of Orpheus and Eurydice, being characteristic for the creative consciousness of the poet. However, it looks like Stus changes the roles of Eurydice and Orpheus. In using the reverse perspective technique one should see Kyiv as a place of mythological events, akin to Hellenic, but, despite all the toponymic specifics, it lacks positive features: the anxiety of the myth about Eurydice is reflected here as well. The imprisonment of a hero is directly associated with the kingdom of Persephone and Hades. But the model is somewhat complicated: the reason of Orpheus’ anxiety in the ancient myth is somewhat obscure, while in the poem by Stus the hero really worries not so much about his beloved as due to eventual anxiety for his beloved, and therefore about her and her son.
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Cantarella, Laura, and Alberto Momo. "Riusi radicali. Soldati, sirene, deflagrazioni." Manipolazioni metasemiche del patrimonio 2 NS, Issue 2 Ns, July 2019 (June 15, 2019): 135–40. http://dx.doi.org/10.30682/aa1902j.
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Reuse is a process that deals not only with objects, architectures and territories, but also with images and collective perception. It goes beyond the physical reality and produces a space having less delimited meanings, more difficult to be defined because of its immateriality, although not less necessary. Montage, giving new meanings to images from archives, has been since long an artistic methodology used for movies, photography, visual arts. In this context, some artworks, like the most interesting architectonic reuses, do not re-propose slavishly pre-existing realities. On the contrary, thorough a process of estrangement and montage, they relaunch, open to unexpected outcomes. This text proposes an analysis of some works straddling the beginning of the millennium, by Yervant Gianikian, Angela Ricci Lucchi and Joan Fontcuberta. These authors, by different means, suggest the existence of a common ground, a possible map of the contemporary artistic production dealing with alpine territories. Nitrate ghosts of living beings suspended in a nearly abstract white, digital landscape, mermaids’ skeletons. Images differ greatly from one another and displace the observer. By deconstructing the mechanisms behind communications produced by different systems of power (scientific, political, etc.), they dismantle prejudices and established visions. They do not oppose new realities to existing ones, but with the irruption of the unexpected, of discrepancy and heterogeneity, compared to conventions and to the foreseeable, they activate the observer, bounced out of the comfort zone of the passive spectator.
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Qiu, Ming-guo, Jing-na Zhang, Ye Zhang, Qi-yu Li, Bing Xie, and Jian Wang. "Diffusion Tensor Imaging-Based Research on Human White Matter Anatomy." Scientific World Journal 2012 (2012): 1–6. http://dx.doi.org/10.1100/2012/530432.
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The aim of this study is to investigate the white matter by the diffusion tensor imaging and the Chinese visible human dataset and to provide the 3D anatomical data of the corticospinal tract for the neurosurgical planning by studying the probabilistic maps and the reproducibility of the corticospinal tract. Diffusion tensor images and high-resolution T1-weighted images of 15 healthy volunteers were acquired; the DTI data were processed using DtiStudio and FSL software. The FA and color FA maps were compared with the sectional images of the Chinese visible human dataset. The probability maps of the corticospinal tract were generated as a quantitative measure of reproducibility for each voxel of the stereotaxic space. The fibers displayed by the diffusion tensor imaging were well consistent with the sectional images of the Chinese visible human dataset and the existing anatomical knowledge. The three-dimensional architecture of the white matter fibers could be clearly visualized on the diffusion tensor tractography. The diffusion tensor tractography can establish the 3D probability maps of the corticospinal tract, in which the degree of intersubject reproducibility of the corticospinal tract is consistent with the previous architectonic report. DTI is a reliable method of studying the fiber connectivity in human brain, but it is difficult to identify the tiny fibers. The probability maps are useful for evaluating and identifying the corticospinal tract in the DTI, providing anatomical information for the preoperative planning and improving the accuracy of surgical risk assessments preoperatively.