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Journal articles on the topic 'Architecture radicale'
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Verstraeten, F., R. Göstl, and R. P. Sijbesma. "Stress-induced colouration and crosslinking of polymeric materials by mechanochemical formation of triphenylimidazolyl radicals." Chemical Communications 52, no. 55 (2016): 8608–11. http://dx.doi.org/10.1039/c6cc04312g.
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Yaneva, Albena, and Liam Heaphy. "Urban controversies and the making of the social." Architectural Research Quarterly 16, no. 1 (March 2012): 29–36. http://dx.doi.org/10.1017/s1359135512000267.
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On the one hand, architectural knowledge advances very rapidly, with new types of materials and technological innovations entering the field and multiplying architectural invention. On the other hand, urban experts, architects and engineers often debate publicly uncertain urban knowledge and technologies, risky plans and daring designs, polarising opinion - as witnessed on numerous blogs, citizen forums and architecture websites. This radical transformation in building technologies, in the reliance upon experts and in the expansion of architectural networks could have remained practically invisible were it not for the presence of another phenomenon: the digitalisation of architecture and the availability of enormous Internet databases. The digital technologies at our command provide us with abundant resources to follow architectural controversies.
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Quiclet-Sire, Béatrice, and Samir Z. Zard. "Some aspects of radical chemistry in the assembly of complex molecular architectures." Beilstein Journal of Organic Chemistry 9 (March 18, 2013): 557–76. http://dx.doi.org/10.3762/bjoc.9.61.
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This review article describes briefly some of the radical processes developed in the authors’ laboratory as they pertain to the concise assembly of complex molecular scaffolds. The emphasis is placed on the use of nitrogen-centred radicals, on the degenerate addition–transfer of xanthates, especially on its potential for intermolecular carbon–carbon bond formation, and on the generation and capture of radicals through electron transfer processes.
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Samalavičius, Almantas. "A conversation with architect and urban planner Leon Krier." JOURNAL OF ARCHITECTURE AND URBANISM 37, no. 4 (December 24, 2013): 227–30. http://dx.doi.org/10.3846/20297955.2013.859445.
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Leon Krier hardly needs to be introduced to anyone who has a professional or academic interest in the discussions of architecture and urbanism of recent decades. An internationally established architect, architectural theorist and urban planner, he is well-known not only as the author of numerous architectural and urban design projects and master-plans, but also for his defense of what is sometimes called „neo-traditional” architecture and the values that were and continue to be associated with the role and aesthetics of the architecture of past centuries. Although he has been attacked for his non-conformist views and critical attitude towards radical modernism, Leon Krier remains an important figure in discussions of architecture and urbanism, and his interests overlap with present concerns for environment and sustainable future. The talk by the editor of the journal with Leon Krier is an attempt to discuss the flaws of contemporary architectural and urban practice as well as to indicate its roots and draft some prospects for the future.
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Chapman, Michael. "Bloody fingerprints: Tschumi and the avant-garde." Architectural Research Quarterly 17, no. 3-4 (December 2013): 293–302. http://dx.doi.org/10.1017/s1359135514000116.
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This paper investigates the radical approach to architectural representation of Bernard Tschumi in the late 1970s and its relationship to the literary and visual practices of Dada and Surrealism. Focussing on Tschumi's Advertisements for Architecture and Manhattan Transcripts, the paper demonstrates how the critique of avant-garde tactics in Peter Bürger and Walter Benjamin applies to a broader understanding of politics in architecture and its efficacy.
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Lynch, Dylan M., and Eoin M. Scanlan. "Thiyl Radicals: Versatile Reactive Intermediates for Cyclization of Unsaturated Substrates." Molecules 25, no. 13 (July 7, 2020): 3094. http://dx.doi.org/10.3390/molecules25133094.
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Sulfur centered radicals are widely employed in chemical synthesis, in particular for alkene and alkyne hydrothiolation towards thioether bioconjugates. The steadfast radical chain process that enables efficient hydrothiolation has been explored in the context of cascade reactions to furnish complex molecular architectures. The use of thiyl radicals offers a much cheaper and less toxic alternative to the archetypal organotin-based radical methods. This review outlines the development of thiyl radicals as reactive intermediates for initiating carbocyclization cascades. Key developments in cascade cyclization methodology are presented and applications for natural product synthesis are discussed. The review provides a chronological account of the field, beginning in the early seventies up to very recent examples; a span of almost 50 years.
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Karassowitsch, Michael. "Architecture is not Technology:- The Space of Differentiation in Architectural Education." Open House International 40, no. 3 (September 1, 2015): 11–23. http://dx.doi.org/10.1108/ohi-03-2015-b0004.
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An unspoken issue of increasing priority in architectural education is the under developed differentiation between architecture and technology. Almost all of the qualifications whereby an architect is prepared for and is permitted to practice professionally are technological parameters. But architecture is not technology. Architecture is, however, both protected by and obscured thru technology being in the forefront that means it is both of benefit and a hindrance. Architecture being undifferentiated from technology and named in terms of technology thus allows the issue to stay safely within the pragmatic assertion of professionalism that is set up during an education mainly controlled by the profession. Within that is a nascent architectural impulse that resides largely unspoken but which is nonetheless evolved and evolving and shared. The unrevealed architecture generates an aura of the mysterious and the radical which that contributes a greatly to the intensity of mundane and well known work. This paper examines how architectural technology obviates a space of differentiation within architecture, which may be examined phenomenologically in terms of the essence of humanity, whereby architecture has an original ontological correlation with human aspiration. This will be supported with the well known — for brevity — theoretical and practical examples around the work of Heidegger, Louis I. Kahn. Along with phenomenology, we will introduce philosophies of spiritual practice collectively called rajayoga. The latter is a millennia long experiment with well documented research into human aspiration. The paper concludes with examples of architecture presencing this space of differentiation and suggests the implications on the profession of an education that scan develop the super-ordinate program that is architectural practice.
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Chaillou, Stanislas. "Latent architecture: a semanticist’s perspective." Architectural Research Quarterly 24, no. 4 (December 2020): 309–13. http://dx.doi.org/10.1017/s1359135521000087.
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Artificial Intelligence (AI) is an emerging reality for the architectural discipline. Our work over the past three years has been to demonstrate AI’s relevance for architecture. Among many aspects, AI fundamentally opens up access to a new approach to formal experiments through the concept of ‘latent space’. We believe this concept represents a radical improvement in generating architectural forms, and comes at a time when cities are pressurised by the burning challenges they face: ecology, urban densification, the rapid mutation of modes of living, etc. In return, architecture is charged to come up with new typologies, able to handle these pressing concerns. AI invites us to reinvest in formal research in order to design the habitat of tomorrow.
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Emmons, Paul. "Diagrammatic Practices: The Office of Frederick L. Ackerman and "Architectural Graphic Standards"." Journal of the Society of Architectural Historians 64, no. 1 (March 1, 2005): 4–21. http://dx.doi.org/10.2307/25068122.
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The office of Frederick Ackerman (1878-1950) was the source of the first modern architectural handbook, Architectural Graphic Standards (1932), which was intended as a radical manifesto. Basing his practice on the economic critique of "conspicuous consumption" by Thorstein Veblen (1857-1929), Ackerman was a leader of the technocratic movement. Ackerman directed his employees to develop factual architectural data. The authors of Graphic Standards, Charles Ramsey (1884-1963) and Harold Sleeper (1893-1960), worked at Ackerman's firm, and it was for Ackerman's projects that the first versions of the handbook's plates were drawn. Graphic Standards reflected Ackerman's technocratic approach to architecture, whereby he isolated functional facts from appearance, which was understood as self-expression. In its use of diagrams, Graphic Standards reflected the view that such schematic representations were the transparent rendering of facts. Yet, as seen in some of the plates of Graphic Standards, even the most reductive diagrams inevitably include expressive elements. Through many editions, Graphic Standards has been widely hailed as the "bible" of architectural practice, and it is paradoxical that Ackerman's radical practice became the basis of today's normative commercial practices. The attempt to separate functional fact from aesthetic self-expression was an impossible project, but Ackerman's efforts to achieve a modern architecture that was derived from the nature of its use and construction to replace the design of novelties remain a significant achievement.
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Manic, Bozidar, Dragana Vasiljevic-Tomic, and Ana Nikovic. "Contemporary Serbian Orthodox church architecture: Architectural competitions since 1990." Spatium, no. 35 (2016): 10–21. http://dx.doi.org/10.2298/spat1635010m.
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This paper focuses on the architectural competitions for Orthodox Christian churches in Serbia since 1990, both on the analysis of the designs submitted and the competition requirements. The first competition for an Orthodox church in Serbia after World War II was announced for Pristina in 1991. After that, competitions for the temple in Cukarica, Novi Beograd, Nis, Aleksinac and Krusevac were conducted. Thanks to the fact that architectural competitions allow a greater degree of creative freedom to the architects than regular practice, various solutions were offered, from replicas of models from architectural history and tradition to fully non-traditional proposals. Depending on the relationship to tradition, architectural design approaches can be classified into three main groups: radically modernizing, conservatively traditionalist, and compromising. Of the six competitions conducted, four churches were built, which are among the most architecturally successful newer churches in Serbia. This points to the importance of the implementation of the architectural competition in this field of architecture. The diversity of the award-winning projects shows that there is awareness of the possibility for the further development of church architecture, favouring a moderate approach.
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Vela, José. "Enric Miralles’ Architectural Pieces: Three Exemplary Attempts." ZARCH, no. 6 (September 16, 2016): 148. http://dx.doi.org/10.26754/ojs_zarch/zarch.201661459.
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The status of an “unbuilt idea” is a dubious one. It presupposes, in the first place, the existence of something as elusive as “architectural ideas”. Moreover, it disconnects architectural thinking from its materialization, either implying that ideas are not embedded in architecture only or that architecture can only be found in built buildings —erasing the ideas in the process. Finally, it takes away from architecture its capacity of awakening, of production versus mere reproduction. Of course, none of these assertions are quite right –though none are totally untrue. This paper will explore three architectural pieces designed by architect Enric Miralles around the mid-1990s in search not of an answer to the abovementioned questions —which will be impossible in the limited amount of space of this article— but of a demonstration, in the sense of a presentation, of the complexity of the task. Three architectural pieces radically different but nevertheless coherent as a group, of a rather uncanny quality —being architecture, are neither buildings nor ideas— will be presented in their exemplar quality: they are exemplar —even paradigmatic— constructions precisely because they are not buildings and remain unbuilt. No conclusions should be expected, even if the endeavor is worth the attempt.
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Kuletin-Culafic, Irena. "Marc-Antoine Laugier’s aesthetic postulates of architectural theory." Spatium, no. 23 (2010): 46–50. http://dx.doi.org/10.2298/spat1023046k.
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Views on architecture that hold a significant position in architectural theory are the ones by Marc-Antoine Laugier, a French theoretician from the 18th century. The research on his architectural theory that have been carried out so far are quite stereotypical and concern Laugier?s concept of primitive hut as his only significant contribution to architectural theory. It is well-known that the concept of primitive hut plays an important role in Laugier?s theory and it is what actually maintained his reputation up to now. However, by singling out this concept as an independent one, one actually neglects all the other aspects of Laugier?s theory. The aim of this paper is to present multidimensionality of Laugier?s architectural aesthetics by crossing the borders of architecture and viewing Laugier?s ideas in cultural, philosophical, religious and historical context, as well as applying the integrative process and considering the spiritual paths of the enlightenment movement in the mid-18th century. A special attention is paid to considering the aesthetic aspect which represents the gist and an inevitable part of Laugier?s architectural theory. His aesthetic theory is important in forming the classicist style, and despite its radical character, it influenced many architects in France and the rest of Europe. We may see Laugier as one of the first modernists considering his structuralist logic of the constructive circuit of architecture and aesthetic modesty of decoration. Laugier?s functionalist attitude that the constructive circuit should at the same time represent a decorative element of architecture confirms the thesis that modernist approach has its roots in the 18th century.
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Stoian, S. P. "TRANSFORMATIONS OF THE ARCHITECTURE SYMBOLIC LANGUAGE IN THE MODERN CITY SPACE: THE DIALOGUE AND CONFRONTATION COLLISIONS." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 98–101. http://dx.doi.org/10.17721/ucs.2019.2(5).18.
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The article analyzes the transformation of the architecture symbolic language in modern cities, which is associated with the practice of actively updating the urban space through the implementation of innovative and sometimes extremely radical architectural projects. An attempt is being made, from standpoint of the time distance to assess the change in views on extremely controversial structures, the construction of which at one time caused great scandals and devastating criticism, but with the change of cultural priorities and values, they became houses of worship and symbols of famous European cities. Over the last century, each and all of the fields of culture have undergone significant changes, including the visual sphere, with such an important component as architecture, which for thousands of years has transmitted non-verbal information about the cultural specificity of the past through thousands of visual symbolic codes. As for now, the viability and allowability issue of radical transformations of urban architec- tural space under the influence of new technologies and innovative trends is extremely acute. The traditions and innovations problem, the need to involve cultural experts in order to preserve the unique historical spaces of world-famous landmarks, requires a great deal of attention from cultural experts, who should carry out a thorough analysis of the problem and formulate practical advice for resolving debates on shaping the architectural space of modern cities. In an effort to distance itself from the extremely radical critical views of contemporary architectural innovations, the focus is on finding sound solutions to the dramatic transformations of historic centers of contemporary cities that must be made with cultural experts and professionals of the relevant field involvement.
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Brajković, Jelena, and Miodrag Nestorović. "Screen media interfaces and environments." SAJ - Serbian Architectural Journal 9, no. 2 (2017): 83–104. http://dx.doi.org/10.5937/saj1701083b.
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The emergence and the development of new media forms took many diverse directions at the end of the twentieth and the beginning of the twenty first century, significantly influencing many areas of everyday life, as well as contemporary architectural practice. New types of architectural space emerged, types that are based on both new media and architectural principles. These spaces are screen, interactive, kinetic, biotechnological, as well as environments of light. These kind of environments gained new principles and features well known in new media field. Especially important for architectural context is the great potential of new media to create illusions and simulations, to produce augmented and composite, virtual realities and spaces. Virtual space represents one of the most challenging form of new media spaces. It is also the most complex form of screen media environments, so complex that it has taken its own, radical course. Besides the most advanced and complex, screen media interfaces also represent the oldest and typical forms of media architecture. This article will analyze emergence of screen interfaces in architecture, discuss their forms and modalities and examine their influence on human impression of space.
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de Carvalho, Rita Almeida. "Ideology and Architecture in the Portuguese ‘Estado Novo’: Cultural Innovation within a Para-Fascist State (1932–1945)." Fascism 7, no. 2 (October 17, 2018): 141–74. http://dx.doi.org/10.1163/22116257-00702002.
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This article challenges the common assumption of the fascist nature of the Portuguese Estado Novo from the thirties to mid-forties, while recognizing the innovative, modernizing dynamic of much of its state architecture. It takes into account the prolix discourse of Oliveira Salazar, the head of government, as well as Duarte Pacheco’s extensive activity as minister of Public Works, and the positions and projects of the architects themselves. It also considers the allegedly peripheral status of architectural elites, and the role played by decision makers, whether politicians or bureaucrats, in the intricate process of architectural renewal. The article shows that a non-radical form of nationalism has always prevailed as a discourse in which to express the unique Portuguese spirit, that of a people that saw itself as transporting Christian morality and faith across the world, a civilizing role that the country continued to fulfil in its overseas colonies. Taking the architectural legacy of the Estado Novo in its complexity leads to the conclusion that, while the dictatorship did not dismiss modernization outright, and though it adopted what could be superficially considered fascist traits, the language of national resurgence disseminated by the Portuguese regime did not express a future-oriented fascist ideology of radical rebirth. The country’s futural orientation would be accomplished by adopting a restrained policy of moderate modernization that lacked the dynamism and utopian ambition of fascism, a conservatism reflected in its architecture.
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Šenk, Peter. "Aesthetics of sustainability: Capsule architecture in the city and in nature." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 463–72. http://dx.doi.org/10.5937/saj1903463q.
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Architecture of minimum dwellings has been a hot topic recently. When minimum dwellings are compact, well-equipped, connected to the network, structurally, functionally and visually recognized as one thing, temporary and mobile or transportable, they may be designated as capsule architecture. Temporary by nature, these small dwellings, shelters, redesigned container units, special technological structures, parasites and other manifestations of the capsules concept encompass the logic of technological facilities with a distinct architectural expression. At the same time, it is a manifestation of the rule of sustainable design, sustainable architecture and sustainability in general. In this context, the case of small dwellings shows its difference as opposed to other sustainable architecture approaches and aesthetics. It subverts the generally sustainable approaches with exposed importance of locality within the global forces, usually relying on context - location, local culture and environmental characteristics, etc. The aesthetic regime of temporary, changeable, a-contextual and autonomous architectural structures can be regarded as an aesthetics of otherness, which relates them to the legacy of the Modern movement's existenzminimum experiments, the New Brutalism, radical experiments of the 1960s and other avantgarde and NEO-avantgarde practices of the twentieth century, but firmly placed in the context of individualized, indeterminate, dispersed and ambiguous contemporaneity.
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Gillin, Edward John. "Stones of Science: Charles Harriot Smith and the Importance of Geology in Architecture, 1834–64." Architectural History 59 (2016): 281–310. http://dx.doi.org/10.1017/arh.2016.9.
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AbstractIn mid nineteenth-century Britain, the study of geology involved radical new understandings of the earth's history. This had ramifications for architecture, providing new ways of seeing stone and designing buildings. This article examines the works of stone-mason Charles Smith. Following the destruction of the Houses of Parliament in 1834, the government initiated a national survey to select a stone for Britain's new legislature. Alongside geologists Henry De la Beche and William Smith, Charles Smith toured the buildings and quarries of Britain, producing a report that was intended to guide not only the choice of stone at Westminster, but all future architectural projects. He spent the following two decades promoting geological knowledge for architectural work. His reading of texts that examined the earth's geological formation, such as Charles Lyell's, shaped new understandings of stone and cement. This article demonstrates how, in a rapidly industrialising society, geology and architecture became increasingly inseparable.
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Moad, Graeme, Ezio Rizzardo, and San H. Thang. "Living Radical Polymerization by the RAFT Process." Australian Journal of Chemistry 58, no. 6 (2005): 379. http://dx.doi.org/10.1071/ch05072.
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This paper presents a review of living radical polymerization achieved with thiocarbonylthio compounds [ZC(=S)SR] by a mechanism of reversible addition–fragmentation chain transfer (RAFT). Since we first introduced the technique in 1998, the number of papers and patents on the RAFT process has increased exponentially as the technique has proved to be one of the most versatile for the provision of polymers of well defined architecture. The factors influencing the effectiveness of RAFT agents and outcome of RAFT polymerization are detailed. With this insight, guidelines are presented on how to conduct RAFT and choose RAFT agents to achieve particular structures. A survey is provided of the current scope and applications of the RAFT process in the synthesis of well defined homo-, gradient, diblock, triblock, and star polymers, as well as more complex architectures including microgels and polymer brushes.
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Gao, Yu, Xiaodong Ren, Cheng Shi, Guiyan Zhao, Yanfeng Bi, Liangliang Huang, Fu Ding, Yaguang Sun, and Zhenhe Xu. "Facile Synthesis of GdF3:Yb3+, Er3+, Tm3+@TiO2–Ag Core–Shell Ellipsoids Photocatalysts for Photodegradation of Methyl Orange Under UV, Visible, and NIR Light Irradiation." Journal of Nanoscience and Nanotechnology 18, no. 12 (December 1, 2018): 8216–24. http://dx.doi.org/10.1166/jnn.2018.16021.
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To enhance solar energy utilization efficiency, goal-directed design of architectures by combining nanocomponents of radically different properties, such as plasmonic, upconversion, and photocatalytic properties may provide a promising method to utilize the most energy in sunlight. In this work, a new strategy was adopted to fabricate a series of plasmonic Ag nanoparticles decorated GdF3:Yb3+, Er3+, Tm3+-core@porous-TiO2-shell ellipsoids, which exhibit high surface area, good stability, broadband absorption from ultraviolet to near infrared, and excellent photocatalytic activity. The results showed that photocatalytic activities of the as-obtained photocatalysts was higher than that of pure GdF3:Yb3+, Er3+, Tm3+ and GdF3:Yb3+, Er3+, Tm3+@TiO2 samples through the comparison of photodegradation rates of methyl orange under UV, visible, and NIR irradiation. The possible photocatalytic mechanism indicates that hydroxyl radicals and superoxide radical play a pivotal role in the photodegradation. Furthermore, the materials also showed exceptionally high stability and reusability under UV, visible, and NIR irradiation. All these results reveal that core–shell hierarchical ellipsoids exhibit great prospects for developing efficient solar photocatalysts.
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Beşlioğlu, Bahar, and Ayşen Savaş. "Fleabite: Gordon Matta-Clark and programmatic experimentation." Architectural Research Quarterly 16, no. 2 (June 2012): 125–36. http://dx.doi.org/10.1017/s1359135512000449.
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Gordon Matta-Clark (1943–1978), one of the lesser known architects of the second half of the twentieth century, studied architecture at Cornell University between 1962 and 1968. Although he had always been part of an active circle of artists and architects with whom he shared his radical ideas, Matta-Clark was generally excluded from the architectural milieu since his proposed interventions were thought to be unsuitable for accommodation. His exclusion from the architectural scene was marked; following his Window-Blow-Out(s) project in 1976, as Mary Jane Jacob has pointed out, his colleagues – including Peter Eisenman and the members of the Institute for Architecture and Urban Studies (IAUS) – found it very hard to accept an architect with a BB gun in hand. The removal of the facade in the 1974 Bingo project; the elimination of the thresholds in the 1973 Bronx Floors; or the cut to a suburban house in the 1974 Splitting project were all evaluated as temporary, and destructive in the making; and were thus regarded as artistic actions to transform buildings into objects. As such, his critical architectural productions remained overshadowed behind a series of seemingly violent artistic intrusions.
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Stauskis, Gintaras, and Uģis Bratuškins. "EMPOWERING RESEARCH IN ARCHITECTURE BY COMMUNITY INVOLVEMENT AND WIDER INTERNATIONAL COOPERATION / ARCHITEKTŪROS TYRIMŲ SUAKTYVINIMAS SKATINANT VISUOMENĖS DALYVAVIMO IR TYRĖJŲ TARPTAUTINIO BENDRADARBIAVIMO VEIKSNIUS." Mokslas - Lietuvos ateitis 3, no. 3 (June 7, 2011): 5–10. http://dx.doi.org/10.3846/mla.2011.044.
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The paper focuses on the actual state of architecture and planning practices in Lithuania and Latvia stating the common features and differences as well as identifying a number of challenges and possible solutions and their impacts on academic research carried out by junior fellows of the universities. The transition from a planned socialist economy to a free market and the following change in the structure of social order has objectively caused radical changes in the need and the offer of professional services where the largest market share is held by relatively small or very small architectural companies. Limited resources lead to dominance of the fulfillment of primary functional and aesthetical needs of the customer while the broader dialogue with public is usually delayed or missing. This often leads to public dissatisfaction of the results of implementation of development projects. The authors of the paper stress that the enhanced dialogue between architect and urban community supported by local governments and citizens could radically improve the situation and simultaneously contribute to the quality of architectural solutions. The share of responsibility for the future quality of built environmental goes to an academic education and especially to research systems. Multi-professional collaboration and integrated cross-border research practices should be encouraged as more beneficial for accumulating the experience of different cultures and to achieving optimal qualities in the future urban environment.
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Bozdoğan, Sibel. "Architecture, Modernism and Nation-Building in Kemalist Turkey." New Perspectives on Turkey 10 (1994): 37–55. http://dx.doi.org/10.1017/s0896634600000832.
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Deeply rooted in “the great transformation” brought about by capitalism, industrialization and urban life, the history of modern architecture in the West is intricately intertwined with the rise of the bourgeoisie. Modernism in architecture, before anything else, is a reaction to the social and environmental ills of the industrial city, and to the bourgeois aesthetic of the 19th century. It emerged first as a series of critical, utopian and radical movements in the first decades of the twentieth century, eventually consolidating itself into an architectural establishment by the 1930s. The dissemination of the so-called “modern movement” outside Europe coincides with the eclipse of the plurality and critical force of early modernist currents and their reduction to a unified, formalist and doctrinaire position.
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Hall, Michael. "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 78–95. http://dx.doi.org/10.2307/991563.
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In a challenging but little-studied article published in Architectura in 1985, David B. Brownlee argued that the religious concept of the development of doctrine influenced the belief of architects in the Anglican Church in the 1840s that they should attempt to "develop" architecture in a radical new direction. The result was the style we now call "High Victorian." This article takes up Professor Brownlee's argument in two ways. First, it looks at how architects in the 1850s sought to create a progressive style by drawing on ideas and images from contemporary science, specifically geology, for which development was also a key word. Second, it addresses the question of why the idea of development fell so suddenly from favor in avant-garde architectural circles in the 1860s. It argues that as science and religion withdrew into their separate spheres, architects turned instead to an ideal based not on historical development but on the imitation of a stylistic paradigm. This approach was influenced by High Church belief that the sacraments, most importantly the Eucharist, were the material realization of a timeless supernatural reality. Changing attitudes to time and precedent had important consequences for the way architects viewed restoration, archaeology, and the use of historical models.
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Mogetta, Marcello. "A New Date for Concrete in Rome." Journal of Roman Studies 105 (April 24, 2015): 1–40. http://dx.doi.org/10.1017/s007543581500043x.
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AbstractConcrete is regarded as a quintessentially Roman achievement. The spread of the technology is usually dated to the fourth or third centuriesb.c., and interpreted as a symptom of Rome's early expansion in Italy. In this paper I offer a reappraisal of the available evidence for early concrete construction in Rome. On the basis of stratigraphic evidence, I conclude that a later date should be assigned to most of the remains. I situate the origins of the technological innovation within the radical change in architectural styles that unfolded in the middle of the second centuryb.c., affecting both domestic architecture and public building. The new chronology has an impact on current models of cultural diffusion in Roman Italy, linking the development of Late Republican architecture with the broader debate on the cultural implications of the Roman conquest.
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Menking, William, and Olympia Kazi. "Radical Italian Architecture Yesterday and Today." Architectural Design 77, no. 3 (2007): 99–101. http://dx.doi.org/10.1002/ad.463.
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Steen, Andrew P. "Radical Eclecticism and Post-Modern Architecture." Fabrications 25, no. 1 (January 2, 2015): 130–45. http://dx.doi.org/10.1080/10331867.2015.1006762.
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Díez Martínez, Daniel. "Hacia Arts & Architecture La revolución editorial de John Entenza (1938-1945)." Cuaderno de Notas, no. 19 (July 31, 2018): 1. http://dx.doi.org/10.20868/cn.2018.3813.
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Resumen En enero de 1945 Arts & Architecture puso en marcha el programa CaseStudy House, un experimento ideado por John Entenza que les reservaríaa él y a su revista un lugar importante en la historia de la arquitectura moderna del siglo XX. Desde que asumió la dirección de Arts & Architectureen 1940, Entenza supo rodearse de creadores y artistas como Alvin Lustig,Ray y Charles Eames, Herbert Matter o Julius Shulman, que contribuyerona elevar el estándar gráfico de su publicación y le confirieron una identidadinnovadora que respaldaba visualmente el discurso intelectual vanguardista de compromiso con la arquitectura y el diseño modernos que defendía en sus páginas. Este artículo analiza los orígenes, las estrategias de trasformación y los nombres propios que hicieron realidad una revista que, cincuenta años después de su desaparición en 1967, sigue resultando tan atractiva y radical como cuando se editaba.AbstractIn January 1945 Arts & Architecture launched the Case Study House program, an experiment devised by John Entenza that would reserve for him and his magazine an important place in the history of modern architecture of the twentieth century. From the moment he took over the direction of Arts & Architecture in 1940, Entenza knew how to seduce creators and artists such as Alvin Lustig, Ray and Charles Eames, Herbert Matter and Julius Shulman, who contributed to raise the graphic standard of his publication and gave it an innovative identity that visually supported the avant-garde intellectual discourse of commitment to modern architecture and design that it defended in its pages. This article analyzesthe origins, the strategies of transformation and the proper names that made the magazine a reality that, fifty years after its disappearance in 1967, continues to be as attractive and radical as when it was published.
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Svystun, I. "TRANSFORMATION OF THE HIERARCHICAL STRUCTURE OF COMPOSITION MEANS IN ARCHITECTURAL FORM MAKING ON THE XX AND XXI CENTURIES." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 115–30. http://dx.doi.org/10.31650/2519-4208-2020-20-115-130.
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The article provides an analysis of the characteristics of the artistic means of composition used in the architectural form making at the turn of the 21st century, helps to determine their role in the hierarchical structure by the degree of significancefor modern evolutionary processes in architecture. An overall decrease in the influence and effectiveness of the composition means for this period was noted. A significant redistribution of their influence over the basic hierarchical structure was revealed.One of the major problems in the evolution of architecture at the turn of the 21st century is the discrepancy between provisions of the compositional theory of architecture -a traditional means of shaping and findings the of worldwide experimental construction practices. Here, science was facing the new phenomena based on radical changes in the nature of the architectural form and its plasticity, when the clear, unambiguous rules for constructing the form of the basic theory of composition no longer fully carry out their organizing functions. The collision of science with unrecognized processes that appeared in original architectural forms that have no analogue in everything that existed in architecture in the past, created using modern digital technologies, has not yet become the subject of a serious study by modern theory.It should be noted that for almost entire 20th century, architecture relied on the traditional compositional base in the formation of the figurative characteristics of objects (regardless of their stylistic affiliation), considered it universal and did not respond to emerging new trends that had a significant impact on the volume and plastic properties of architectural forms. As the analysis confirms, during this period the foundations ofa new architecture with non-standard form-forming characteristics were laid.Characteristic in the development of architecture at the turn of the century was the desire of individual innovative authors (Kalatrava S., Hadid Z., Libeskind D., Gehri F. O., Maine T., Moss E.O., Koolhaas R. and creative teams: Coop Himelblau, MAD, Snochetta, etc.) create original objects using digital technology, complex geometry and the inclined position of the object or its parts in space. Here, traditional compositional means did not become the basis for the construction of innovative forms. This transformation took place fairly quickly in the late 80-90s of the XX century, which did not allow architectural science to simultaneously comprehend and formulate the corresponding theory, as well as to adjust traditional approaches that can cover the whole variety of emerging ideas and methods of shaping in architecture.In connection with these radical changes in architectural shaping on the cusp of the twentieth and twenty-first centuries, a need arose both to rethink the general theory and to clarify the role and place of each means of composition in the hierarchical structure.Among the literary sources that consider the basic principles of the theory of architectural composition, the most important are textbooks and manuals for preparing architects at universities, since they primarily affect the formation of professional thinking. What is the information on the theory of composition in this literature and how much the recommendations contained in them correspond to modern trends and the requirements of architectural shaping?In connection with the task, a number of published in the twentieth -early twenty-first centuries. textbooks and manuals on the theory of composition, intended for the preparation of architects in higher educational institutions of the USSR and countries that formed after its collapse, by such authors: Arauho I., Idak Yu. V., Ikonnikov A. V., Klimenyuk T. M., Krinsky V.F., LamtsovI.V., Lyaskovsky O.I., Malgin V.I., Melodinsky D.L., Mikhailenko V. Є., Stepanov A.V., Tits A.A., Turkus M. A., Chin F. D. K., Shapoval N.G., Yakovlev N.I. et al. [1-14] have been analyzed. These sources present the traditional classical ideas about the construction of forms, highlighting composition as the main means: proportions, rhythm, scale, symmetry, asymmetry, statics, dynamics, contrast, nuance, identity, etc. But if in the XX century their significance was not in, doubt, then in the XXI century -symptoms appeared of a decrease in the influence of the compositional apparatus on the processes of shaping and the role of each of them in the hierarchical structure [21].Considering the importance of composition in the historical and newest period of the development of architecture, we can make sure that despite the fact that in classical architecture all means of composition were necessary for building the form and were applied comprehensively (in modern times only selectively), the order of their significance fixed the priority of proportions and proportionality ( the first group), identified by the ancient Roman architect Vitruvius [16], and did not change throughout the development of European architecture. They are given more attention in treatises and textbooks [1-19]). The rhythm, meter, scale, symmetry, tectonics, statics, contrast, nuance, and identity performed the basic organizing functions (second group). Dynamics, asymmetry, geometric center, center of composition, emphasis, dominant (third group), although they were used in practice, but without special theoretical justification, occupying secondary places and being additional tools (they practically did not receive attention in treatises and textbooks [.. .])
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Zhu, Jianfei. "The cartographic and the geopolitical: advocating a new agenda in architectural thinking and research." Architectural Research Quarterly 21, no. 4 (December 2017): 383–86. http://dx.doi.org/10.1017/s1359135517000537.
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Today, there is an increasing use of terms such as ‘transnational architecture’, ‘architecture beyond Europe’, ‘architecture of China, Japan and Korea’, ‘China in Africa’ and ‘Socialist architecture in Africa’. This signals a change in the basic outlook in thinking and research around architecture towards a problematic concerning geography and geopolitical relations. Michel Foucault, as early as 1967, had already said that ‘history’ was being replaced by ‘geography’, and a historical outlook on an endless timeline was being replaced by a new awareness of a finite world, of a world geography, of things happening ‘here and there’, of space and place, and of a ‘network’ we were all located within (in a speech published later as ‘Of Other Spaces: Principles of Heterotopia’).13 My contention is that, due to many factors, today more than any other time, a world-historical paradigm in architectural research is being replaced, or at least radically reformed, by a new one that methodologically privileges local and material happenings as horizontally connected to other sites and happenings, in a networked geographic spread: it involves a cartographic perspective that challenges endogenous, national and formalist categories.
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Amato, Nicholas J., Christopher N. Mwai, Timothy C. Mueser, and Amanda C. Bryant-Friedrich. "Thermodynamic and Structural Analysis of DNA Damage Architectures Related to Replication." Journal of Nucleic Acids 2013 (2013): 1–10. http://dx.doi.org/10.1155/2013/867957.
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Damaged DNA, generated by the abstraction of one of five hydrogen atoms from the 2′-deoxyribose ring of the nucleic acid, can contain a variety of lesions, some of which compromise physiological processes. Recently, DNA damage, resulting from the formation of a C3′-thymidinyl radical in DNA oligomers, was found to be dependent on nucleic acid structure. Architectures relevant to DNA replication were observed to generate larger amounts of strand-break and 1-(2′-deoxy-β-D-threo-pentofuranosyl)thymidine formation than that observed for duplex DNA. To understand how this damage can affect the integrity of DNA, the impact of C3′-thymidinyl radical derived lesions on DNA stability and structure was characterized using biophysical methods. DNA architectures evaluated include duplex DNA (dsDNA), single 3′ or 5′-overhangs (OvHgs), and forks. Thermal melting analysis and differential scanning calorimetry measurements indicate that an individual 3′-OvHg is more destabilizing than a 5′-OvHg. The presence of a terminal 3′ or 5′ phosphate decreases theΔG25to the same extent, while the effect of the phosphate at the ss-dsDNA junction of OvHgs is dependent on sequence. Additionally, the effect of 1-(2′-deoxy-β-D-threo-pentofuranosyl)thymidine is found to depend on DNA architecture and proximity to the 3′ end of the damaged strand.
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Quiclet-Sire, Béatrice, and Samir Z. Zard. "Some aspects of radical cascade and relay reactions." Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 473, no. 2200 (April 2017): 20160859. http://dx.doi.org/10.1098/rspa.2016.0859.
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The ability to create carbon–carbon bonds is at the heart of organic synthesis. Radical processes are particularly apt at creating such bonds, especially in cascade or relay sequences where more than one bond is formed, allowing for a rapid assembly of complex structures. In the present brief overview, examples taken from the authors' laboratory will serve to illustrate the strategic impact of radical-based approaches on synthetic planning. Transformations involving nitrogen-centred radicals, electron transfer from metallic nickel and the reversible degenerative exchange of xanthates will be presented and discussed. The last method has proved to be a particularly powerful tool for the intermolecular creation of carbon–carbon bonds by radical additions even to unactivated alkenes. Various functional groups can be brought into the same molecule in a convergent manner and made to react together in order to further increase the structural complexity. One important benefit of this chemistry is the so-called RAFT/MADIX technology for the manufacture of block copolymers of almost any desired architecture.
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Minkkinen, Panu. "“The Nude Man’s City”: Flávio de Carvalho’s Anthropophagic Architecture as Cultural Criticism." Pólemos 15, no. 1 (April 1, 2021): 91–119. http://dx.doi.org/10.1515/pol-2021-2008.
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Abstract Cannibalism is one of the most recognisable taboos of the West and a benchmark with which a supposedly civilised world has traditionally sought to differentiate itself from the radically “other” of the hinterlands. As such, cannibalism has made its way both into the vocabulary of the West’s pseudo-ethnographic self-reflection (e.g. Freud) and the imaginary of its literary culture (e.g. Grimm). A less-well-known strain in this narrative uses cannibalism as a critical postcolonial metaphor. In 1928, the Brazilian poet and agitator Oswald de Andrade published a short text entitled “Anthropophagic Manifesto.” The aim of the manifesto was to distance an emerging Brazilian modernism from the European ideals that the São Paulo bourgeoisie uncritically embraced, and to synthesise more avant-garde ideas with aspects from the cultures of the indigenous Amazonian peoples into a truly national cultural movement. This essay draws on various aspects of the anthropophagic movement and seeks to understand, whether (and how) it influenced Brazilian urban planning and architecture, and especially if it is detectable in the ways in which architects Lúcio Costa and Oscar Niemeyer designed and executed the legal and political institutions in Brasília, the country’s iconic federal capital. The ana-lysis, however, identifies a colonialist inclination in Costa and Niemeyer’s ideological debt to Le Corbusier. Instead, the radical potential of anthropophagic architecture is developed with reference to the less-known São Paulo architect and polymath Flávio de Carvalho whose aesthetic politics provide parallels with contemporary radical politics, as well. The essay suggests that such a notion of politics would be akin to a radical anti-instrumentalism that I have elsewhere, following Georges Bataille and Maurice Blanchot, called a “politics of the impossible.”
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Guerin, Frances. "Re-presenting histories." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 13–34. http://dx.doi.org/10.33178/alpha.21.01.
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This article rereads Alexander Kluge and Peter Schamoni’s short film Brutality in Stone (1961) in light of more contemporary scholarly interest in the architectural ruin. This leads to an analysis that challenges, or recasts cinematic assumptions about the past. I begin my analysis through attention to Brutality in Stone’s radical strategies of montage, marriage of archival stills and newly-shot documentary moving images, merging of real and imagined, past and present, sound and image. These formal strategies are observed through the lens of theories of ruin, Kluge’s own writings on cinema and history, the references to the historiography of Nazi architecture, and contemporary theories of ruination in architecture. I then reveal the film as a type of counter-memory, promoting a critical awareness of, rather than espousing an ideologically motivated enthusiasm for the histories and memories of the past as they have been represented in architectural monuments, cinematic and historical narratives. Specifically, a contemporary reconsideration of Brutality in Stone contributes to rethinking the relationship to the ongoing lessons of German history and its cinematic representation in the contemporary moment. Keeping alive the memories of the past has never been more urgent as we move into an historical moment when memories of the Nazi past are becoming ever dimmer.
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Saliba, Robert. "Studio culture / war culture: pedagogical strategies for reconstructing Beirut's southern suburbs." Architectural Research Quarterly 17, no. 2 (June 2013): 167–76. http://dx.doi.org/10.1017/s1359135513000523.
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The article focuses on a critique of three different approaches to undergraduate architecture design studio teaching around the scenario of post-conflict reconstruction in Lebanon following the Hezbollah-Israeli war in 2006. Broadly, the author argues for the value of their own politically-engaged/critical teaching method over politically ‘neutral’ humanitarian, or radical but politically pre-disposed approaches. In addition to the relevance of how the topic of post-conflict reconstruction in architectural teaching relates to questions of political ‘positionality’, the article also offers an insight into the challenging political environment faced by academics in Lebanon and how this highlights the ethical limits of ‘apoliticality’.
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Miller, Tyrus. "Modernism Under Review: Reyner Banham's Theory and Design in the First Machine Age (1960)." Modernist Cultures 12, no. 3 (November 2017): 331–44. http://dx.doi.org/10.3366/mod.2017.0177.
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This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the ‘first machine age’, characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the ‘second machine age’, populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative ‘international style’. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.
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Inglesby, Roisin. "‘Let us Sin with Salvin’: Architecture and Authority at the Tower of London, 1896–1905." Architectural History 60 (2017): 243–75. http://dx.doi.org/10.1017/arh.2017.8.
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AbstractThe Tower of London is one of the most famous sites in the world, yet its recent architectural history has been almost entirely overlooked. This article represents the first attempt to explore the architectural approach taken by the Tower authorities at the turn of the twentieth century. It analyses the on-going programme of restoration undertaken by the Office of Works during this period in the context of the Tower's singular status as military garrison, historic monument and preeminent tourist attraction, and it considers the Office's stance in relation to increasing public and parliamentary interest in the preservation and restoration of historic buildings. Historic Royal Palaces' collection of architectural drawings offers an unexplored insight into the activities of the Office of Works during this time. Through a close reading of these drawings I show that, contrary to what has previously been supposed, the Office's interventions continued well past the radical restorations of the 1880s and into the twentieth century, as they sought to control the historical narrative of the site through its architecture.
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Mandour, M. Alaa. "The Urban Merge “Future Urban Place”." Open House International 32, no. 3 (September 1, 2007): 38–47. http://dx.doi.org/10.1108/ohi-03-2007-b0005.
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Within the last decade the media's full potential has been its use as a tool for conception and production of new architecture. What is this new architecture? Is it is really new or it is just a term to describe a transitory fashion development similar to the short lived post-modern flirtations of the 80th? A quick view at some of the buildings being constructed today does certainly suggest that there is a totally different approach to the production and the resultant form of architecture. Traditional methods of architecture conception are being replaced by digital media; a revolt, that many argue, has far-reaching inference in how the architectural entity is presented, recognized and practiced. More prominently, it proposes new formal possibilities absurd a decade ago. Architects working within this digital realm utilize CAD/Cam systems, CNC milling systems and software programs such as Maya, Form Z, and CATIA. Terms such as beauty, scale and proportion, used to describe the formal character of the pre-digital vernacular are being replaced by adjectives such as smooth, supple, and morphed, derived from the digital practice. The built result of such experiments are obvious the world over, whether it is Gehry's Philadelphia Music Hall, or Itto's new opera in Thailand, among others. The work of these architects was, a decade ago, confined to the virtual space of the computer, only seen in architectural magazines, viewed as a radical approach to architecture. However, the digital revolution has allowed for this vision to be transformed into reality. The use of digital tools both as a presentation tool and form generating device is unquestioned, a given, and will in the future consider any other traditional systems. Spaces have gone from being a physical to virtual of a gigantic digital network of networks, which shapes our collective future. The way and pace at which we connect, communicate, memorize, imagine and control the flows of valuable information have changed forever. The paper also will introduce a new concept of virtual urban spaces and interaction between it and the physical urban environments.
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Topolovská, Tereza. "Echoes of architectural modernism in J.G. Ballard’s High-Rise." Ars Aeterna 12, no. 2 (December 1, 2020): 1–19. http://dx.doi.org/10.2478/aa-2020-0007.
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Abstract This article pursues the elements of architectural Modernism in James Graham Ballard’s 1975 novel High-Rise (1975). The enormous tower block represents a triumph of technological and constructional progress envisioned by the pioneers of modernist architecture. However, Ballard’s vision of social development within it is regressive and violent. In order to decipher the nature of the role, or lack thereof, of the tower block in the reformulation of its own social fabric, the paper studies the ways in which the narrative presents aspects analogous to the key elements of architectural modernism. Particular attention is paid to the narrative’s reflections of radical and often contradictory visions of key figures of theoretical roots of modernism, such as Le Corbusier and Karel Teige. Their ambiguous stance on the core of modernism not only determines the outcome of the social experiment performed by Ballard in High-Rise, but can also be seen as deforming the building practice until today.
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Gaddis, Elijah. "Work, Play, and Performance in the Southern Tobacco Warehouse." Special Issue - Storied Spaces: Renewing Folkloristic Perspectives on Vernacular Architecture 90-91 (April 29, 2021): 10–23. http://dx.doi.org/10.7202/1076795ar.
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This paper examines tobacco warehouses in the southern United States as sites of both work and play. Using a performative approach in the study of architecture that is rooted in folklife methodology, the essay claims these quotidian working structures as places of celebratory potential amid the strictures of Jim Crow spatial segregation. In particular, it focuses on a series of massive dances held in the elaborately decorated warehouses during the early-to-mid-20th century. During these dances, Black celebrants turned the restrictive social and economic working spaces of the tobacco warehouse into places of radical potential and pleasure. The claims of this essay are supported by both conventional architectural documentation and the oral testimonies of a variety of tobacco workers, musicians, and dancers, who made use of the warehouses for a variety of often conflicting purposes. Told together, their narratives emphasize both spatialized resistance to segregation, and the importance of the ephemeral archives of individual stories and memories to the study of vernacular architectural history.
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Panarotto, Massimo, Olivia Borgue, and Ola Isaksson. "Modelling Flexibility and Qualification Ability to Assess Electric Propulsion Architectures for Satellite Megaconstellations." Aerospace 7, no. 12 (December 11, 2020): 176. http://dx.doi.org/10.3390/aerospace7120176.
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The higher satellite production rates expected in new megaconstellation scenarios involve radical changes in the way design trade-offs need to be considered by electric propulsion companies. In relative comparison, flexibility and qualification ability will have a higher impact in megaconstellations compared to traditional businesses. For these reasons, this paper proposes a methodology for assessing flexible propulsion architectures by taking into account variations in market behavior and qualification activities. Through the methodology, flexibility and qualification ability can be traded against traditional engineering attributes (such as functional performances) in a quantitative way. The use of the methodology is illustrated through an industrial case related to the study of xenon vs. krypton architectures for megaconstellation businesses. This paper provides insights on how to apply the methodology in other case studies, in order to enable engineering teams to present and communicate the impact of alternative architectural concepts to program managers and decision-makers.
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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.
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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.
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Gerrans, Philip. "Nativism, neuroconstructivism, and developmental disorder." Behavioral and Brain Sciences 25, no. 6 (December 2002): 757–58. http://dx.doi.org/10.1017/s0140525x02280139.
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Either genetically specified modular cognitive architecture for syntactic processing does not exist (neuroconstructivism), or there is a module but its development is so abnormal in Williams syndrome (WS) that no conclusion can be drawn about its normal architecture (moderate nativism). Radical nativism, which holds that WS is a case of intact syntax, is untenable. Specific Language Impairment and WS create a dilemma that radical nativism cannot accommodate.
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Vale, Brenda, and Robert Vale. "Gropius and the Teddy Bear: a tale of two factories." Architectural Research Quarterly 20, no. 4 (December 2016): 345–56. http://dx.doi.org/10.1017/s1359135516000518.
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The architecturally radical Steiff teddy bear factory in Giengen, Germany is a three storey, double skin glass curtain wall building with a steel frame, built in 1903. It is almost unknown in architectural history. On the other hand the loadbearing brick Fagus factory built in 1911 to a design by Gropius and Meyer, in spite of its nineteenth century technology, has become a hallowed icon of modern architecture and a UNESCO World Heritage site. The article discusses the contested history of both buildings and offers some suggestions as to why one became famous and the other did not. It also discusses the equally contested history of the teddy bear, showing that in both cases, history tends to ignore facts in favour of good stories.
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EMMART, NIALL, and CHARLES WEEMS. "SEARCH-BASED AUTOMATIC CODE GENERATION FOR MULTIPRECISION MODULAR EXPONENTIATION ON MULTIPLE GENERATIONS OF GPU." Parallel Processing Letters 23, no. 04 (December 2013): 1340009. http://dx.doi.org/10.1142/s0129626413400094.
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Multiprecision modular exponentiation has a variety of uses, including cryptography, prime testing and computational number theory. It is also a very costly operation to compute. GPU parallelism can be used to accelerate these computations, but to use the GPU efficiently, a problem must involve many simultaneous exponentiation operations. Handling a large number of TLS/SSL encrypted sessions in a data center is an important problem that fits this profile. We are developing a framework that enables generation of highly efficient implementations of exponentiation operations for different NVIDIA GPU architectures and problem instances. One of the challenges in generating such code is that NVIDIA's PTX is not a true assembly language, but is instead a virtual instruction set that is compiled and optimized in different ways for different generations of GPU hardware. Thus, the same PTX code runs with different levels of efficiency on different machines. And as the precision of the computations changes, each architecture has its own break-even points where a different algorithm or parallelization strategy must be employed. To make the code efficient for a given problem instance and architecture thus requires searching a multidimensional space of algorithms and configurations, by generating PTX code for each combination, executing it, validating the numerical result, and evaluating its performance. Our framework automates much of this process, and produces exponentiation code that is up to six times faster than the best known hand-coded implementations for the NVIDIA GTX 580. Our goal for the framework is to enable users to relatively quickly find the best configuration for each new GPU architecture. However, in migrating to the GTX 680, which has three times as many cores as the GTX 580, we found that the best performance our system could achieve was significantly less than for the GTX 580. The decrease was traced to a radical shift in the NVIDIA architecture that greatly reduces the storage resources for each core. Further analysis and feasibility simulations indicate that it should be possible, through changes in our code generators to adapt for different storage models, to take greater advantage of the parallelism on the GTX 680. That will add a new dimension to our search space, but will also give our framework greater flexibility for dealing with future architectures.
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Mao, Tengfei, Yanzi Gou, Jun Wang, and Hao Wang. "Synthesis and properties of well-defined carbazole-containing fluorescent star polymers of different arms." e-Polymers 17, no. 1 (January 1, 2017): 15–22. http://dx.doi.org/10.1515/epoly-2016-0076.
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AbstractA series of fluorescent carbazole-containing star polymers with different arms were successfully synthesized using 9-(4-vinylbenzyl)9H-carbazole (VBCz) as monomer and multifunctional bromide as initiators via atom transfer radical polymerization (ATRP). The effect of the poly(9-(4-vinylbenzyl)-9H-carbazole) (PVBCz) star polymer architecture on their optical and electrochemical properties was investigated. All of the PVBCz star polymers absorbed light in the range of 280–360 nm both in solution and as polymer films. Meanwhile, the star polymers exhibited maximum fluorescent emission at 350 nm in solution, while at 406 nm as films. Moreover, the star polymers with different arm numbers showed different photoluminescence quantum efficiency and highest and lowest occupied molecular orbital (HOMO, LOMO, respectively) energy levels. It is proved that the PVBCz star polymers exhibited different photoelectronic properties by varying the molecular architectures.
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Alfirevic, Djordje. "Expressionism as the radical creative tendency in architecture." Arhitektura i urbanizam, no. 34 (2012): 14–27. http://dx.doi.org/10.5937/arhurb1234014a.
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Fisher, G. R. "Healthcare Architecture in an Era of Radical Transformation." JAMA: The Journal of the American Medical Association 284, no. 16 (October 25, 2000): 2118–19. http://dx.doi.org/10.1001/jama.284.16.2118.
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Arshi, Tahseen, and Paul Burns. "Entrepreneurial Architecture." Journal of Entrepreneurship 27, no. 2 (July 19, 2018): 151–79. http://dx.doi.org/10.1177/0971355718781245.
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In spite of the recognition that entrepreneurship and innovation are interlinked, very few studies have attempted to articulate this relationship. The aim of this article is to explain the nature of the relationship between entrepreneurship and innovation in large firms, arguing that entrepreneurship is an antecedent to innovation. The study employs a multidimensional entrepreneurial architecture (EA) framework for the first time and tests the effect of a battery of entrepreneurship measures on innovation output, which is reflected as degree and frequency of incremental and radical innovations. Adopting a quantitative approach, data were collected from 400 corporate firms in Oman representing various sectors of the economy. The EA dimensions reflected through entrepreneurial culture, entrepreneurial structure, entrepreneurial strategies and entrepreneurial leadership were tested through measurement and structural modelling. The results confirmed that entrepreneurship is a precursor to innovation. The EA framework, through its four dimensions, creates a collaborative and complimentary intensity that promotes innovation outputs, which may not be possible from the isolated effects of individual factors. The present study extends the extant literature, explaining how these entrepreneurship measures synergistically impact varying levels of innovation output. It has practical implications for managers in large firms involved in promoting innovation. They can transform the existing organisational architecture into an EA, by transplanting these entrepreneurship measures and creating a framework that promotes innovation.
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Concas, Daniela. "Liturgical renovation of modern churches in Rome (Italy)." Resourceedings 2, no. 3 (November 12, 2019): 39. http://dx.doi.org/10.21625/resourceedings.v2i3.623.
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At the beginning of the first half of the twentieth century the bond between ars-venustas and cultus-pietas has produced many churches of Roman Catholic cult.It’s between the 20s and 60s of the twentieth century that the experiments of the Liturgical Movement in Germany lead to the evolution of the liturgical space, which, even today, we see engraving in modern churches in Rome (Italy).The Council of Trent (1545-1563) constitutes the precedent historical moment, in which the Church recognised the need for major liturgical renovation of its churches. In comparison with this, the Second Vatican Council (1959-65) introduced some radical changes within the church architectural spaces.The observations come from the direct reading of the present architectural space and the interventions already realised in modern churches in Rome. The most significant churches from an historical-artistic point of view were selected (1924-1965). Significantly, although every single architecture is unique for dimensions, architectural language and used materials, a comparison, in order to gather the discovered characteristics and to compare the restrictions regarding the different operations, would extremely effective, as demonstrated below.Since the matter is considerably vast, in this work, only some brief notes regarding the liturgical renovation of the Presbytery area will be outlined.
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BELOKI, ZUHAITZ, XABIER ARTOLA, and AITOR SOROA. "A scalable architecture for data-intensive natural language processing." Natural Language Engineering 23, no. 5 (May 9, 2017): 709–31. http://dx.doi.org/10.1017/s1351324917000092.
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AbstractComputational power needs have greatly increased during the last years, and this is also the case in the Natural Language Processing (NLP) area, where thousands of documents must be processed, i.e., linguistically analyzed, in a reasonable time frame. These computing needs have implied a radical change in the computing architectures and big-scale text processing techniques used in NLP. In this paper, we present a scalable architecture for distributed language processing. The architecture uses Storm to combine diverse NLP modules into a processing chain, which carries out the linguistic analysis of documents. Scalability requires designing solutions that are able to run distributed programs in parallel and across large machine clusters. Using the architecture presented here, it is possible to integrate a set of third-party NLP modules into a unique processing chain which can be deployed onto a distributed environment, i.e., a cluster of machines, so allowing the language-processing modules run in parallel. No restrictions are placed a priori on the NLP modules apart of being able to consume and produce linguistic annotations following a given format. We show the feasibility of our approach by integrating two linguistic processing chains for English and Spanish. Moreover, we provide several scripts that allow building from scratch a whole distributed architecture that can be then easily installed and deployed onto a cluster of machines. The scripts and the NLP modules used in the paper are publicly available and distributed under free licenses. In the paper, we also describe a series of experiments carried out in the context of the NewsReader project with the goal of testing how the system behaves in different scenarios.