Academic literature on the topic 'Authorized architect'

Writer’s dating life is an important part of his literary work. It either inspires the author to literary feats, or makes him unable to work successfully. The love life of the 1961 Pulitzer Prize winner Nelle Harper Lee has always been a subject of interest for her biographers, since information about it was carefully hidden. Ms. Lee did not give interviews, did not speak publicly, and answered “Hell, no,” for all requests to help create an authorized biography of her. In March 2018, Stuart A. Rose Manuscript, Archives, & Rare Book Library (Atlanta, USA) bought six unique letters by Harper Lee. They were written in the period from 1956 to 1961 and addressed to Harold Gray Caufield, a New York architect, whose biography has not yet attracted the attention of researchers. The author of the article, having read Harper Lee's letters thoughtfully, made his own investigation to uncover littleknown details about Harold Caufield’s personality. What kind of relationship did Nelle and Harold really have? The article reproduces photos of the probable lover of Harper Lee for the first time.

AbstractIn 1923, at the request of the government of India, the Department of Scientific and Industrial Research (DSIR) in Britain authorised a specialist research stream. Its purpose was to investigate problems in architectural acoustics specifically related to the new Assembly Chamber then under construction in Imperial Delhi. The design, by Sir Herbert Baker, was unusual for its era in that it was refined with recourse to measured data and calculations with a basis in modern physics. The acoustician, or ‘consulting architect’, was Hope Bagenal, and his appointment by Baker in 1922 marked the first international commission of a British acoustic consultant. This article examines the acoustic design of the Assembly Chamber in Delhi and identifies the inputs of the various individuals, both architects and scientists, involved. Drawing on the archives of Baker and Bagenal, the records of the DSIR and the Guastavino Company, as well as contemporaneous newspaper coverage, it also demonstrates the longer-term implications of the design and construction process at Delhi, including its role in stimulating subsequent government-funded research in architectural acoustics in Britain.

Authorized Persons (AP) play a critical role in the design and construction of building works in Hong Kong. Under the Building Ordinance, design and construction of building works need to be coordinated and monitored by an AP registered with the Buildings Department. Professionally qualified Architects, Engineers and Surveyors are eligible to register as AP after completing the prescribed assessment. In addition, the project AP is often appointed by the project owner to be the project team leader. In these capacities, a project AP is exposed to various risks. This paper seeks to identify the fee sensitive risk exposures of project APs. Through an ANOVA study, these risks exposures are those due to liabilities under the Building Ordinance at the construction stage, those towards the third parties and the clients.

America the Beautiful and Urban and Community Forestry grant programs, part of the expanded Forestry Title of the 1990 Farm Bill, authorized funding to encourage citizen involvement in creating and supporting long-term and sustained urban and community forestry programs. U.K. Woody Ornamental scientists and the KY Division of Forestry Urban Forestry Coordinator planned and implemented the following educational programs to this end: 1) comprehensive training manual on Managing Trees in the Urban Environment, including a guide for the care and protection of trees, grant application, and managing of volunteers; 2) three publications on small, medium-sized, and large trees for urban spaces; 3) interactive hypertext version of tree selector publications; 4) statewide workshops on Trees in Communities; 5) annual statewide Urban Forestry Short Course; 5) Plant Health Care and Hazard Trees workshops for arborists. The comprehensive program brings city planners, government personnel, public work's personnel, arborists, builders and developers, horticulturists and landscape architects, tree board members, homeowners' associations, Master Gardeners, and other community volunteers together to support quality programming for preservation and enhancement of valuable natural resource of trees.

Blockchain offers a distributed ledger to record data collected from Internet of Thing (IoT) devices as immutable and tamper-proof transactions and securely shared among authorized participants in a Peer-to-Peer (P2P) network. Despite the growing interest in using blockchain for securing IoT systems, there is a general lack of systematic research and comprehensive review of the design issues on the integration of blockchain and IoT from the software architecture perspective. This article presents a catalog of architectural tactics for the design of IoT systems supported by blockchain as a result of a Systematic Literature Review (SLR) on IoT and blockchain to extract the commonly reported quality attributes, design decisions, and relevant architectural tactics for the architectural design of this category of systems. Our findings are threefold:<?brk?> (i) identification of security, scalability, performance, and interoperability as the commonly reported quality attributes; (ii) a catalog of twelve architectural tactics for the design of IoT systems supported by blockchain; and (iii) gaps in research that include tradeoffs among quality attributes and identified tactics. These tactics might provide architects and designers with different options when searching for an optimal architectural design that meets the quality attributes of interest and constraints of a system.

The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.

Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.

With the availability of widespread SARS-CoV-2 vaccination, high-throughput quantitative antispike serological testing will likely become increasingly important. Here, we investigated the performance characteristics of the recently FDA-authorized semiquantitative antispike AdviseDx SARS-CoV-2 IgG II assay compared to the FDA-authorized antinucleocapsid Abbott Architect SARS-CoV-2 IgG, Roche Elecsys anti-SARS-CoV-2-S, EuroImmun anti-SARS-CoV-2 enzyme-linked immunosorbent assay (ELISA), and GenScript surrogate virus neutralization assays and examined the humoral response associated with vaccination, natural protection, and breakthrough infection.

ABSTRACT A total of 1,200 serum samples that were tested for SARS-CoV-2 IgG antibody using the Abbott Architect immunoassay targeting the nucleocapsid protein were run in 3 SARS-CoV-2 IgG immunoassays targeting spike proteins (DiaSorin Liaison, Ortho Vitros, and Euroimmun). Consensus-positive and consensus-negative interpretations were defined as qualitative agreement in at least 3 of the 4 assays. Agreement of the 4 individual assays with a consensus-negative interpretation (n = 610) ranged from 96.7% to 100%, and agreement with a consensus-positive interpretation (n = 584) ranged from 94.3% to 100%. Laboratory-developed inhibition assays were utilized to evaluate 49 consensus-negative samples that were positive in only one assay; true-positive reactivity was confirmed in only 2 of these 49 (4%) samples. These findings demonstrate very high levels of agreement among 4 SARS-CoV-2 IgG assays authorized for emergency use, regardless of antigen target or assay format. Although false-positive reactivity was identified, its occurrence was rare (no more than 1.7% of samples for a given assay).

This thesis focuses on the specification of specified construction activities, explaining the concepts related to this basic legislation. Here are given duties and responsibilities of authorized persons during the construction process. The description of qualifications that are needed for various activities in the construction industry is also included. This paper describes practical examples for a better understanding of this issue.

Cosmopolitanism is said by many critics to be arrogant. In emphasizing universal moral principles and granting no fundamental significance to national or other group belonging, it is held to wrongly treat those making non-universalist claims as not authorized to speak, while at the same time implicitly treating those in non-Western societies as not qualified. This book works to address such objections. It does so in part by engaging the work of B.R. Ambedkar, architect of India’s 1950 Constitution and revered champion of the country’s Dalits (formerly “untouchables”). Ambedkar cited universal principles of equality and rights in confronting domestic exclusions and the “arrogance” of caste. He sought to advance forms of political humility, or the affirmation of equal standing within political institutions and openness to input and challenge within them. This book examines how an “institutional global citizenship” approach to cosmopolitanism could similarly advance political humility, in supporting the development of democratic input, exchange, and challenge mechanisms beyond the state. It employs grounded normative theory methods, taking insights for the model from field research among Dalit activists pressing for domestic reforms through the UN human rights regime, and from their critics in the governing Hindu nationalist Bharatiya Janata Party. Insights also are taken from Turkish protesters challenging a rising domestic authoritarianism, and from UK Independence Party members supporting “Brexit” from the European Union—in part because of possibilities that predominantly Muslim Turkey will join. Overall, it is shown, an appropriately configured institutional cosmopolitanism should orient fundamentally to political humility rather than arrogance, while holding significant potential for advancing global rights protections.

On 30 September 1974, General Laurence S. Kuter, US Air Force retired, sat on a small chair in his apartment in Naples, Florida. He wore an open-collar button-down short-sleeved shirt and pants with a pattern of crossed golf clubs. His skin was a deep bronzed color thanks to the days in retirement spent on the golf courses of the southwestern Florida coastal city. At nearly seventy years of age, he still looked every part an air force general. With the general in his apartment sat two air force historians who were there to conduct an oral history interview to preserve the historical value of the general’s life from his earliest days through World War I and his experiences in the newly formed US Air Force of the 1940s, 1950s, and 1960s. It was part of a program that Brigadier General Kuter himself authorized in the early days of American involvement in World War I when he directed that the Air Staff Historical Section gather history “while it is hot” and that “personnel be selected and an agency set up for a clear historian’s job without axe to grind or defense to prepare.” That directive, signed in July 1942, and the documents, interviews, mission reports, and other items collected during the war became the nucleus of the official archives of the US Air Force, now held at the Air Force Historical Research Agency. This was made possible because Kuter directed that that material be collected, preserved, and archived. Kuter himself might have been unaware at the time that so much of his own story would be captured by this program and that years later his personal remembrance of events would itself be archived away as an official report....

This chapter discusses postwar planning on Japan, which was dominated by the State Department. Key figures in that process disagreed about the causes of Japanese militarism and the potential of peaceful cooperation. Asia specialists and the senior officials who approved policy drew different conclusions based on their own experiences with Asia, a sense of connection to either Japan or China, and the information they had access to. Eventually, policy planner's recommendations evolved during the war and finally formed the document entitled United States Initial Post-Surrender Policy for Japan (SWNCC150/4), which became official policy in September 1945. This document, authorized by President Harry Truman, offered a broad vision for the treatment of Japan, which occupiers could use to frame responses to problems as they emerged.

The United States is only just beginning to grapple with the fallout from the program known as Rendition, Detention and Interrogation (RDI), an illegal interrogation practice designed to further the United States counter-terrorism efforts against al-Qaeda and the Taliban. One of the most consequential legacies of the program stems from the way it was justified: lawyers for the Bush administration sought to legitimize the program through distorted legal doctrines, some of which remained in currency even after the RDI program was finally abandoned. The attempt to justify illegal conduct with false legal arguments, along with the failure of the subsequent administration to hold the principal architects of the program responsible, has eroded the rule of law in the United States and done permanent damage to norms of armed conflict as well as to domestic and international law. This chapter discusses the consequences of the RDI program, with particular attention paid to the impact of legal manipulations used to justify the program as well as the failure of accountability that resulted. In Part IV, this chapter addresses the question whether torture has been permanently eliminated from U.S. law, or whether the practice is likely to return. In this connection, the chapter raises concerns about the McCain-Feinstein Amendment that tied permissible interrogation methods to the Army Field Manual (AFM), which continues to authorize the psychologically and emotionally damaging techniques of sensory and sleep deprivation through Appendix M. The chapter finally discusses ways to repair the damage the RDI program and its aftermath inflicted on the rule of law.