Academic literature on the topic 'Baroque Lace and lace making'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Baroque Lace and lace making.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Baroque Lace and lace making"
1
Gibbons, Jacqueline A. "Ladies’ lace‐making and Imprisonment1." Visual Sociology 13, no. 2 (January 1998): 91–103. http://dx.doi.org/10.1080/14725869808583796.
Full text
2
Bourke, Joanna. "‘I Was Always Fond of my Pillow’: The Handmade Lace Industry in the United Kingdom, 1870–1914." Rural History 5, no. 2 (October 1994): 155–69. http://dx.doi.org/10.1017/s0956793300000650.
Full textAbstract:
The extent of the handmade lace industry in the nineteenth century is difficult to estimate. Most lacemakers were not given an occupation in the census. For instance, Belleek (in county Fermanagh) was one of the centres of handmade lace in Ireland. Of the fifty-one women active in the Belleek lace and sprigging class in January 1911, fifty-six per cent were given no occupation in the 1911 census manuscripts and four per cent were given occupations other than lacemaker. In Ireland, it is clear that the census statistics do not include the tens of thousands of women making lace for the home industries societies examined in this article. The statistics for lacemaking in England, Wales and Scotland (given in table one) are confused by the fact that no distinction is made between hand and machine-made lace.
3
Reynolds, Paul. "A taxonomy of holes in lace." Journal of Arts Writing by Students 6, no. 1 (June 1, 2020): 5–26. http://dx.doi.org/10.1386/jaws_00011_1.
Full textAbstract:
This article presents a play script as a research artefact whose dialogue enquires into the holes found in Barbara Hepworth’s sculpture Epidauros II through the author’s practice of chemical-lace making; two makers who consider holes in very different media. This dialogue continues with the development of a taxonomy, not of a universe of holes but rather of the microcosm of an individual hole. This taxonomy counterpoints the different objects of discourse, which take form as four viewpoints: first person – the hole’s maker; second person – the hole’s user; third person – the hole’s viewer; and fourth person – the ontological hole.
4
Klingeman, W. E., S. K. Braman, and G. D. Buntin. "Feeding Injury of the Azalea Lace Bug (Heteroptera: Tingidae)." Journal of Entomological Science 35, no. 3 (July 1, 2000): 213–19. http://dx.doi.org/10.18474/0749-8004-35.3.213.
Full textAbstract:
Azalea lace bug, Stephanitis pyrioides (Scott), feeding rates were investigated in controlled laboratory bioassays. Individual newly-eclosed nymphs were transferred to cut stems of ‘Girard's Rose’ azaleas and maintained at either 20°C for 26°C for the duration of their lifetimes. Feeding rates, determined using computer assisted image area analysis, were calculated for both nymphs and adults. In both trials, females caused significantly more feeding injury per day than males. However, the overall amount of injury inflicted during lace bug lifetimes was similar for males and females at both temperatures. During adulthood, feeding injury by individual lace bugs resulted in a mean (±SD) of 6.35 ± 4.61 cm2 leaf area injury at 20°C and 3.93 ± 2.06 cm2 leaf area injury at 26°C. Nymphal feeding was a small fraction of the injury inflicted by the adults and averaged 0.43 ±0.15 cm2 at 20°C and 0.30 ±0.10 cm2 at 26°C. The determination of azalea lace bug feeding-injury potential is critical to the development of decision-making guidelines.
5
Kenning, Gail. "Creative Craft-Based Textile Activity in the Age of Digital Systems and Practices." Leonardo 48, no. 5 (October 2015): 450–56. http://dx.doi.org/10.1162/leon_a_00907.
Full textAbstract:
Domestic craft-based textile activities, such as knitting, crochet, hand weaving and lace making, are often viewed as being of limited creative potential. The perceived lack of creativity arises, in part, out of the extent to which these activities copy, reproduce and re-create existing pattern forms and use preexisting templates. This paper reports on the findings of an experimental research project that explored the creative potential of crochet lace making using digital media, technologies and practices. It provides critical analysis of how new technologies, practices and theoretical frameworks have implications for ongoing domestic craft-based textile activities.
6
Shatalova, L. S. "FACTORS CONTRIBUTING TO THE PRESERVATION, MAINTENANCE AND DEVELOPMENT OF INTEREST IN TRADITIONAL LACE IN YELETS WHEN LEARNING LACE MAKING." Educational Psychology in Polycultural Space 52, no. 4 (2020): 130–37. http://dx.doi.org/10.24888/2073-8439-2020-52-4-130-137.
Full text
7
Mann, Joanna. "Knitting the archive: Shetland lace and ecologies of skilled practice." cultural geographies 25, no. 1 (January 28, 2017): 91–106. http://dx.doi.org/10.1177/1474474016688911.
Full textAbstract:
Conjuring up images of fine openwork shawls, Shetland lace knitting might seem to be the very essence of ‘tradition’. Although contemporary scholarship is increasingly noting the diversity of knitting practices and practitioners – from stitch ‘n bitch to yarn bombing – accounts of Shetland lace knitting often convey a sense of a skilled practice which has remained unchanged since time immemorial. In this article, I illustrate and unravel how the skill of Shetland lace knitting has become seemingly sedimented by telling its story through a series of innovative archival explorations and engagements. Using ‘making’ as method, I employ the skilled practice of knitting as a means by which to investigate the question of skill itself. By putting the anthropologic work of Tim Ingold into conversation with contemporary geographical theory, I advocate an ecological consideration of skill which is able to account for the economic, cultural, geographical and material threads of practice, while undermining any notion of skill being static or given within a situation.
8
Heffer, Cecilia. "Reimagining lace: A contemporary response to place and textile making." Craft Research 9, no. 1 (March 1, 2018): 135–47. http://dx.doi.org/10.1386/crre.9.1.135_7.
Full text
9
Botticello, Julie, and Tom Fisher. "Introduction: Missing Persons and Hidden Heritages in European Lace Making." TEXTILE 18, no. 1 (September 16, 2019): 2–11. http://dx.doi.org/10.1080/14759756.2019.1646495.
Full text
10
Henrich, Allison. "Veronika Irvine: The Art and Mathematics of Making Bobbin Lace." Mathematics Magazine 91, no. 4 (August 8, 2018): 307–9. http://dx.doi.org/10.1080/0025570x.2018.1503465.
Full textDissertations / Theses on the topic "Baroque Lace and lace making"
1
Coon, Rachel Erin. "Liars and Lace: Creating a Baroque Edifice for David Ives' The Liar." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238041.
Full textAbstract:
TheaterM.F.A.
This thesis examines, details, and evaluates the process used while executing the costume design for Temple University's 2013 production of The Liar by David Ives. I will discuss each part of the design process from pre to post production and reflect on the process and choices made.
Temple University--Theses
2
Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.
Full textAbstract:
Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.
3
Castles, Heather. "Hybrid stitched textile art : contemporary interpretations of mid nineteenth century Irish Crochet lace making." Thesis, University of Ulster, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550849.
Full textAbstract:
This thesis examines a brief period, from 1845 to 1855, during which women and girls with no previous experience in textile design or production, initiated and produced a stylistically-unique lace. The context of the achievement is investigated to answer the two-part question: how were unskilled Irish Crochet lace makers able to create work of lasting aesthetic significance, and, what elements of their methodology are relevant for contemporary textile art practice? Primary archival and textual evidence is analysed and reveals that Irish Crochet lace is a hybrid of two styles of crochet that developed separately and simultaneously in Ireland, from different sources. Kildare makers, "of their own ingenuity", devised a way to copy old needlelace using a new, hooked, technique. Around Cork, technique allowed designs to evolve during, rather than being created prior to, the process of making. The art practice element of this thesis includes contemporary interpretations that replicate original makers' experimental approach to design, using digital software to mimic the spontaneity enabled by crochet technique. This work proposes that creative possibilities are inherent in a 'choreographed serendipitous' way of working. In this approach, experiential craft skills facilitate visualisation of what is possible within the limits of a craft, and chance effects stimulate artistic risk-taking. Using tacit knowledge of craft skills to provide an insight into creative problem-solving processes is one of three methodological bases utilised throughout the research. Grounded theory informed the extraction of pertinent facts from an extensive database of historical information, and an understanding of heuristics-based phenomenology helped effect an empathetic relationship between the researcher and the original lacemakers. Together, text and practice contribute to knowledge by revealing the bilateral sources of Irish Crochet lace, the reason for the historical success of the 'controlled chance' method, and its potential for producing creative outcomes in contemporary practice.
4
Tappan, Emily L. "Tone and Texture, Leather and Lace : A Case for Making Strong Choices in the Costume Design for The Three Musketeers." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5925.
Full textAbstract:
This thesis explores and describes key factors in the design process leading to production of The Three Musketeers by Catherine Bush. The document encompasses the justification and discussion of the choices made during the research, design, and production stages of developing the play for the stage, as well as impressions gained throughout the process to use in future design projects.
5
Andrade, Elza Guimarães. "Entre o risco e o ponto : o intangível consumido." Pós-Graduação em Antropologia, 2012. https://ri.ufs.br/handle/riufs/3193.
Full textAbstract:
This dissertation presents an anthropological research about ´´Renda Irlandesa``(Irish Lace) Sergipe´s handicraft that had its modi faciendi registered as National Intangible Cultural Heritage, in the Book of Knowledge, in November 2008 - in an approach that introduces new directions for addressing production, marketing and use, resulting from its interaction with the fashion market. The research focuses on a new approach that tends to treat consumption as a matter of culture, analyzing the emergence of new attitudes assumed by artisans in the ´´know-how Renda Irlandesa`` amid the demands of the fashion market linked to women´s clothing, which provide potential use of formulating handmade garments. It highlights the processes of the cultural heritage exerted by the female artisans in their know-how and shape the cultural heritage of handicrafts, emphasizing its role as a complementary source of income for the protagonists of the practice. Finally, we discuss the new mechanisms of representation made by social workers from the symbolic consumption of cultural heritage.O presente trabalho apresenta uma investigação antropológica sobre a renda irlandesa artesanato sergipano que teve seu modo de fazer registrado como Patrimônio Cultural Imaterial Nacional, no Livro de Registro dos Saberes, em novembro de 2008 em suas novas instruções de produção, comercialização e uso, advindas das interações com o mercado de moda. A pesquisa privilegia uma nova abordagem sobre a Renda, tratando-a a partir de seu consumo como uma questão de cultura, para analisar o advento das novas atitudes assumidas pelas artesãs no saber fazer , em meio às demandas do mercado de moda ligadas ao vestuário feminino, que prevêem a potencialidade do uso de motivos artesanais na formulação de vestimentas. Evidencia ainda os processos de herança cultural exercidos pelas artesãs em seu ofício e que configuram a patrimonialidade do artesanato, destacando seu papel enquanto fonte complementar de ganho para as protagonistas da prática. Por fim, discute os novos mecanismos de representação assumidos pelos agentes sociais a partir do consumo simbólico da patrimonialidade.
6
Chen, Yueh-hsiu, and 陳月琇. "The Creative Lace Works Applied on Masks with Make up in Baroque Style." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/92256599190915496248.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
103
Baroque means the international art style that spreads through the whole Europe during the late 16th and 17th centuries. Its splendid dramatic artistic style not only inspires designs of many fashionable products, but also becomes necessary important elements of studies on modern clothes art creation. The thesis studys the historic background and development of Baroque art through style charastics of clothes, paintings, and laces in Baroque time. It takes only the popular material of Barquoe time—laces as creation study, while the material is applied for designing masks with makeup. The study employs electrical scale and measuring cups to control the ratio of resin and water to proceed the study on the hardness of lace cloth. There are two kinds of experiment; one is to have 1, 2, 3, 4, and 5 grams of resin all tested with 10 grams distilled water, and the other is to have 10, 20, 30, 40, and 50 grams of distilled water all tested with 1 gram of resin. According to the characteristics of Baroque time, makeups utilize glorious clothes colors as reference of analysis of creations of makeup colors, and Baroque combination of dramatic, energetic, and grand elements as extensive design of changes on light and shade. After experiments, the ratios of 1, 3, and 5 grams of resin all go with 10 grams of distilled water are chosen to demonstrate the hardness of lace and the three-dementional effects on masks by three works under different scaled resin. There six kinds of lace creation with Baroque art: Fabulous, Refreshing, Flowery, Crystal, Golden, and Extending, applied on lace creation on masks with makeup. The aim is to be able to experiment the hardness of lace, and perform the correct ratio in teaching or thesis making, instead of perfoming the ratio at personal will.
7
Maphangwa, Shonisani. "From colonial to post-colonial : shifts in cultural meaning in Dutch lace and Shweshwe fabric." Thesis, 2012. http://hdl.handle.net/10210/4516.
Full textAbstract:
M.Tech.In this research, I examine whether cultural meanings embedded in original sixteenth to eighteenth century Dutch lace and Shweshwe fabric, as examples of colonial forms, are transformed through selected processes. With reference to Dutch lace from Holland, I analyse how the form changes within colonial and post-colonial contexts, but propose that the cultural meanings of the lace remain similar in both contexts. With reference to Shweshwe fabric, I argue that the form stays the same within both colonial and post-colonial contexts, but that its cultural meaning changes as a result of how patterns printed on it are named and identified in a post-colonial context. In this research, I use the term ‘cultural meaning’ to refer to certain signifiers of culture. I propose that factors such as value, class, aspiration, desire and consumption are embedded in or make cultural meaning. My central argument proposes that crocheted doilies, and plastic tablecloths and placemats might be seen as post-colonial versions of Dutch lace. These post-colonial versions of Dutch lace are adopted and adapted by female homemakers in Naledi Ext. 2 to suit certain decorative tastes, values, aspirations and act as markers of class. This adoption and adaptation of the original colonial form, shifts the cultural meanings imbued within it, but not necessarily the associated consumptive meanings. Whilst the primary focus of the theoretical research is Dutch lace and its proposed post-colonial counterparts, I also examine examples of original Shweshwe fabric and how meanings of motifs found on this fabric have been transformed by the modern Mosotho to reflect notions of value and aspiration, whilst the actual motifs appear to be unchanged. In my practical work, I use Dutch lace, crocheted doilies, and plastic tablecloths and placemats, as well as Shweshwe fabric as visual references in the production of large to small scale paintings. In these, I explore how, through painterly alteration and transformation, shifts can occur in the meanings of patterns derived from these culturally-loaded sources.
Books on the topic "Baroque Lace and lace making"
1
Leopold, Netopil, and Österreichisches Museum für Angewandte Kunst., eds. Spitzen des Barock aus der Sammlung des Österreichischen Museums für Angewandte Kunst: 1985, Aussenstelle Schlossmuseum Riegersburg, Waldviertel/NÖ : 1986, Österreichisches Museum für Angewandte Kunst Wien. [Waldviertel/NÖ: Das Schlossmuseum, 1985.
Find full text
4
Bentsur, Ninah, and Bat-Sheva Drimer. Taḥarah: Lace. Ḥefah: ha-Muzeʼon le-musiḳah ule-etnologyah, 1994.
Find full text
5
Despierres, Eléonore-Aglaé-Marie. Alençon lace. Aberdeen: Aberdeen University Press, 1987.
Find full text
9
1861-, Jackson Emily, ed. Old handmade lace: With a dictionary of lace. New York: Dover, 1987.
Find full textBook chapters on the topic "Baroque Lace and lace making"
1
Makovicky, Nicolette. "‘Something to Talk About’: Notation and Knowledge-Making among Central Slovak Lace-Makers." In Making Knowledge, 76–94. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391473.ch4.
Full text
2
Curti, Roberto, and Roberto Curti. "On Murder Considered as One of the Fine Arts." In Blood and Black Lace, 29–42. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0005.
Full textAbstract:
This chapter analyzes the baroque complexity of the murder scenes in Blood and Black Lace (6 donne per l'assassino). It explains how the film was modelled after Alfred Hitchcock, who had always given great importance to elaborate murder sequences in his works. It also mentions the film Caccia all'uomo that was directed by Mario Bava's friend, Riccardo Freda, which was a stunning anticipation of what would be found in the forthcoming gialli. The chapter talks about Bava's Blood and Black Lace that reprised the emphasis on the crescendo which precedes death and multiplied it while amplifying the atrocity of the killing itself. It describes the murder sequence of the film that was characterised by a well-defined environment and has its own specificity regarding the characteristics of the victim, such as the ways of her dispatching and the murder weapon.
3
Curti, Roberto, and Roberto Curti. "A Matter of Style." In Blood and Black Lace, 59–68. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0008.
Full textAbstract:
This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of Eastmancolor for the saturated colour compositions of his Gothic movies that drove the colour consultants on set to distraction. It also illustrates the context in which the characters moved in Blood and Black that ended up looking like a non-place, both baroque and abstract, that brought together elements typical of the Gothic genre. The chapter describes Blood and Black Lace's labyrinthine atelier of death as a modern-day subsidiary of Gothic's castles, with crypt, secret passages, curtains fluttering in the night, and mannequins instead of suits of armour. It also looks into the insistence of shapes that move with mechanical regularity that represented Blood and Black Lace's microcosm, where the distinction between human and nonhuman becomes uncertain, fleeting, and deceptive.
4
Curti, Roberto, and Roberto Curti. "A World of Mannequins." In Blood and Black Lace, 43–52. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.003.0006.
Full textAbstract:
This chapter looks into Mario Bava's aesthetic sensibility and synthesis of the stylistic and thematic thread that underlies the film Blood and Black Lace (6 donne per l'assassino). It explains how viewers of the film associated the gimmick of using mannequins with the opening pages of Gialli Mondadori, which include a list of characters and their qualification in order to give the reader a “human map” on which to rely when reading. It also discusses how the same concept of a human map is reinvented in the film Blood and Black Lace in a visual key with a surrealistic effect through the use of mannequins. The chapter analyzes the poses of mannequins that are considered artificial, enigmatic, and disturbing. It highlights how mannequins reiterate the initial equation between men and anthropomorphic objects, in which mannequins provide cautionary shadows for actors and actors are sometimes caught in the act of making the same gesture as the mannequins.
5
Viļumsone-Nemes, I. "Manual marker making, spreading and cutting narrow lace." In Industrial Cutting of Textile Materials, 199–207. Elsevier, 2012. http://dx.doi.org/10.1533/9780857095565.199.
Full text
6
Vilumsone-Nemes, Ineta. "Marker making, spreading, and cutting of narrow lace." In Industrial Cutting of Textile Materials, 267–77. Elsevier, 2018. http://dx.doi.org/10.1016/b978-0-08-102122-4.00017-2.
Full text
7
Huron, David. "Scene Setting." In Voice Leading. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034852.003.0014.
Full textAbstract:
Musical passages exhibit a wide range of textures. These can include monophony, tune-and-accompaniment, homophony, close harmony, polyphony, pseudo-polyphony, heterophony, and a wealth of specially tailored arrangements with various hierarchical structures. Introductory music theory textbooks generally focus on Baroque voice-leading rules to the virtual exclusion of other types of part-writing. Although most music-making bears little resemblance to Baroque-style four-part chorale writing, there are excellent reasons why this particular practice has formed the core theory curriculum for so long. The evidence suggests that late Baroque practice most closely reflects known principles of auditory scene analysis. The perceptual principles underlying voice leading provide an important entry point for understanding any musical texture—no matter what the style, culture, or genre of music-making. Like a theatrical stage, composers set a “musical scene.” Auditory scene analysis is the process by which listeners subjectively apprehend that scene.
8
Glancy, Mark. "Chapter 17." In Cary Grant, the Making of a Hollywood Legend, 217–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0018.
Full textAbstract:
By 1941, Cary Grant had his pick of films. Almost everything was offered to him and everyone wanted to work with him. Wary of being typecast, he resisted making more screwball comedies. Instead, he made the gentle “weepie” Penny Serenade (1941) with George Stevens directing and Irene Dunne co-starring. His performance, including a tearful moment when he must plead with a judge to maintain custody of an adopted child, brought his first nomination for an Academy Award. He made an even more dramatic departure from his established image playing the wayward, possibly murderous Johnny Aysgarth in Alfred Hitchcock’s Suspicion (1941). The making of this film was rocky, not least because of on-the-set friction between Grant and co-star Joan Fontaine, but Grant’s relationship with Hitchcock was strong both personally and professionally. His relationship with director Frank Capra, with whom he made Arsenic and Old Lace (1944), was not as strong. Grant hated his own manic performance in this slapstick comedy. Although the film was a big success at the time and still has many admirers, he always cited it as the least favorite of his films.
9
Sznajder, Anna, and Katarzyna Kosmala. "Oral histories and lacemaking as strategies for resilience in women’s craft groups." In Resilience and Ageing, 203–26. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447340911.003.0010.
Full textAbstract:
This chapter examines an ethnographic study of a women's lacemaking network in Poland. It confirms the value of craft work as both a creative and social activity and as contributing to the participants' resilience. Older people choosing to practise arts and crafts resulted in enhanced personal expression and self-esteem. Indeed, lace making as part of a group strengthened social connectivity, increased confidence, and improved the group's perception of their social status. Moreover, sharing stories while making craft allows for memories and experiences of the past to be intertwined and simultaneously performed in the present. This project led towards reflection upon the ways in which craft making can be combined with oral history, constructing the space for formulation of new discourses of ageing. Regional identities, enriched by the history of objects, practices, and places, allow people to locate themselves in the context of narratives about craft making.
Conference papers on the topic "Baroque Lace and lace making"
1
Tabbarah, Faysal, and Ibrahim Ibrahim. "Painterly Assemblies: Making Through Scavenging." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.27.
Full textAbstract:
This paper presents an ongoing body of work that aims to disrupt prevailing Modernist tendencies within computational design practices and digital design methodologies as well as present an alternative for archaic and highly standardized modes of sustainable design production through describing the development of a painterly attitude towards digital and material computation and its resultant workflow. This ongoing body of work looks at the radical shift from the linear in late Renaissance to the painterly in the Baroque and its potential within the context of contemporary computational design methodologies and digital fabrication. The paper presents a workflow that includes scavenging for natural material, 3D scanning, along with digital and material assembly in the form of reciprocal frame systems.
2
Van Dorsselaere, J. P. "Applications of ASTEC Integral Code in the SARNET Network." In 16th International Conference on Nuclear Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/icone16-48354.
Full textAbstract:
The ASTEC integral code is being developed by IRSN (France) and GRS (Germany) for simulation of severe accidents (SA) in Light Water reactors (LWR): safety studies including the evaluation of source term, Probabilistic Safety Analysis level 2 (PSA2) and assessment of SA management actions. It plays a key-role in the SARNET Network of Excellence on R&D on severe accidents (2004–2008) of the 6th Framework Programme of the European Commission. A substantial effort is being made to disseminate ASTEC and to perform jointly-executed research activities with the ultimate objective of providing physical models for integration into ASTEC and making it the European reference integral code. Thirty partners are assessing the ASTEC V1 successive versions through validation against experiments and benchmarks on plant applications with integral and mechanistic codes. This paper presents an overview of the work done in 2006 with the version ASTEC V1.2rev1 released by IRSN and GRS in Dec.05. In particular, this version included improvements of the documentation, mainly users manuals and guidelines, and CEA model improvements for the corium behaviour in the vessel lower head. For ASTEC adaptation to BWR and CANDU, the needs concern mainly the in-vessel core degradation and the corresponding specifications are being written. As to ASTEC validation, applications were performed on the following physical phenomena and experiments: circuit thermalhydraulics (PACTEL T2.1 and ISP33, PMK2, LOFT-LP-FP2); core degradation (CORA-13 and W2, QUENCH-11, LOFT-LP-FP2, Phe´bus FPT4); fission products release and transport (COLIMA, STORM, Phe´bus FPT0-1-2); Molten-Corium-Concrete-Interaction or MCCI (ACE L4, BETA, OECD-CCI2); containment thermalhydraulics and aerosol behaviour (LACE LA4, ThAI, PACOS Px1.2); and iodine in a multi-compartment containment (ThAI). The results are in general good, often close to results of mechanistic codes. Some models reach the limits of present international knowledge, for instance MCCI and hydrogen production during the reflooding of a degraded core. As to ASTEC benchmarking, applications for diverse accident scenarios (LOCA, Loss of Steam Generator Feedwater and SBO) were performed for several reactor types: PWR 900, Konvoi 1300, Westinghouse 1000, VVER-1000 and VVER-440. The main trends of results are similar to results obtained with MELCOR or MAAP4 codes. Some quantitative differences are due to modelling differences, i.e. on core degradation. The preliminary comparison on fission products results will be extended in 2007–08. Good results were obtained in the comparison with mechanistic codes such as ATHLET-CD, RELAP5-3D or COCOSYS. Exploratory calculations on VVER-440 showed the ASTEC capabilities to evaluate the possibilities of In-Vessel Melt Retention. For CANDU reactors, physically reliable results were obtained on fission products transport and behaviour. The ASTEC V1 code evolution will now be limited to feedback from the IRSN current Probabilistic Safety Analysis level 2 on 1300 MWe reactors and from SARNET applications. From now on, IRSN and GRS are preparing the new series V2 of ASTEC versions, taking into account the code evolution needs as expressed by the SARNET users. The first V2.0 release is planned at the end of 2008: the version will be applicable to EPR and will include the advanced core degradation models of the ICARE2 mechanistic IRSN code. In 2008, the partners will switch to the assessment of the V1.3rev2 version that was delivered in Dec.2007 and present their results at the 3rd ASTEC Users’ Club organised by IRSN in April 2008.