Academic literature on the topic 'Carlson Architects'
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 'Carlson Architects.'
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 "Carlson Architects"
1
Myjak-Pycia, Anna. "Forgoing the architect’s vision: American home economists as pioneers of participatory design, 1930–60." Architectural Research Quarterly 25, no. 1 (March 2021): 17–30. http://dx.doi.org/10.1017/s1359135521000142.
Full textAbstract:
The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).
2
Langagne, Eduardo. "Carlos Lazo: architects as planners. Interview with Alejandro Lazo." Anuario de Espacios Urbanos, Historia, Cultura y Diseño, no. 19 (December 1, 2012): 221–30. http://dx.doi.org/10.24275/azc/dcyad/aeu/n19/langagne.
Full text
3
Butler, David. "Orazio Spada and His Architects: Amateurs and Professionals in Late-Seventeenth-Century Rome." Journal of the Society of Architectural Historians 53, no. 1 (March 1, 1994): 61–79. http://dx.doi.org/10.2307/990809.
Full textAbstract:
The participation of the marchese Orazio Spada (1613-87) in the design of his family chapel (1663-79) in the Chiesa Nuova has recently been acknowledged, but much remains to be said about the character of his patronage and his activity as an amateur architect. The marchese's approach to building was shaped by his family experience and was probably most profoundly influenced by the example of his uncle, Virgilio Spada, architectural advisor to a succession of popes. That Orazio's taste was more conservative than that of his uncle is demonstrated by a series of heretofore unpublished villa designs attributable to the marchese that demonstrate his preference for the classicism of Renaissance models. Some of these designs are based directly on the works of Andrea Palladio. Similarly, the plan and elevation of the main oval body of the Spada Chapel is an almost exact copy of Vignola's Sant'Anna de' Palafrenieri. The fidelity with which he follows this Renaissance model suggests that the marchese was partly responsible for the basic design, along with the professional architects who worked on the project, Camillo Arcucci (to 1667) and his successor, Carlo Rainaldi.
4
Alexander, John. "Shaping Sacred Space in the Sixteenth Century: Design Criteria for the Collegio Borromeo's Chapel." Journal of the Society of Architectural Historians 63, no. 2 (June 1, 2004): 164–79. http://dx.doi.org/10.2307/4127951.
Full textAbstract:
In this article, I present a newly discovered, late-sixteenth-century design drawing for the chapel of the Collegio Borromeo, in Pavia, Italy, and investigate it in the context of contemporary Catholic ecclesiastical architecture. Historiographically, the period is dominated by the church of the Gesù, in Rome, interpreted as a typological paradigm characterized by austere architecture and restrained decoration. This view is called into question by the Collegio's chapel. The initial design (represented by the drawing) drew from ancient sources in order to achieve spatial complexity. The realized chapel is spatially simpler, but ornately ornamented and decorated. The chapel differs from what is considered the norm, but is the chapel an anomaly, or are traditional understandings of the Gesù invalid? On investigation, it becomes evident that patrons may have established a number of criteria for their churches, but architects had a degree of freedom in designing them. In few if any contemporary cases, however, was architectural severity a goal for Catholic churches. With the example of the Collegio's chapel, these findings take on greater significance: the patron, Carlo Borromeo (1538-1584), was one of the most important in the history of ecclesiastical architecture. The chapel's architect, Pellegrino Tibaldi (1527-1596), restored, renovated, and built numerous sacred spaces for Borromeo. What they achieved demonstrates that Catholic reformers of the latter half of the sixteenth century sought architectural magnificence for buildings dedicated to the worship of God.
5
Arnold, Felix. "Das Landhaus des Marqués de Murrieta bei Córdoba." Architectura 47, no. 1-2 (July 24, 2019): 132–45. http://dx.doi.org/10.1515/atc-2017-0008.
Full textAbstract:
AbstractThe architecture of Spain of the 1920s and 1930s remains a little studied aspect of the emergence of the modern movement. In 1926 –1931 the architects Carlos Arniches and Martín Domínguez, both prominent members of the so called ›Generación del 25‹, constructed a country estate near Córdoba for the Marqués de Murrieta. The remains of the now lost villa and garden have recently been investigated by the German Archaeological Institute, as part of a comprehensive study of the 10th century Islamic palace on which the estate had been built. The singular design of the building attests to the search for a new style of architecture based on the ›honest‹ rural architecture of Andalusia, as called for by Fernando García Mercadal and others. The design of a promenade architecturale moreover hints at the innovative potential of the architects and their contribution to the modern movement in Spain.
6
Granata, Elena, and Carolina Pacchi. "Č possibile riformare le scuole di architettura in Italia?" TERRITORIO, no. 49 (July 2009): 153–65. http://dx.doi.org/10.3280/tr2009-049023.
Full textAbstract:
- The crisis of architectural schools in Italy and the profound uncertainty running through practices and the teaching of architectural and planning disciplines has roots which date back a long time. If we re-read today some of the texts and public actions of some of the greatest Italian architects or critics of architecture such as Giovanni Michelucci, Giancarlo De Carlo, Leonardo Benevolo and Bruno Zevi, in dissent with the scientific and academic communities to which they belonged, it is hard not to grasp, with the benefit of hindsight, the lucidity of their intellectual positions and the urgency of their arguments. Four episodes are presented which allow us to return to the issue of training architects in their relationship with the professional dimension and also with society and to consider more generally the crisis of inherited models of university education, which no longer seem able to meet the challenges of today.
7
Ridley, Ronald T. "THE FATE OF THE COLUMN OF ANTONINUS PIUS." Papers of the British School at Rome 86 (June 13, 2018): 235–69. http://dx.doi.org/10.1017/s0068246218000016.
Full textAbstract:
One of the most remarkable stories in the history of Roman archaeology, and totally unknown to modern scholars and works of reference, despite the comprehensive documentation, is the story of the extraction of the column of Antoninus Pius in the Campus Martius (1703–5). The work was placed in the hands of the ‘noble’ architects Carlo and Francesco Fontana, instead of competent engineers, and the result was the destruction of the column.
8
Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.
Full textAbstract:
Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.
9
Masdías-Bonome, Antonio E., José A. Orosa, and Diego Vergara. "A New Methodology for Decision-Making in Buildings Energy Optimization." Applied Sciences 10, no. 13 (June 30, 2020): 4558. http://dx.doi.org/10.3390/app10134558.
Full textAbstract:
When designing or retrofitting a building, not too many tools let architects and engineers to define the optimal conditions to reduce energy consumption with the minimal economic investment. This is because different software resources must be employed and an iterative calculation must be done which, most of times, is not possible. The present study aims to define an original methodology that let researchers and architects to select the best option between different possibilities. To reach this objective, Monte Carlo method is employed on the ISO 13790 standard reaching the probability distribution of the energy consumption of each building after each possible modification. From main results, two mathematical models were obtained from a real case study showing the relation between annual energy consumption and economic investment of each different building retrofits. What is more, in disagreement with the expected result, the best retrofit option was not the one with the highest cost and qualities. In conclusion, this methodology can be a useful tool for researchers and professionals to improve their decision-making.
10
Ruisánchez, José Ramón. "The Cacique in Chapultepec: Toward a Museology of Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 719–22. http://dx.doi.org/10.1632/s003081290012303x.
Full textAbstract:
The 1960s were a crucial decade for museum building in Mexico. The key year was 1964, the end of Adolfo López Mateos's presidential term, since it saw the inauguration of the Museo de Arte Moderno, the Anahuacalli, the Museo de la Ciudad de México, and the most spectacular of all: the Museo Nacional de Antropología, the architect Pedro Ramírez Vázquez's masterpiece and one of the country's primary tourist attractions. The 1960s also witnessed how Carlos Fuentes, a young writer who had published his first novel in 1958, continued to produce his canonical works at a staggering pace. In what follows, the dialogue between Fuentes's early fiction and the Museo Nacional de Antropología, two of the jewels of Mexican high modernism (always a dialogue with nationalism), not only invites a rereading of their most obvious features—namely, the luminous tension between their structures and their meticulous attention to detail—but also, from the distance of half a century (especially from the vantage point of the PRI's return to power), reveals a series of hitherto unexamined gaps and silences that merit critical attention.
Dissertations / Theses on the topic "Carlson Architects"
1
Kempfer, Jacqueline. "Das Amt des Architetto del Popolo Romano : die Geschichte einer Institution unter besonderer Berücksichtigung von Carlo Rainaldi /." Frankfurt am Main : Kunstegeschichtliches Inst, 1994. http://catalogue.bnf.fr/ark:/12148/cb40962627f.
Full text
2
Meyerhöfer, Dietrich. "Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler." Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.
Full textBooks on the topic "Carlson Architects"
1
1945-, Carlson Don, and Carlson Architects, eds. Carlson Architects: Expanding northwestern regionalism. New York, N.Y: Edizioni Press, 2002.
Find full text
3
Filippi, Francesca B., 1974- writer of added text, ed. Carlo Colombo, architect. Milano: Electa, 2012.
Find full text
4
Bratke, Carlos. Carlos Bratke, arquiteto =: Carlos Bratke, architect. São Paolo: ProEditores, 1995.
Find full text
5
1942-, Bratke Carlos, ed. Carlos Bratke. São Paulo, SP: Companhia Editora Nacional, 2003.
Find full textBook chapters on the topic "Carlson Architects"
1
Johnson, Adriana, and Horacio Legrás. "The Wings of Carlos Colombino: Architect, Artist, Writer (an Interview)." In Authoritarianism, Cultural History, and Political Resistance in Latin America, 149–59. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53544-9_8.
Full text
2
"Carlo Scarpa (1906–1978)." In Key Modern Architects. Bloomsbury visual Arts, 2018. http://dx.doi.org/10.5040/9781474265072.ch-033.
Full text
3
De Lucca, Valeria. "The Teatro Colonna (1682–1686)." In The Politics of Princely Entertainment, 234–77. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.003.0008.
Full textAbstract:
This chapter considers the years following Lorenzo Onofrio Colonna’s return to Rome in 1681 together with his son Filippo II and his new bride, the young Spanish noblewoman Lorenza de la Cerda. As part of his strategy to affirm his newly acquired political and social power as a former Viceroy over the other aristocratic Roman families, Lorenzo Onofrio commissioned the building of a new theater in his palace. This chapter takes a new look at the ways in which the networks of relationships Lorenzo Onofrio had built over the years made his theater one of the most important stages in the Italian peninsula for the circulation of repertory between Vienna, Venice, Rome, and Naples, as well as of singers. Behind some of the most spectacular productions of the Teatro Colonna was a team of extraordinary architects and men of theaters under the leadership of Filippo Acciaioli and Carlo Fontana.
4
Pajusco, Vittorio. "Umbro Apollonio e l’archivio della Biennale di Venezia (1948-1972)." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/009.
Full textAbstract:
In 1948 Rodolfo Pallucchini requested the collaboration of Umbro Apollonio to organize the 24th Venice Biennale. In 1949 the critic became the permanent curator of the Historical Archive of Contemporary Art (The Biennale Archive). First of all Apollonio organized the archival documentation of the Biennale and for this reason he thought of a new project for the library and the archive: to realize it he previously entrusted with the architect Carlo Scarpa and then with BBPR Group. After the great disorders of the 1968 edition, in 1970 Apollonio became Bienniale director. He curated with Dietrich Mahlow the special exhibition «Proposal for an experimental exhibition». On this occasion, a strong dialogue with the public was sought, focusing on issues such as art and society, art and production, analysis of seeing. The result was an exhibition holding arts from historical avant-garde to the most recent researches.
Conference papers on the topic "Carlson Architects"
1
Grande, Nuno. "The Baghdad Affair. How diplomacy supplanted one of the last major projects by Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.645.
Full textAbstract:
Abstract: After the Iraqi Republican Revolution of 1958, the resultant government commissioned two parallel projects for two great Stadiums in Baghdad, with similar complementary features: one to the Swiss architect Le Corbusier – who had developed a previous project (1955-1958) for the monarch Faisal II –, continuously designed in his Paris studio until his death in 1965; another to the Calouste Gulbenkian Foundation, in Lisbon, entirely funded and supervised by this institution, and designed by two prominent Portuguese architects at the time: F. Keil do Amaral and Carlos M. Ramos. Facing a progressive administrative and financial chaos in the country, the Iraqi authorities opted for the Gulbenkian Foundation’s solution – built between 1962-1965 and inaugurated in 1966, after an intriguing diplomatic process -, postponing Le Corbusier’s proposals yet without breaking their contract with him. This essay presents an explanation for this mysterious “affair” based on a recent research conducted at the Presidency Archive of the Calouste Gulbenkian Foundation, but also at the Canadian Centre for Architecture (CCA) where different documents reveal the continuous mismatch between Le Corbusier’s will and the Iraqi authorities procedures. Resumen: Después de la Revolución Republicana iraquí de 1958, el gobierno resultante encargó dos proyectos paralelos para dos grandes estadios en Bagdad con características similares: uno a lo arquitecto suizo Le Corbusier - que había desarrollado un proyecto anterior para el monarca Faisal II (entre 1955 y 1958 ) -, diseñado de forma continua en su estudio de París hasta su muerte en 1965; otro a la Fundación Calouste Gulbenkian, en Lisboa, totalmente financiado y supervisado por esta institución, y diseñado por dos destacados arquitectos portugueses de la época: F. Keil do Amaral y Carlos M. Ramos. Frente a un caos administrativo y financiero progresivo en el país, las autoridades iraquíes optaron por el proyecto presentado por la Fundación Gulbenkian – construido entre 1962-1965 e inaugurado en 1966, después de un intrigante proceso diplomático -, posponiendo las propuestas de Le Corbusier todavía sin romper su contrato con él. Este ensayo presenta una explicación para esta "trama"misteriosa, basado en una investigación reciente - llevada a cabo en el Archivo de la Presidencia de la Fundación Calouste Gulbenkian, sino también en el Centro Canadiense de Arquitectura (CCA) -, en la que los diferentes elementos documentales revelan la falta de correspondencia continua entre la voluntad de Le Corbusier y los procedimientos de las autoridades iraquíes. Keywords: Le Corbusier; Baghdad Stadium complex; Calouste Gulbenkian Foundation. Palabras clave: Le Corbusier; Estadio de Baghdad; Fundación Calouste Gulbenkian. DOI: http://dx.doi.org/10.4995/LC2015.2015.645
2
Giofre', Francesca, and Mario Raúl Ramírez de León. "Outside the classroom: the participatory design workshop on Healthy City, Mixco, Guatemala." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7949.
Full textAbstract:
The paper describes an innovative teaching experience held at the Faculty of Architecture the University of San Carlos of Guatemala as part of the Professional Practice Program (EPS). 20 students and 9 professors, coordinated by 4 professors, carried out a workshop on the theme of Healthy City (HC) in the Municipality of Mixco, with the support of the same. Through active learning, a ‘deprivatization’ of the teaching activity and a participatory confrontation activity through interviews and questionnaires with citizens and stakeholders, the students and professors worked in 4 groups for seven days creating a community of practice. The results took the form of project proposals aimed at urban regeneration, in accordance with the principles of the HC, presented to the local community and to the Municipality of Mixco. The experience can be repeated in its methodology and has been positively evaluated by all the participants in terms of: acquisition of competences for dialogue with citizens and stakeholders for the identification of needs, increase in design skills and group work, as well as real service in the territory. The future urban planners and architects have also played a new role as mediators of participatory processes and facilitators.
3
Pozzati, Alice. "Da macchina da guerra a “decoroso fondale”: la Cittadella di Torino nell’Ottocento." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11325.
Full textAbstract:
From war machine to “decorous backdrop”: the Citadel of Turin in the nineteenth centuryThe citadel of Turin, built in the sixteenth century by the duke Emanuele Filiberto, became an expensive and obsolete object that hampered the enlargements during the nineteenth century. The Enlargement Plan for the capital designed by Carlo Promis (1851-1852) progressively reduced the military constraints facing the citadel. In 1856 the City Council decreed the demolition of the defensive structure. During the demolition one section of the building was spared: the donjon. In 1864 it became the urban background of the statue erected in honor of Pietro Micca, the “soldier mineworker” hero of the siege in 1706. Therefore, this project became an opportunity for the Municipality and the Ministry of War to discuss two central issues. On one hand, the need to set up a “decorous backdrop” to the Piedmontese hero, and on the other hand keeping the costs of the restoration project to a minimum. A well-known architect from Turin named Carlo Ceppi presented an accurate report about the choices of the “restoration” works. Finally, in 1892 the responsibility of the work was given to the engineer Riccardo Brayda, who was an expert in medieval and modern architecture.
4
Hertlein, Nathan, David Yoo, Philip R. Buskohl, Kumar Vemaganti, and Sam Anand. "Bayesian Optimization of Target Buckling Shapes in Constrained Elastomeric Beams With Geometric Uncertainty." In ASME 2020 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/detc2020-22608.
Full textAbstract:
Abstract Additive manufacturing has enabled the fabrication of complex, architected materials, which have shown great promise in fields such as acoustics, mechanical logic gates, and energy trapping, due to their unique properties derived from repeating unit cells. The force-displacement performance of one such unit cell, the bistable elastomeric beam, has been characterized experimentally and subsequently tuned by the introduction of a Fourier series-based design parameterization that enables a wider range of available energy performance characteristics and secondary stable configurations. Here, another characteristic of this beam that has not yet been explored, namely the shape during post-buckling deformation between the two stable states, is optimized under the same Fourier series-based parameterization. Nonlinear finite element analysis reveals that the performance is highly sensitive to even modest profile error incurred on the beam’s upper and lower sides during manufacturing. Various methods of quantifying performance are compared, and Bayesian optimization is employed in two case studies to achieve desired post-buckled shapes. A novel acquisition function, which considers a candidate design’s robustness to profile error, is used to find the design that achieves the desired performance consistently, even in the face of the variability associated with additive manufacturing. Finally, Monte Carlo simulations are used to quantify the performance of optimal beams found with and without the new acquisition function, and reveal the importance of considering geometric uncertainty during the optimization process.
5
Garzón Osuna, Diego. "Adaptación cristiana de las defensas de la Alcazaba de Almería durante el siglo XVI." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11434.
Full textAbstract:
Christian adaptation of the defences of the Alcazaba of Almeria during the sixteenth centuryAfter the capitulation of the nasrid city of Almería (1489), the new Castilian administration was able to verify the state of ruin of its defences due to the earthquake of 1487, ordering the rapid construction of a castle on the highest point of the battered hispano-muslim Alcazaba. Between 1490 and 1502 the castle was built, incorporating in its design the most effective systems of the time to repel an attack with gunpowder. The typological references of this military installation correspond to the School of Valladolid; with a long tradition in the construction of castles. In parallel with the completion of these works, the Catholic Monarchs ordered in 1501 to armor the defence of the coasts of the Kingdom of Granada, articulating and extending the medieval system of watchtowers scattered along the coast, to counteract the fragility of the annexed territories, the mestizaje of its people, and the proximity of Africa. Thus concluded the works in the Castle, the works were centred in the repair of the walls of the city, action that will extend to the fences of the Alcazaba (1526). Towards 1547, attacks by turkish and berber pirates followed one another on the Almeria coast in the face of the defencelessness of the population. These incursions led to concern about the proper conservation of military installations. As a consequence of this, the old Alcazaba was adapted to the distant war offered by the use of gunpowder. The first interventions were designed by Luis de Machuca, architect of the Palace of Carlos V in the Alhambra. This accommodation included the construction of the bastions of the Campana (1550) and the repair of the doors of Justice and the Guard (1565), completing the program due to the proximity of the War with the Moriscos, with the construction of the bastions of the San Matías and Espolón (1568).
6
Baratin, Laura, Alessandra Cattaneo, and Elvio Moretti. "Porta Valbona a Urbino: la sua rappresentazione tra storia e restauro." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11401.
Full textAbstract:
Porta Valbona in Urbino: its representation between history and restorationThe Porta Valbona study is part of a complex project of conservation and valorisation of the defensive walls of Urbino that the research group, of the School of Conservation and Restoration of the University of Urbino Carlo Bo, has developed in recent years. Built in 1621 it is the most important gate of the city both because it is connected to Via Mazzini, one of the main streets of the historic centre, and for its spectacular architectural appearance created for the wedding of Prince Federico Ubaldo della Rovere with Princess Claudia de Medici. The two eagles, in limestone, placed at the sides of the door, date back to the mid-eighteenth century and are the work of the Rimini architect Giovan Francesco Buonamici. It is also the only Gate of Urbino which has a monumental facing facing outwards, or towards Piazza del Mercatale. Despite having undergone several restorations and consolidations over the centuries, it has not been modified in its original appearance. Porta Valbona, together with the city walls, represents a real urban palimpsest, an exceptional case of sedimentation and stratification which, despite the events, still allows us to reconstruct its historical events. The applied design method was based on the following analyzes: a) urban analysis: knowledge of the characteristics and urban potential of the door; b) historical analysis: knowledge of the historical evolution and of the specific qualities of the door; c) geometric analysis: metric and architectural survey; d) material analysis, study of materials and forms of deterioration; e) structural analysis: identification of the morphological and constructive organization from the structural point of view. All the large amount of information obtained from the analysis was managed thanks to the use of GIS systems. Thus it was possible to identify the shape and character of the monument and its testimonial, constructive and architectural values were recognized. On the basis of an internal analysis of the cultural asset and an external analysis of the context in which it is located, it was possible to define the strengths, weaknesses, opportunities and threats.