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Journal articles on the topic 'Carpenter Center for the Visual Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Hamburger, Esther Império, Cecília Mello, and Giuliana Bruno. "Interview with Giuliana Bruno." Significação: Revista de Cultura Audiovisual 50 (December 6, 2023): 1–31. http://dx.doi.org/10.11606/issn.2316-7114.sig.2023.219151.

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Giuliana Bruno is Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard University, situated in the Carpenter Center for Visual Arts. For over three decades, her critical thinking has been characterized by sophistication, rigor and originality, placing her among the leading world academics exploring intersections between visual arts, art history, architecture, film, and visual culture studies. Bruno's interdisciplinary approach has fostered connections between these fields, enriching our understanding of visual culture. Her work anticipated the field of ‘media archaeology’, uncovering and analyzing historical layers and traces embedded in visual artifacts for deeper contextual insights. She has also contributed significantly to spatial theory, particularly in relation to the intersection of architecture, art, and film, exploring how spaces and places shape our experiences and perceptions. In anticipation of her visit to São Paulo in December 2023, Significação: Revista de Cultura Audiovisual conducted a two-hour online interview with Bruno, focusing on Atmospheres of Projection and her other groundbreaking contributions.

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2

Kim, Nam-Hoon. "A Study on Le Corbusier's Carpenter Center for the Visual Arts : Focused on Experience of Architectural Promenade." Architectural research 14, no. 2 (June 30, 2012): 67–73. http://dx.doi.org/10.5659/aikar.2012.14.2.67.

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3

García Bueno, Antonio, and Karina Medina Granados. "conversando con... William J.R. Curtis." EGA Revista de expresión gráfica arquitectónica 24, no. 37 (November 18, 2019): 12. http://dx.doi.org/10.4995/ega.2019.12683.

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<p>William J.R. Curtis (Kent, 1948), es un galardonado historiador de reconocido prestigio internacional y crítico de arquitectura, a la vez que escritor, comisario y fotógrafo. Sus obras escritas son referentes para el estudio de la arquitectura.<br />Aprovechando la visita realizada a Granada con motivo de su exposición “Abstracción y Luz” que tuvo lugar en el Palacio de Carlos V en la Alhambra entre los meses de septiembre y noviembre de 2015, nos pudo mostrar sus diferentes facetas humanistas a través de su obra y su visión de la arquitectura, el paisaje y el mundo.<br />Curtis realizó sus estudios en el Courtauld Institute of Art de la Universidad de Londres y posteriormente en la Universidad de Harvard.<br />Ha impartido docencia en Historia del Arte, Teoría del Diseño y la Arquitectura en universidades de todo el mundo (Europa, Estados Unidos, Latino América, Australia, Asia,…). Universidades como Harvard, Universidad de California, Asociación de Arquitectura de Londres, Universidad de Cambridge, ETSAB Barcelona, son algunas de las instituciones que han tenido el placer de contar con William Curtis como docente.<br />Entre sus muchas obras escritas de historia, crítica y teoría, ha tratado temas muy variados como la arquitectura contemporánea, paisajismo, diseño, historiografía, educación visual, arquitectura vernácula, arquitectura india, arquitectura bereber del pre-Sáhara… Se puede destacar su libro Modern Architecture Since 1900 (Phaidon, tercera edición revisada 1996), que ha sido referente a nivel internacional y traducido en cinco idiomas. Otros de sus libros con gran impactos han sido: Le Corbusier: Ideas and Forms (Phaidon, segunda edición 2015); Denys Lasdun: Architecture, City, Landscape (Phaidon, 1994). Entre sus contribuciones más recientes encontramos: Abstractions in Space: Tadao Ando, Ellsworth Kelly, Richard Serra (Pulitzer Foundation, St. Louis, 2001); Barcelona 1992-2004 (Guim Costa, Gustavo Gili, 2004); y RCR Aranda, Pigem, Vilalta Arquitectes: Entre la abstracción y la naturaleza (Gustavo Gili, Barcelona, 2004).<br />Añadir que ha escrito gran cantidad de monografías sobre arquitectura moderna y contemporánea, así como sobre Le Corbusier. Sus críticas y monografías se pueden encontrar en revistas internacionales de reconocido prestigio entre las que se encuentra, entre otras, El Croquis (Madrid) y Architectural Review (Londres).<br />Mencionar que William Curtis ha sido conferenciante en muchos encuentros y debates críticos en todo el mundo. Ha participado como jurado en competiciones internacionales de diferente índole, así como ha ocupado diferentes puestos honoríficos en numerosas instituciones.<br />Junto con todos estos méritos, hay que mencionar los últimos premios con los que ha sido galardonado: Medal of Foundation for Museum of Finnish Architecture, 50th Anniversary, 2006; y Premio de Oro a la Aportación Global de la Arquitectura (CERA, A+D, India, 2014).<br />Para completar su faceta humanista, William además de escritor de libros y ensayos críticos, realiza pinturas, dibujos y fotografías sobre la abstracción de la naturaleza y su forma de ver el mundo. Entre sus exposiciones se encuentran: Mielen Maisemia/Mental Landscapes (Museo de Arquitectura de Finlandia, Helsinki 2000); Mental Landscapes/Paisajes Mentales (Círculo de Bellas Artes, Madrid 2002); Carpenter Center for the Visual Arts (Harvard 2004); Architectures du Monde. Le regard de William J.R. Curtis (Centre Méridional de l’Architecture et de la Ville en Toulouse, 2004-2005); Structures of Light (Museo Alvar Aalto, Finlandia, 2007).<br />Y por último Abstracción y Luz/Abstraction and Light (Patronato de la Alhambra y Generalife, Granada, 2015), gracias a la cual ha sido posible esta entrevista.<br />Rodeado de sus dibujos y pinturas, Williams nos ha contestado a nuestras preguntas, enfatizando en temas como la luz, la sombra, el agua y el espacio. Mientras, sentíamos la fuerza y presencia de estos conceptos en su obra, reforzados por el espacio en el que estaban expuestos, el Palacio de Carlos V en la Alhambra.<br />A través de sus fotografías y dibujos nos muestra su forma de mirar el mundo mediante la abstracción.</p>

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4

Ingram, Jack. "Dark Star, John Carpenter (1974)." Design and Culture 1, no. 2 (July 2009): 209–12. http://dx.doi.org/10.2752/175470709x12450568847730.

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5

Sprague, Laura Fecych. "The Decorative Arts and Crafts of Nantucket. Charles H. Carpenter, Jr. , Mary Grace Carpenter , Arthur d'Arazien." Winterthur Portfolio 23, no. 1 (April 1988): 89–91. http://dx.doi.org/10.1086/496363.

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6

Rather, Susan. "Carpenter, Tailor, Shoemaker, Artist: Copley and Portrait Painting around 1770." Art Bulletin 79, no. 2 (June 1997): 269. http://dx.doi.org/10.2307/3046246.

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7

Desser, David. ": Order in the Universe: The Films of John Carpenter . Robert C. Cumbow." Film Quarterly 44, no. 4 (July 1991): 36–37. http://dx.doi.org/10.1525/fq.1991.44.4.04a00160.

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8

Henderson, Linda Dalrymple. "Mysticism as the "Tie That Binds": The Case of Edward Carpenter and Modernism." Art Journal 46, no. 1 (1987): 29. http://dx.doi.org/10.2307/776840.

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9

Wendelken, Cherie. "The Tectonics of Japanese Style: Architect and Carpenter in the Late Meiji Period." Art Journal 55, no. 3 (1996): 28. http://dx.doi.org/10.2307/777763.

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10

Desser, David. "Review: Order in the Universe: The Films of John Carpenter by Robert C. Cumbow." Film Quarterly 44, no. 4 (1991): 36–37. http://dx.doi.org/10.2307/1212772.

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11

Hannah, Kathleen, and Arthur Espenet Carpenter. "A Straightforward Desire for Utility: An Interview with Furniture Maker Arthur Espenet Carpenter." Archives of American Art Journal 43, no. 1/2 (January 2003): 25–38. http://dx.doi.org/10.1086/aaa.43.1_2.1557748.

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12

Young, Richard Fox. "The Carpenter-Prēta: An Eighteenth-Century Sinhala-Buddhist Folktale about Jesus." Asian Folklore Studies 54, no. 1 (1995): 49. http://dx.doi.org/10.2307/1178219.

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13

Waugh, Scott L. "The Minority of Henry III.D. A. Carpenter." Speculum 67, no. 3 (July 1992): 644–47. http://dx.doi.org/10.2307/2863669.

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14

Lyon, Bryce. "The Reign of Henry III.D. A. Carpenter." Speculum 72, no. 2 (April 1997): 448–50. http://dx.doi.org/10.2307/3040988.

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15

Desjardins, Mary. "The Incredible Shrinking Star: Todd Haynes and the Case History of Karen Carpenter." Camera Obscura: Feminism, Culture, and Media Studies 19, no. 3 (2004): 23–55. http://dx.doi.org/10.1215/02705346-19-3_57-23.

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16

Beech, Robert. "The Hammer-beam Roof of Westminster Hall and the Structural Rationale of Hugh Herland." Architectural History 59 (2016): 25–61. http://dx.doi.org/10.1017/arh.2016.2.

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AbstractThis paper examines the carpentry of the late medieval roof of Westminster Hall. The structure, a hammer-beam roof, is analysed from the perspective of the king's carpenter Hugh Herland. This analysis is based on drawings made in 1913 to facilitate the repair of the roof, and on the author's archaeological reconstruction of the carpentry based on those drawings. Herland's experience at Winchester in the early 1390s, immediately before beginning work at Westminster, is also considered. The paper also places the Westminster roof in the context of earlier hammer-beam roofs, particularly Pilgrims' Hall, Winchester. It concludes that the hammer-beam carpentry was crucial to the roof's structure, and that Herland intended the hall's ‘great arched ribs’ primarily as ornamental components.

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17

Leinster, Ciarán. "Halloween III: Season of the Witch: It’s time (again) for a re-evaluation." Horror Studies 13, no. 2 (October 1, 2022): 177–92. http://dx.doi.org/10.1386/host_00053_1.

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Halloween III: Season of the Witch is the stand-out sequel in the Halloween franchise because it deviates so wildly from the pattern set in the original film, and then followed so poorly in subsequent editions. Instead, the John Carpenter and Debra Hill-produced Halloween III takes the form of a ‘pod movie’, in which a toymaker plots to use a television signal to murder viewers on Halloween night. Much of the creative team were regular members of the Carpenter–Hill stable, which is clear in the film’s look, feel and sound. On the occasion of the release of Halloween Kills, and Halloween III’s 40th birthday, this article proposes a critical re-evaluation of the work, highlighting the lost potential in the idea of an anthology series, the lack of serious engagement in the film and the crucial point of the villain having an Irish heritage. The film is also analysed as a ‘TV Text’: films, novels, plays and non-fiction works that are concerned with the effects and mechanisms of television. These were becoming increasingly prominent in the 1980s and beyond, with examples ranging from David Cronenberg’s Videodrome (1983) and Don DeLillo’s White Noise (1985) to the late work of Gore Vidal and Arthur Miller.

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18

Mashon, Mike. "The Library of Congress National Audio-Visual Conservation Center." Cinema Journal 46, no. 3 (2007): 140–42. http://dx.doi.org/10.1353/cj.2007.0026.

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19

Prieto-Gómez, Isabel, Manuel Ramírez-Sánchez, Ana Belén Segarra-Robles, Nora Suleiman-Martos, Francisco García-Cózar, and Germán Domínguez-Vías. "The Thing (1982): un primer modelo de prediagnóstico para las infecciones y alteraciones de la fisiología." Revista de Medicina y Cine 19, no. 4 (November 14, 2023): 345–54. http://dx.doi.org/10.14201/rmc.31185.

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The Thing / La cosa (El enigma de otro mundo) (1982) de John Carpenter, supone un reto audiovisual para pensar en el descubrimiento de claves para la detección temprana de infecciones hostiles. La búsqueda de técnicas rápidas y sencillas para la resolución de casos supone la diferencia entre la supervivencia y mantenerse en la desconfianza para un grupo que trata de descubrir quienes de ellos están infectados, y no terminar transformados en «otra cosa». Este trabajo permitirá al estudiantado conocer los cambios en el equilibrio homeostático que supondría la relación con los microorganismos de distinta naturaleza presentes en la sangre.

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20

Fernando, Antony, F. R. Young, and G. S. B. Senanayaka. "The Carpenter-Heretic: A Collection of Buddhist Stories about Christianity from 18th-Century Sri Lanka." Asian Folklore Studies 59, no. 2 (2000): 348. http://dx.doi.org/10.2307/1178936.

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21

Strong, John T., and Carl Giegold. "A multidisciplinary music and visual arts center at Earlham College." Journal of the Acoustical Society of America 145, no. 3 (March 2019): 1739. http://dx.doi.org/10.1121/1.5101375.

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22

Eric Lott. "Perfect is Dead: Karen Carpenter, Theodor Adorno, and the Radio; or, If Hooks Could Kill." Criticism 50, no. 2 (2009): 219–34. http://dx.doi.org/10.1353/crt.0.0064.

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23

Kellett, Ron. "Le Corbusier's design for the Carpenter Center: a documentary analysis of design media in architecture." Design Studies 11, no. 3 (July 1990): 164–79. http://dx.doi.org/10.1016/0142-694x(90)90004-v.

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24

Smalec, Theresa. "Poland Takes Center Stage." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 115–18. http://dx.doi.org/10.1162/pajj_r_00590.

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25

Cupers, Kenny. "The Cultural Center." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 464–84. http://dx.doi.org/10.1525/jsah.2015.74.4.464.

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The Cultural Center: Architecture as Cultural Policy in Postwar Europe examines how culture became an explicit domain of state policy in postwar Europe and why the modern architecture of cultural centers and culture halls became central to such policy. Kenny Cupers uses a variety of archival and primary sources to analyze maisons de la culture in France and Kulturpaläste or Kulturhäuser in the German Democratic Republic during the 1960s and 1970s. Focusing on the roles of bureaucrats, policy makers, and designers, he reveals how architecture articulated cultural politics in which participation was harnessed to bolster the intervention of the state in everyday life—whether through unqualified support, as in France, or through often-oppressive regulation, as in the GDR. This premise is what shaped the design approaches of programmatic integration, polyvalence, and communication for new cultural institutions across the Cold War divide.

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26

De Vylder, Jan, Inge Vinck, and Jo Taillieu. "Psychiatric Center Caritas." Journal of Architectural Education 73, no. 1 (January 2, 2019): 94–95. http://dx.doi.org/10.1080/10464883.2019.1560807.

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27

Hura, Susan L. "Auditory and visual perception of silent‐center syllables." Journal of the Acoustical Society of America 90, no. 4 (October 1991): 2253–54. http://dx.doi.org/10.1121/1.401520.

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28

Nottingham. "Bernard Shaw as Artist-Fabian, by Charles A. Carpenter." Victorian Studies 53, no. 4 (2011): 732. http://dx.doi.org/10.2979/victorianstudies.53.4.732.

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29

Kaplan, Archie, and William H. Whyte. "City: Rediscovering the Center." Journal of Architectural Education (1984-) 44, no. 4 (August 1991): 241. http://dx.doi.org/10.2307/1425148.

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30

ARNHEIM, RUDOLPH. "The Center Surviving Mondrian." Journal of Aesthetics and Art Criticism 44, no. 3 (March 1, 1986): 293–94. http://dx.doi.org/10.1111/1540_6245.jaac44.3.0293.

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31

Arnheim, Rudolf. "The Center Surviving Mondrian." Journal of Aesthetics and Art Criticism 44, no. 3 (1986): 292. http://dx.doi.org/10.2307/429740.

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32

Daniels, Jill. "Dwoskin and Me: Halting the Flow of Time." Jewish Film & New Media: An International Journal 10, no. 1 (March 2022): 141–59. http://dx.doi.org/10.1353/jfn.2022.a914339.

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ABSTRACT: In this article, I discuss the three experimental autobiographical films that Stephen Dwoskin made between 1994 and 2003: Trying to Kiss the Moon (1994), Some Friends (Apart) (2002), and Francis in Memorium (2003). I first met Dwoskin at the Royal College of Art (RCA) film school in London, England, where I was a student in the 1970s and he was a part-time tutor. We were both Jewish with very different personal histories and experiences, but after I left the RCA, he became a close personal friend. As a disabled American expatriate, he spent most of his adult life looking at the world through a camera lens, filming his friends and lovers, and building an archive of footage that form part of these films supplemented by the extensive home movie footage filmed by his father Henry Dwoskin, a carpenter. My analysis of his films is therefore colored by my own personal recollections of him.

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33

Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

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34

Wild, Benjamin Linley. "Carpenter, Henry III: The Rise to Power and Personal Rule, 1207-1258 (Yale University Press, 2020)." Royal Studies Journal 8, no. 2 (December 21, 2021): 230. http://dx.doi.org/10.21039/rsj.280.

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35

Jones, Peter Blundell, and Derong Kong. "The case for an oral architecture: carpentry and communal assembly among the Dong of Southwest China." Architectural Research Quarterly 20, no. 2 (June 2016): 145–58. http://dx.doi.org/10.1017/s1359135516000257.

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Chinese architecture was for a long time ignored because it was not produced by architects and because it did not follow Western classical expectations, and vernacular architecture was little discussed until the 1960s, and only recently embraced by its own encyclopaedia. Yet the division of labour between drawing architect and practical builder was never wholly advantageous or inevitable, for specialisation of roles can lead to differentiation, inequality, and division, as well as constructional efficiency. Only in the last century has the division between office work and construction site become so complete, resulting in losses as well as gains. Most obviously it has removed design from making, the person with the drawing pen no longer obliged to experience the materials in their weight and texture, or to discover by handling them the best ways to work them. The designer who has never picked up a brick or wielded a chisel can possess little sensibility for the material, but as long as their duties are fulfilled on paper with apparent competence, the process is carried through. On the receiving end, bricklayer or carpenter must produce what drawings demand even when good sense seems lacking, so they carry the work through grumpily without conviction instead of participating in the creative process. This paper looks at oral architecture in the Dong culture, and the way in which buildings have traditionally been produced by carpenters along with the local community, accompanied by shared rituals which reinforce their significance.

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36

Waller. "French Cinema Center Catalogue (circa 1938)." Film History 25, no. 4 (2013): 161. http://dx.doi.org/10.2979/filmhistory.25.4.161.

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37

Menking, Bill. "The Center for Urban Pedagogy (CUP)." Architectural Design 79, no. 1 (January 2009): 76–77. http://dx.doi.org/10.1002/ad.817.

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38

Richard, Nelly. "Postmodern Disalignments and Realignments of the Center/Periphery." Art Journal 51, no. 4 (1992): 57. http://dx.doi.org/10.2307/777285.

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39

Tagliaferro, Linda. "Blending Art and Nature the Nasher Sculpture Center." Sculpture Review 61, no. 2 (June 2012): 28–33. http://dx.doi.org/10.1177/074752841206100204.

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40

Richard, Nelly. "Postmodern Disalignments and Realignments of the Center/Periphery." Art Journal 51, no. 4 (December 1992): 57–59. http://dx.doi.org/10.1080/00043249.1992.10791598.

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41

Marrs, Kristin. "Journeying Toward Center with the late Nancy Topf." Dance Chronicle 46, no. 2 (May 4, 2023): 150–53. http://dx.doi.org/10.1080/01472526.2023.2173943.

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42

Goff, Lisa. "“Something prety out of very little”." Journal of the Society of Architectural Historians 78, no. 1 (March 1, 2019): 49–67. http://dx.doi.org/10.1525/jsah.2019.78.1.49.

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In “Something prety out of very little”: Graniteville Mill Village, 1848, Lisa Goff describes how Charleston entrepreneur William Gregg built Graniteville, South Carolina, to prove the viability of southern manufacturing, which he believed could help avert war between South and North, and to quell planters’ fears that industry would mar the beauty of the South. The village's whitewashed Carpenter Gothic cottages, with matching hotel, school, and church designed by Richard Upjohn, were intended to instill virtues of hard work, clean living, and respect for authority in a white workforce drawn from surrounding farms. Gregg exercised a patriarch's control over his industrial utopia, but the nicknames workers gave the place, and what they told visiting missionaries, show that they experienced Gregg's Gothic hamlet on their own terms. An avid gardener and horticulturist active in the Episcopal Church, Gregg would have been aware of the claims to moral superiority associated with the Gothic Revival style. Goff's analysis of letters, published articles, corporate reports, and advertisements in local newspapers reveals that Gregg's strategies of social contol—adapted from his study of Robert Owen and David Dale—had sinister underpinnings: programmed for hard work at low wages by the “ethical” architecture and orderly “natural” landscape, a white, largely female workforce would insulate the Graniteville Mill from the effects of abolition, should it come.

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43

Lindsay Kistler Mattock. "Mapping the Traces of the Media Arts Center Movement." Moving Image: The Journal of the Association of Moving Image Archivists 17, no. 2 (2017): 119. http://dx.doi.org/10.5749/movingimage.17.2.0119.

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44

Kleese, Nick, Taylor Goetsch, Olivia Gibson, Breanna Hickmott, and Juliana Olave. "Arts for the Planet." Climate Literacy in Education 1, no. 1 (February 10, 2023): 49–53. http://dx.doi.org/10.24926/cle.v1i1.5331.

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In 2022, the Center for Climate Literacy launched the first iteration of its Arts for the Planet Visual Media Contest. Young artists currently enrolled at the Minneapolis College of Art and Design were invited to submit visual media that explored some tenant of climate literacy: values, attitudes, and behavioral change necessary to safeguard the Earth’s integrity in the present and for future generations. Taylor, the contest’s overall winner, illustrated E is for Ecocentrism, which depicts in both text and image what it might mean to decenter our human selves in our greater “web of weaving.” Honorable mentions included Olivia, who reimagines classic film tropes for the Anthropocene in ZOOM OUT; Breanna, whose work They Will Fade is a call to consider how human activity threatens the Minnesota state bird, the loon; and Juliana, in RRR, reveals fast fashion’s impact on one of the planet’s most incredible biomes, the Atacama Desert.

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45

Wolf, Stacy. "Civilizing and Selling Spectators: Audiences at the Madison Civic Center." Theatre Survey 39, no. 2 (November 1998): 7–23. http://dx.doi.org/10.1017/s0040557400010115.

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Virtually every city in the United States now has a Civic Center. In large cities, this site functions variously as a convention center, a hockey rink, and the locale for the Ringling Brothers and Barnum and Bailey circus. In smaller cities, it frequently serves as a venue for performance. Civic Centers host touring productions of Broadway shows, national dance companies, and local symphonies and operas. In addition to providing local access to a variety of performance forms, a city's Civic Center also signifies “the arts” and so implies the city's commitment to art and performance.

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46

Miller, Melissa. "British Theatre Collections in the Harry Ransom Humanities Research Center." Theatre Survey 39, no. 1 (May 1998): 63–72. http://dx.doi.org/10.1017/s0040557400003021.

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The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships for researchers.

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47

Kounsar, Hina, Suhail Raheem Rather, and Sheikh Sajjad. "Visual Outcome of Manual Small Incision Cataract Surgery and Phacoemulsification in a Tertiary Care Center." International Journal of Research and Review 9, no. 2 (February 4, 2022): 1–5. http://dx.doi.org/10.52403/ijrr.20220201.

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Introduction: Phacoemulsification is considered the gold-standard procedure for cataract. However, MSICS being less expensive can be considered a better procedure for doing mass surgeries. The purpose of this comparative hospital-based study was to assess the visual outcome in the post-operative patients of MSICS and Phacoemulsification. Method: 160 consecutive patients who completed the post operative follow up of 6 weeks were included in our study with two groups of 80 patients each. One group of patients were operated by MSICS and another by Phacoemulsification. Proper ocular examination including visual acuity (aided and unaided), pupillary reaction, slit lamp examination and fundus was evaluated at week 1 and week 6. Results: Amongst the 80 cases of phacoemulsification 74 (92.5%) had unaided visual acuity of 6/18 or better at week 1. In case of MSICS unaided visual acuity of 6/18 or better was present in only 62 (77.5%) cases at week 1. The results were statistically significant (P <0.01) in favour of Phacoemulsification. At week 6 Visual Acuity of 6/18 or better was present in 76 (95%) and 67 (83.5%) patients in Phacoemulsification and MSICS methods respectively, though better in phacoemulsification group it was not statistically significant (P>0.01). Similar was case with Best Corrected Visual Acuity at week 6. Conclusion: Phacoemulsification gives better UCVA at 1st week than MSICS though both are equally safe and efficacious procedures with low complication rates and same visual outcome when compared at 6 weeks. MSICS can thus be an alternative wherever the requisite equipment and expertise for PHACO are not available. Keywords: Manual Small Incision Cataract Surgery, Phacoemulsification, Visual outcome, surgical induced astigmatism.

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Sarioglu Erdoğdu, G. Pelin. "Production of Residential Space in Istanbul’s New Financial Center: Ataşehir International Financial Center." International Journal of Architectonic, Spatial, and Environmental Design 16, no. 2 (2021): 75–93. http://dx.doi.org/10.18848/2325-1662/cgp/v16i02/75-93.

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Siry, Joseph. "The Abraham Lincoln Center in Chicago." Journal of the Society of Architectural Historians 50, no. 3 (September 1991): 235–65. http://dx.doi.org/10.2307/990613.

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Hartoonian, Gevork. "Bridgeport Center: Re-Minding Richard Meier." Journal of Architectural Education (1984-) 44, no. 1 (November 1990): 33. http://dx.doi.org/10.2307/1424973.

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