Littérature scientifique sur le sujet « Architecture minimale – New York (N.Y.) »

Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.

During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) or Deconstructivist Architecture (1988) it has been one of the key institutions to push the format of the architecture exhibition and which it keeps doing up to today. Having this in mind we both came to New York with great respect and honored to gain insights in this institution for a period of three months. The department currently employs around 15 people which made it a really pleasant, intimate place to work with highly passionate and professional individuals full of remarkable expertise and respect for each other. This said and with the department going through some recent (at that moment) personnel changes, most notably the new directorship of Martino Stierli since 2015, as well MoMA reconfiguring and adding gallery spaces set to be open in 2019, we felt it was a very interesting moment for us to talk to our curator colleagues about their personal history and professional ambitions as curators at MoMA as well specific challenges of exhibiting architecture and design. Being both educated in architecture in different countries (Brazil and Germany) we could gain not only a lot of professional insights but also talk about personal aspects of the curators´ – not always linear – careers. In total we conducted six interviews with all (senior) curators and one curatorial assistant of the Architecture and Design Department, all of whom we asked the same, around ten questions in order to produce a complete “panorama” of the departments staff at that very moment. In the following we would like to share with you the second half with Juliet Kinchin, Martino Stierli and Sean Anderson. The first three interviews with Paola Antonelli, Barry Bergdoll and Michelle Millar Fisher, were published on RISCO v.16 n.1 2018. From the interviews, Juliet Kinchin had an approach since a student into intellectual debates and design history rather than architectural history, while Martino as a professor, was also engaged doing exhibitions. Sean Anderson struggled being a professor and practicing architect, and curation for him “means also being able to condense ideas and questions”. Since they had different backgrounds before arrive at MoMA, the teaching position and a special love for research is a shared common background for them. Juliet Kinchin argues that the curator’s activity apart from the responsabilities also means communicate and creating view points and arguments in a spatial and material form, while Martino talk about the work of curating a show as very much about a teamwork. For Sean Anderson also the very strong critical sensibility, is a must have skill for a curator. Sean Anderson’s advice to young curators is to ask questions and to have as many experiences in the world as possible. Juliet Kinchin talks about integrity, that makes the difference in your work, Martino in the same way, reinforce the ideia to love what you do and so you will be successful. Luis Michal, Amanda Saba Ruggiero

Dr Yilmaz teaches in the Department of Interior Architecture and Environmental Design of the University of Hacettepe, Ankara, Turkey,from which she has a Masters degree. She also has a Ph. D from the Department of Urban and Environmental Sciences, University of Ankara. She has presented papers on environmental problems and vernacular architecture at numerous national and international congresses, and published others in various scholarly journals. Professor Keleş taught at Ankara University, Faculty of Political Science for many years and served as Dean of the Faculty from 1971 to1975. He was also Head of both the Ernst Reuter Center for Urban Studies and the Center for Environmental Studies at the same university. He currently teaches at the Eastern Mediterranean University, North Cyprus. Dr Keleş has published extensively on Comparative Urbanization, Theories of Local Government, Environmental Policies, and Urban Politics. His major publications include The Politics of Urbanization: Government and Growth in Modern Turkey (with Michael N. Danielson, New York, Holmes and Meier, 1985)-, The Urban Poverty in the Third World, Institute of Developing Economies, Tokyo, 1988; and Housing in the Middle East (with Hiromaso Kano), Institute of Developing Economies, Tokyo, 1986. Dr Keles is a member of the World Society for Ekistics. The text that follows is an edited version of a paper presented at the international symposion on 'The Natural City, " Toronto, 23-25 June, 2004, sponsored by the University of Toronto's Division of the Environtmental Studies, and the World Society for Ekistics.

Few have examined the relationship between landscape color changes, landscape complexity, and laypersons’ visual preference ratings. We examined whether depictions of visual changes to plant and vegetative colors affect preference ratings, estimations of complexity, and computed color information entropy values. Photographs depicted four visual states of plant growth—winter dormancy, foliation, flowering, and senescence—in color at four locations on each of three landscape architecture project sites in New York and Pennsylvania. Participants viewed and evaluated the scenes depicted in the photographs for preference (n = 52) and estimated the presence of complexity (n = 47). A multiparadigm numerical computing environment performed algorithmic functions to calculate Shannon information entropy values of perceptual and categorical colors for each photograph. The visual changes depicted significantly affected perceptual color information entropy values, but significant effects were not found in three contrasts between values for the four stages of plant and vegetative growth. Preference ratings for foliated scenes were significantly higher than those for dormant and senescent scenes. Respondents’ complexity estimations for foliated scenes were lower than those of flowering and senescent, yet complexity and preference did not correlate. Preference correlated strongly and positively with perceptual color information entropy, which may help predict landscape preference. However, the presence of green foliage may affect preference more than perceptual color information entropy within scenes.

Early Gothic Revival architecture in Canada, particularly from the period prior to the 1840s, when the influence of A. W. N. Pugin and the Ecclesiologists began to be felt, has been little studied. This paper reconstructs a lost monument-St. Mary's, in Halifax, Nova Scotia, as erected 1820-1830-which may have been the first ambitious essay in the Gothic Revival style, especially as it apparently precedes by a few years the single and most famous monument of this time, the parish church of Notre-Dame in Montréal, itself often considered the starting point of the style in Canada. Although the exterior of St. Mary's was modest-essentially it was an exemplar of the rectangular box with "west" tower, definitively formulated by James Gibbs, and ubiquitous since the 1720s-with Gothic detailing replacing Baroque, the interior, known only from one watercolor and partly surviving today, is of greater interest. Divided into nave and aisles by piers of clustered shafts, the piers' form, plus plaster vaults and pointed arches, helped create an aura reminiscent of the Gothic period. The interior was dominated by the design of the sanctuary (now destroyed), where an unusual congregation of architectural forms suggests both the appearance of illusionistic architecture, with a possible connection to New York, and a further transformation of Baroque forms into their Gothic equivalents, with a possible connection to Québec City. Tenuous, circumstantial evidence will be provided to substantiate the plausibility of such sources. This paper also attempts to place St. Mary's in the context of the Gothic Revival in North America c. 1820-1830. As a result, it will be seen that its exterior, although without precedents in Canada, is typical of Gothic Revival churches of the period in the United States. By contrast, the interior design, especially of the sanctuary, suggests it was one of the more imaginative creations in either context. It therefore emerges as a more significant monument in the history of Canadian and North American architecture than heretofore suspected.

The rise of virtual reality and haptic technologies has created exciting new applications in medical training and education. In a dental simulation, haptic technology can create the illusion of substances (teeth, gingiva, bone, etc.) by providing interaction forces within a simulated virtual world of the mouth. In this article, a haptic periodontal training simulation system, named Haptodont, is developed and evaluated for simulating periodontal probing. Thirty-two faculty members from New York University College of Dentistry were recruited and divided into three groups to evaluate three fundamental functionalities: Group 1 evaluated bi-manual 3 Degrees of Freedome (DoF) haptic interaction, Group 2 evaluated bi-manual 3 DoF haptic interaction with a finger support mechanism, and Group 3 evaluated bi-manual 3 DoF haptic interaction with finger support mechanism and vibrotactile feedback. The probe and mirror interactions were simulated with the Geomagic Touch haptic device whereas the finger support was implemented using the Novint Falcon device. The three groups conducted two probing tasks: healthy gingiva scenario with no pockets (2- to 3-mm depth) and periodontitis scenario with deep pockets (4- to 8-mm depth). Results demonstrated that experts performed comparably to clinical settings in terms of probing depth error (within 0.3 to 0.6 mm) and probing forces (less than 0.5 N). Furthermore, the finger support mechanism significantly improved the probing accuracy for periodontitis condition in the lingual region. The argument that probing the lingual region is more difficult than the buccal region is supported by quantitative evidence (significantly higher probing depth error and probing force). Further research is planned to improve the usability of the finger support, integrate the Haptodont system into the pre-clinical curriculum, and evaluate the Haptodont system with dental students as a learning tool.

RESUMENEntre las muchas fuentes documentales que el historiador tiene a su disposición para abordar sus estudios, el diario personal se presenta, quizás, como una de las más interesantes. Este tipo de materiales no solo permiten conocer algo mejor los pensamientos y emociones de sus propios autores, sino también determinadas facetas del momento histórico en el que se concibieron, de ahí que su contenido resulte fundamental a la hora de comprender un fenómeno migratorio tan peculiar como el que tuvo lugar en el Oeste americano durante la segunda mitad del siglo xix.Partiendo de las propuestas de Ralph K. White y de John Mack Faragher, este artículo presenta una readaptación del Value analysis, proponiendo una selección de 65 valores y 7 grupos temáticos, que se han utilizado para determinar cuáles eran los principales intereses y preocupaciones de los pioneros estadounidenses, a partir del estudio de catorce diarios de la época. Palabras clave: historia cuantitativa, Oeste americano, migraciones, diarios de viaje, Overland TrailTopónimo: Estados UnidosPeríodo: siglo xix ABSTRACT Among the many documentary sources historians have at their disposal when dealing with studies, the personal diary is perhaps one of the most interesting ones. This type of material not only allows us to know a little better the thoughts and emotions of their own authors but also certain aspects of the historical moment in which they were conceived, therefore its content is fundamental when it comes to understand a migration phenomenon as unique as the one that took place in the American West during the second half of the nineteenth century.Based on the proposals of Ralph K. White and John Mack Faragher, this article presents a readaptation of ‘Value analysis’ proposing a selection of 65 values and 7 thematic groups which have been used to determine the main interests and concerns of the American pioneers revising for this purpose fourteen diaries of that time. Keywords: quantitative history, American West, migrations, overland diaries, Overland TrailPlace names: United StatesPeriod: 19th century REFERENCIASBillington, R. A. y Ridge, M. (2001): Westward Expansion: A History of the American Frontier, Albuquerque, University of New Mexico Press.Brown, D. (2004): The American West, Londres, Simon Schuster UK.Carter, R. W. (1995): “When I Hear the Winds Sigh”: Mortality on the Overland Trail, California History, vol. 74, nº. 2, pp. 146-161.Clark, D. H. (1953): “Remember the Winter of...? Weather and Pioneers”, Oregon Historical Quarterly, vol. 54, nº. 2, pp. 140-148.Cutlip, S. M. (1995): Public Relations History: From the 17th to the 20th Century. The Antecedents, Nueva York, Routledge. Dippie, B. W. (1991): “American Wests: Historiographical Perspectives” en Limerick, P. N., Millner II, C. A. y Rankin, C. E. (eds.), Trails toward a New Western History, Lawrence, University Press of Kansas, pp. 112-138. Etulain, R. W. (2002): “Introduction: The Rise of Western Historiography” en Etulain, R. W. (ed.), Writing Western History, Reno, University of Nevada Press, pp. 1-16.Faragher, J. M. (1979): Women and Men on the Overland Trail, New Haven, Yale University Press.Farber, B. (1957): “An Index of Marital Integration”, Sociometry, Núm. 20, pp. 117-139.Hine, R. V. y Faragher, J. M. (2000): The American West: A new interpretative history, Connecticut, Yale University Press.Hoagkand, A. K. (2004): Army Architecture in the West: Forts Laramie, Bridger, and D. A. Russell (1849-1912), Norman, University of Oklahoma Press.Holmes, K. L. (1995): Covered Wagon Women: Diaries Letters from the Western Trails Vol. 1, 1840-1849, Lincoln, University of Nebraska Press.— (1996): Covered Wagon Women: Diaries Letters from the Western Trails, vol. 2, 1850, Lincoln, University of Nebraska Press, 1996.Jiménez, A. (2001): “La Historia como fabricación del pasado: la frontera del Oeste o American West”, Anuario de estudios americanos, vol. 58, nº. 2, pp. 737-755.Lamar, H. R. (1978): “Rites of Passage: Young Men and Their Families in the Overland Trail Experience, 1843-69” en Alexander, G. T. (ed.), Soul-Butter and Hog Wash and Other Essays on the American West, Provo, Brigham Young University Press, pp. 33-67.Lavender, D. (1963): Westward Vision: The Story of the Oregon Trail, Lincoln, McGraw-Hill.Levinson, D. J. (1977): “The mid-life transition: a period in adult psychosocial development”, Psychiatry, nº. 40, pp. 99-112.Limerick, P. N. (1991): “What on Earth is the New Western History?” en Limerick, P. N., Millner II, C. A. y Rankin, C. E. (eds.), Trails toward a New Western History, Lawrence, University Press of Kansas, pp. 81-88.McCurdy, S. A. (1994): “Epidemiology of disaster: The Donner Party (1846-1847)”, Western Journal of Medicine, vol. 160, nº. 4, pp. 338-342.Ponsonby, A. (1923): English diaries; a review of English diaries from the sixteenth to the twentieth century with an introd. on diary writing, Londres, Methuen Co.Rokeach, M. (1973): The Nature of Human Values, Nueva York, Free Press.Schlissel, L. (1982): Women’s Diaries of the Westward Journey, Nueva York, Schocken Books.Smith, H. N. (1950): Virgin Land: The American West as Symbol and Myth, Cambridge (Massachusetts), Harvard University Press.Thompson, G. (1991): “Another look at Frontier / Western Historiography” en Limerick, P. N., Millner II, C. A. y Rankin, C. E. (eds.), Trails toward a New Western History, Lawrence, University Press of Kansas, pp. 89-96.Turner, F. J. (1920): The Frontier in American History, Nueva York, Henry Holt and Company.Unruh, J. D. (1982): The Plains Across: The Overland Emigrants and the Trans-Mississippi West (1840-60), Urbana, University of Illinois Press.Vandenbroucke, G. (2008): “The U.S. Westward Expansion”, International Economic Review, Vol. 49. Núm. 1, pp. 81-110.Webb, W. P. (1931): The Great Plains, Boston, Ginn and Company.White, R. K. (1944): “Value Analysis: A Quantitative Method for Describing Qualitative Data”, Journal of Social Psychology, Núm. 19, pp. 351-358.

Aux États-Unis, dans les années 1950-1960, il existe de nombreuses corrélations, correspondances, influences, incidences et coïncidences entre l'architecture et la musique, souvent par le truchement des arts plastiques. À partir des années 1950, les compositeurs dits de l'École de New York (Morton Feldman, John Cage) explorent l'indétermination, le hasard contrôlé et la partition graphique, et sont marqués par une esthétique de la dispersion arythmique, tout en restant dans un nuancier atonal hérité du sérialisme européen. Puis, au cours des années 1960, de nombreux musiciens (Moondog, Terry Riley, Steve Reich, Philip Glass, La Monte Young) empruntent un chemin radicalement différent et effectuent un franc retour à des aspects plus « classiques » de la musique : la tonalité, la répétition métronomique et le recours à des processus clairement lisibles à l'écoute ; compositeurs que la critique ne tardera pas à qualifier de « minimalistes ». Ces deux phases de la musique états-unienne semblent faire écho à l'architecture de la ville qui les a vu naître, où des architectes reconnus comme Mies van der Rohe, Gordon Bunshaft ou Eero Saarinen ne font que porter à sa quintessence une architecture banale, anonyme et sans qualités, décrite rétrospectivement par Rem Koolhaas comme « le Plan Typique » : l'indétermination de cette architecture de grands plateaux ouverts et flexibles va de pair avec la sur-détermination de ses éléments constructifs et leur extrême répétitivité. Les différentes disciplines artistiques convergent vers une abstraction des plus totales et les oeuvres tendent, dans certains cas-limite, à une reductio ad absurdum, où le degré zéro rencontre le continuum ad infinitum. Des immeubles qui se résument à un empilement de plateaux vides, des compositions musicales pleines de silence, des maisons de verre, des tableaux blancs ou noirs, des grilles, des cubes, des répétitions, des transparences, des réflexions : oeuvres ouvertes, oeuvres-processus et oeuvres conceptuelles font le procès de la notion même d'oeuvre d'art et remettent en question le rôle et le sens de la composition et de son éventuelle interprétation. Il ne s'agira pas ici de donner une nouvelle définition du minimalisme, mais plutôt d'en tracer de nouvelles généalogies, d'en élargir les contours. Cette révision critique du concept « minimal(-iste/-isme) », prend la forme d'un double mouvement : établir des liens « centripètes » entre l'architecture et la musique au sein du « style » minimaliste historique (tel que défini par l'histoire des arts et de la musique), et en étendre les ramifications de manière « centrifuge », en effectuant des rapprochements avec d'autres époques, d'autres géographies et d'autres disciplines de l'art en pensant la « forme » minimaliste, notion qui n'est pas localisée historiquement et géographiquement, ni assignée à une discipline artistique en particulier. La thèse envisage la posture minimaliste à travers la notion architecturale de l'échelle, et prend donc la forme d'une structure gigogne : univers - paysage - architecture - sujet percevant. Suivant cette approche trans-scalaire, nous verrons que derrière les discours rationalistes et pragmatiques et l'ostension d'un désir de rupture avec l'art du passé, l'attitude minimaliste est en fait empreinte de mysticisme voire de religiosité, prolongeant ainsi, en la renouvelant, la fonction spirituelle de l'art. Les formes minimales tendent à dissoudre l'oeuvre comme objet, et l'oeuvre devient un champ : champ d'une expérience de l'irreprésentable, de l'ineffable, de l'infini, ou ce que Morton Feldman a appelé « l'expérience abstraite »
In USA in the 1950s and 1960s, there are numerous correlations, correspondences, influences, incidences and coincidences between architecture and music, often through the plastic arts. From the 1950s onwards, the so-called New York School composers (Morton Feldman, John Cage) explored indeterminacy, chance operations and graphic scores, and were marked by an aesthetic of arrhythmic dispersion, while remaining within an atonal color chart inherited from European serialism. Then, in the 1960s, a number of musicians (Moondog, Terry Riley, Steve Reich, Philip Glass, La Monte Young) took a radically different path, making a clear return to more "classical" aspects of music: tonality, metronomic repetition and the use of clearly legible processes; composers whom critics were quick to label "minimalists". These two phases in usonian music seem to echo the architecture of the city in which they were born, where renowned architects such as Mies van der Rohe, Gordon Bunshaft and Eero Saarinen merely brought to its quintessence a banal, anonymous architecture without qualities, described in retrospect by Rem Koolhaas as "the Typical Plan": the indeterminacy of this architecture of large, open, flexible plateaus goes hand in hand with the over-determinacy of its constructive elements and their extreme repetitiveness. The various artistic disciplines converge towards the most total abstraction, and the works tend, in some extreme cases, towards a reductio ad absurdum, where degree zero meets continuum ad infinitum. Buildings that amount to a stacking of empty plateaus, musical compositions full of silence, glass houses, white or black paintings, grids, cubes, repetitions, transparencies, reflections: open works, process-works and conceptual works put the very notion of the work of art on trial, and question the role and meaning of composition and its possible interpretation. Here the aim is not to give a new definition of minimalism, but rather to trace new genealogies and broaden its contours. This critical revision of the "minimal(-ist/-ism)" concept takes the form of a double movement: to establish "centripetal" links between architecture and music within the historical minimalist "style" (as defined by the history of art and music), and to extend its ramifications "centrifugally", making connections with other periods, other geographies and other art disciplines by thinking of minimalist "form" as a notion that is neither historically and geographically localized, nor assigned to any particular art discipline. The thesis considers the minimalist stance through the architectural notion of scale, and thus takes the form of a gigogne structure: universe - landscape - architecture - perceiving subject. Following this trans-scalar approach, we shall see that behind the rationalist and pragmatic discourses and the ostension of a desire to break with the art of the past, the minimalist attitude is in fact imbued with mysticism, even religiosity, thus extending, while renewing it, the spiritual function of art. Minimal forms tend to dissolve the work as object, and the work becomes a field: a field of experience of the unrepresentable, the ineffable, the infinite, or what Morton Feldman called "the abstract experience"

AbstractThe chapter outlines the cultural background for applying design strategies consistent with the challenge of circularity. The contribution focuses on ecological thinking as an effective design approach to produce and implement eco-innovative strategies able at facing environmental and societal challenges of our global age. Then the chapter depicts the Repair research experience in promoting a systemic design approach for recycling and reusing C&D waste as new, anthropogenic soils in peri-urban areas. According to the EEA Report n.6/2017, the chapter posits that the major environmental challenges of the present are not about single issues, such as waste reduction or soil-loss, rather they involve systemic change and design processes, linking together economy, social habits and technological responses. Therefore, the transition towards more sustainable urban metabolism deeply depends from creative visions by which breaking the circuit “take-make-dispose” and promote new—and somehow tentative—visions for implementing circularity at local and global scale. Further postulation in the paper is about assuming the concept of Anthropocene as theoretical ground for such eco-innovative design approach. The scientific evidence of living in human-dominated ecosystems makes designers towards a paradigm shift concerning the overcoming of the typical artificial/natural dichotomy by exploring the augmented opportunities in designing sustainable and resilient habitats thanks to a more collaborative, plural and innovative design approach: “What is important and significant here is how ecology and landscape architectural design might invent alternative forms of relationships between people, places and cosmos” (Corner, ‘Ecology and Landscape as agents of Creativity’, 1997, reprint in Reed &Lister (2018), Op. Cit., pp. 40–65, p. 42). Starting from these assumptions, the paper deepens the experience of collaborative design for implementing recycle and reuse of C&D waste for producing new technical soils, according to both the regulatory constraints (and potentials) and the site-specific features. The research goal is to provide new vegetated soils by waste thanks to an innovative design process based on both circular economy principles and collaborative knowledge production. Notably, the capacity of producing creative hybridization between biotic and abiotic component seems to be the new frontier in the field of technological design and material engineering. The term hypernatural, proposed by Blaine Brownell and Marc Swackhamer in 2015, introduces the idea of a co-evolutionary process between nature and science, looking at humans’ technological capacity as an effective opportunity for creating the conditions for making biotic ad abiotic systems working together: “The ultimate aim of technology is not antinatural: it is hypernatural” (Brownell & Swackhamer in Hyper-natural. Architecture’s new relationship with nature. Princeton Architectural Press, New York, p. 18, 2015). The chapter deals with the methodology applied for promoting a sort of protocological architecture (Burke, 2007), by which facilitating the C&D waste recycle and reuse within the construction sector, and notably into the landscape project. The research starts working under the H2020-Repair project, and it has developed within further research programs about C&D waste management in urban regeneration programs developed by the Department of Architecture of University of Naples Federico II.

The main objective of this essay was to contribute to the characterization of the genetic architecture of autism spectrum disorder (ASD) based on an analysis of a Brazilian series, which is still little studied. To achieve this goal, we verified the proportion of cases of ASD caused by de novo variants in neurodevelopment genes (genes from the SFARI bank and those associated with neurodevelopment described in the DECIPHER bank). Sixty-three trios were evaluated, composed of parents and probands diagnosed with ASD treated at the Human Genome and Stem Cell Studies Center (CEGH-CEL, USP). Genealogy, clinical data, gender, age at the consultation, and parental age were collected. Whole-exome sequencing was performed through a collaboration with Mount Sinai, New York, United States (collaboration with the Autism Sequencing ConsortiumACS). Identification of De novo variants in candidate genes for ASD was performed using the LOVD program (LOVD v.3.0 – Leiden Open Variation Database). It was observed that most of the probands were boys (n = 55, 86%), and the minority had a family history of ASD (n = 4, 6%). It was also found that 40% (n = 25) of individuals had a delay in language development, and a small percentage had comorbidities such as ADHD and epilepsy (n=6, 10% and n=2, 3%, respectively). The mean parental age at the time of pregnancy was close to 30 years for both parents (29.7 and 32.5 for the mother and father, respectively). Nine de novo pathogenic or potentially pathogenic variants were identified in candidate genes: for TEA: six in SFARI genes (four pathogenic variants in NF1, TLK2, DNAH17, BRSK2 genes, and two probably pathogenic variants in ARHGAP5 and HUWE1) and three in genes of neurodevelopment of DECIPHER (Deciphering Developmental Disorders Study, 2015) (two pathogenic variants in the ERLIN2, ST3GAL3 genes and one probably pathogenic in COL11A1). When performing the gene enrichment analysis of genes with pathogenic or potentially pathogenic variants, we observed the enrichment of genes for intracellular protein transport. The clinical picture of individuals with pathogenic or potentially pathogenic variants was expected, as previously described in the literature. This study suggests that de novo variants are also an essential mechanism for the etiology of ASD in Brazil, explaining the genetic architecture of 9.5% of cases.

Roberta Gironi Departamento de Proyectos Arquitectónicos, UPV. Camino de Vera, s/n. 46022 Valencia Joint Doctorate Dipartimento di Architettura – Teorie e Progetto. “Sapienza” Università degli Studi di Roma. Via Gramsci, 53. 00100 Roma E-mail: roberta.gironi@gmail.com Keywords (3-5): Informal processes, dynamic transformation, new planning approach, flexible space, self-organization Conference topics and scale: Reading and regenerating the informal city Contemporary cities are affected by transformations that put in discussion the claim of control and stability to which the urban project aspires. All those gradual adjustments are manifested according to the demand, bring toward a less formal and more flexible spatial order, for which the traditional forms of the "static" city become the background of the "kinetic" landscape of informal cities. On the contrary of the formal processes of urban planning, informality process is configured as an organic development model and a flexible dynamic system opened to changes. The informal space is produced according to principles of spontaneity and self-organization. A consideration on the possibility to assume different approaches can be proposed. Those approaches should integrate in the design reasoning all the dynamics usually excluded by the discourse on the urban project, which processes can become catalysts to enrich the methods of planning and design of the urban space. Through the analysis of the case-study Previ Lima and the Living Room at the Border of St. Ysidro, the aim is to delineate in which way the contemporary architecture can absorb and metabolize these processes, triggering a different approach to a different method to intervene in the spaces of relationship among formal and informal. It is believed that the informal urban qualities cannot be eliminated and is impossible to ignore the inhabitants' practices, but rather to work on the intersection between collective and individual actions. References Brillembourg A., Feireiss K., Klumpner H. (2005), Informal City (Prestel Publishing, Munich) Cruz T. (2008), "De la frontière globale au quartier de frontière: pratiques d'empiètement", Multitudes, 31(1). Davis M. (2006), Planet of Slums (Verso, London). Hernandez F., Kellett P., Allen L.K. (2010), Rethinking the informal city: critical perspectives from Latin America (Berghahn books, New York, Oxford). McFarlane C., Waibel M., (2012), Urban Informalities: Reflections on the Formal and Informal (Ashgate, Farnham). Jacobs J. (1961), The death and life of great American cities(Random House, New York- Toronto). Roy A., Alsayyad N., (2004) Urban Informality: Transnational Perspectives from the Middle East, Latin America, and South Asia (Lexington Books, Lanham)

Cartographying the real metropolis: A proposal for a data-based planning beyond the administrative boundaries. Juan R. Selva-Royo¹, Nuño Mardones¹, Alberto Cendoya² ¹University of Navarra, School of Architecture, Department of Theory and Design, University of Navarra Campus, 31080 Pamplona, Spain; ²University of Navarra, ICS, Navarra Center for International Development, University of Navarra Campus, 31080, Pamplona, Spain E-mail: jrselva@unav.es, nmardones@unav.es, cendoya.alberto@gmail.com Keywords (3-5): Data planning, metropolitan areas, big data, urban extent, good governance Conference topics and scale: Cartography and big data Nowadays, there is a great gap between the functional reality of urban agglomerations and their planning, largely because of the traditional linkage of urban management to the administrative limits inherited from the past. It is also true that the regulation of urban activities, including census and statistical information, requires a closer view of its citizens that can only be addressed from the municipal level. In any case, it is clear that the metropolitan delimitation has met useful but often ethereal or exclusionary criteria (economic or labor patterns, functional areas...), which become disfigured by an administrative reality that does not always correspond to the real metropolis. This paper, aware of the new cartographic possibilities linked to the big data - CORINE Land Cover, SIOSE, multi-sector digital atlases (in many cases referred to the urban extent, etc.) and other open system platforms - explores the evidence that might base a new objective methodology for the delimitation and planning of large urban areas. Indeed, what if basic data for cities would arise not from administrative entities but from independent outside approaches such as satellite imagery? What if every single sensing unit (every citizen, company, building or vehicle) directly issued relevant and dynamic information without going through the municipal collection? Finally, the research analyzes the eventual implications of this data-based planning with administrative structures and urban planning competencies in force through some current case studies, with the purpose of achieving a more efficient and clear metropolitan governance for our planet. References (100 words) Aguado, M. (coord.) (2012) Áreas Urbanas +50. Información estadística de las Grandes Áreas Urbanas españolas 2012 (Centro de Publicaciones Secretaría General Técnica Ministerio de Fomento, Madrid). Angel, S. (dir.) (2016) Atlas of Urban Expansion (http://www.atlasofurbanexpansion.org) accessed 29 January 2017. Brenner, N. and Katsikis, N. (2017) Is the World Urban? Towards a Critique of Geospatial Ideology (Actar Publishers, New York). Florczyk, A. J., Ferri, S., Syrris, V., Kemper, T., Halkia, M., Soille, P., and Pesaresi, M. (2016). ‘A New European Settlement Map from Optical Remotely Sensed Data’, IEEE Journal of Selected Topics in Applied Earth Observations and Remote Sensing 9, 1978-1992.

In spatial, social and cultural pluralism, the questions of human intentionality and socio-spatial emergence remain central to social theory (Portugali 2000, p.142). The correlation between individual preferences, values and intentions, and actual behaviour and actions, is subject to Portugali’s theory of self-organisation (2000). Compared to Gidden’s structuralism, which focuses on society and groups, the point of departure for Portugali (2000) are individuals and their personal choices. The key feature in how complex systems `self-organise', is that they `interpret', the information that comes from the environment (Portugali 2006). The current study explores the urban environment formerly inhabited, and largely constructed, by Jews in two central Polish districts: Mazovia and Lodz, before the tragedy of the Holocaust. While the Jewish presence lasted from the 11th century until the outbreak of World War II, the most intensive development took place in the 19th century, together with the civilisation changes introduced by industrialisation. Embracing the everyday habits of Jewish citizens endows the neighbourhood structures they once inhabited with long gone meanings, the information layer which once helped organise everyday life. The main thesis reveals that Jewish communities in pre-war Poland represented an example of a self-organising society, one which could be considered a prototype of contemporary postmodern cultural complexity. The mapping of this complexity at the scale of a neighbourhood is a challenge, a method for which is addressed in the current paper. The above considerations are in line with the empirical studies of the relations between Jews and Poles, especially in large cities, where more complex socio-cultural processes could have occurred. References: Eco, U. (1997) ‘Function and Sign: The Semiotics of Architecture’, in Leich, N. (ed.) Rethinking Architecture: A reader in cultural theory (Routledge Taylor & Francis Group, London) 182–202. Hillier, B. and Hanson, J. (2003) The Social Logic of Space (Cambridge University Press, Cambridge). Marshall, S. (2009) Cities, Design and Evolution (Routledge, Abingdon, New York). Portugali, J. (2000) Self-Organization and the City, (Springer-Verlag, Berlin Heidelberg). Portugali, J. (2006) ‘Complexity theory as a link between space and place’, Environment and Planning A 38(4) 647–664.

Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870. Jose Luis Cabanes Ginés¹, Federico Iborra Bernad², Carlos Bonafé Cervera3 ¹Departamento de Expresión Gráfica Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia. 2Departamento de Composición Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia 3Departamento de Ing. Cartográf. Geodesia y Fotogramtría. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia E-mail: jlcabane@ega.upv.es, f_iborra@yahoo.es, carboce1@topo.upv.es Keywords (3-5): virtual reconstruction, historical urban environment, image based animations Conference topics and scale: City transformations / Tools of analysis in urban morphology The recreation of the historical environment of emblematic urban spaces in our cities through interactive technologies, allows to extend their knowledge among the interested users while contributing to its assessment. When the documentary bases are photographs it is possible to carefully model the recorded elements using photogrammetry techniques based on 3D primitives, so that by means of an immersive navigation limited to certain points of view, an appearance of acceptable tridimensionality is obtained, where only isolated images of dispersed frames are available. The virtual recreation can be completed increasing its realistic appearance through its edition with animations of objects (for example, carriages) and characters, texts, musical setting, etc. The results can be presented in formats such as video or navigation through virtual reality helmets. From a selection of the first historical photographs of the Plaza de la Virgen, that we have obtained searching in several documentary sources, our multidisciplinary team is interested in a reliable, realistic and pleasant presentation of the urban environment of one of the most representative places in the city of Valencia, whose spatial configuration has changed significantly over the years. References (100 words) Braun, C., Kolbe, T. H., Lang, F., Schickler, W., Steinhage, V., Cremers, A. B., Förstner, W., Plümer, L., 1995. Models for photogrammetric building reconstruction. Computers & Graphics, Volume 19, Issue 1, pp. 109-118. Debevec, P., Taylor, C. J. and Malik, J., 1996. Modeling and rendering architecture from photographs: A hybrid geometry and image-based approach. SIGGRAPH’96, pp. 11–20. De Mesa, A., Regot, J., Nuñez, M. A. and Buill, F., (2009). Métodos y procesos para el levantamiento de reconstrucción tridimensional gráfica de elementos del patrimonio cultural. La iglesia de Sant Sever de Barcelona. Revista EGA, nº 14, pp. 82-89. Drap, P., Grussenmeyer, P. and Gaillard, G., 2001. Simple Photogrammetric Methods with ARPENTEUR: 3-D Plotting and Orthoimage generation. XVIII International Symposium CIPA 2001, Potsdam (Germany). International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, nº 34 (Part 5/C7), pp. 47-54. El-Hakim, S., Beraldin, J. and Lapointe, A., 2002. Towards Automatic Modeling of Monuments and Towers. IEEE Proceedings of the International Symposium on 3D Data Processing Visualization and Transmission, 3DPVT 2002, Padua, Italy, pp. 526-531. Proyecto Barcelona Darrera Mirada, http://darreramirada.ajuntament.barcelona.cat/#historia/8/1 The Old New York, http://vimeo.com/160024074, https://vimeo.com/162572088