391 resultados para Architecture, Medieval


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Historically in Gaelic culture, the bard was greatly valued and admired as an important and integral part of society. Travelled, schooled and specifically trained in their art, the bard helped ensure identity and reassurance for Gaelic families by grounding them both temporarily and spatially into their landscape. Entrusted with the duty and responsibility of recording place and event, the bards worked without writing and by transgressing man-made boundaries, travelled throughout the land weaving their histories into the very fabric of society.

Now no longer with us, we find ourselves without the distinguished chronicler to undertake this duty. Yet the responsibility of the Gaelic bard is one still shared by all artists today; to facilitate memory and identity, whether good or bad. Many Ulster writers, by happenstance and geography have found themselves located in a place of painful histories. An immediate difficulty for those local writers becomes manifest by being intrinsically implicated into those histories – whilst having first-hand knowledge and comprehension beyond that of the outsider, the local writer is automatically damned by association and relationship, thereby tarnishing their voice in comparison to the perceived impartiality of others.
Some writers however have successfully sought ways to escape this limitation and have worked in ways that can transgress the restrictions of prejudgement. John Hewitt, by purposely becoming a self-imposed tourist was able to distance himself to write impartially about the past, recognising that ’the place without its ghosts is a barren place.’1 In ‘The Colony’,2 tradition, peoples and mapping of the land are all narrated by Hewitt in a similar way to the Gaelic bardic topographic poems of Sean O'Dubhagain and Giolla Na Naomh O'Huidhrin3 in compiling a rich cultural atlas.

Similarly the Belfast poet and novelist Ciaran Carson also writes and records the city from an intermediary position; that of translator. Mediating between reader and aisling,4 Carson himself takes the reader on a journey into name, meaning, time and place, focusing primarily on the city of Belfast, familiar in name but impenetrable in depth to most.

Furthermore, this once-forgotten tradition to chronicle is now being continued by the new breed of Irish crime writers where the likes of Brian McGilloway, Stuart Neville and Adrian McKinty can, by way of the crime novel, accurately record contemporary society. Thus, ghost estates, listed buildings, archaeological digs, street and city have all provided setting and subject matter for recent novels. Moreover by choosing the ‘outsider from within’ as their chief protagonist, whether detective or criminal, each author is able to transgress the boundaries of prejudice and preconception that hinder genuine understanding and knowledge.

Looking in turn at the Gaelic bard, the twentieth century Ulster poet and the new breed of Irish crime writer, the authors will outline the real value of the narrator, by being able to act as cultural transgressor beyond the seeming and alleged as the true chronicler in society, and then with specific reference to city and countryside in Ireland, as a valuable custodian of knowledge in architecture and place.

Keywords
Architecture, Crime Fiction, Cultural Atlas, Place, Poetry.

1 From ‘The Bloody Brae’, a one act play written by John Hewitt in the 1930’s.
2 Hewitt, J. (1968) published in Collected Poems 1932-67. London:McGibbon & Kee.
3 Lengthy and detailed medieval Gaelic poems composed in the fourteenth and fifteenth centuries first edited by John O'Donovan in 1862 for the Irish Archaeological and Celtic Society in Dublin.
4 The aisling is the Irish song or poem genre when the poet is visited by their muse in a daydream or dream-vision state.

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The international border between Northern Ireland and the South (the Republic of Ireland) came into being in 1922, but there are many important historical antecedents to the notion and expression of spatial separation in this borderland. The author identifies historical precedents and links them to recent defensive features in order to generate a 'map of watchful architecture' that includes recent and much older elements.

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For The Map of Watchful Architecture I only concerned myself with defensive architecture along the Border. As the map followed a border it came out as a wavy line of points. This was largely artificial, I only charted architecture within the Border corridor, but was not entirely artificial. That linear landscape has long been staked-out by the regularity of certain kinds of architecture. The 1st/2nd century Black Pig’s Dyke and Dorsey correspond with today’s Border. The concentration of souterrains in north Louth indicate that it may have been a volatile interface zone in later centuries. In 1618 Londonderry and its walls were built. Further north and two centuries later, Martello Towers were constructed to watch over Lough Foyle. During the Second World War pillboxes and observation posts were manned along the Border, close to what was now an international frontier. Then came the Operation Banner installations built during The Troubles. All this adds up to be one of the longest unbroken traditions of defensive architecture anywhere in Western Europe, a tradition some thought finally broken as the last of the Operation Banner towers were de-installed in 2007. But, take a bus south across the Border and you will often be pulled over by the Garda Síochána. They ID check the passengers in an attempt to stop illegal immigration via the UK. What about illegal immigrants who walk through the fields or along quiet lanes? They will have understood the Border is not really how it seems on most maps. It is not a solid line, it is a row of points.

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It has often been assumed that the islands of Orkney were essentially treeless throughout much of the Holocene, with any ‘scrub’ woodland having been destroyed by Neolithic farming communities by around 3500 cal. BC. This apparently open, hyper-oceanic environment would presumably have provided quite marginal conditions for human settlement, yet Neolithic communities flourished and the islands contain some of the most spectacular remains of this period in north-west Europe. The study of new Orcadian pollen sequences, in conjunction with the synthesis of existing data, indicates that the timing of woodland decline was not synchronous across the archipelago, beginning in the Mesolithic, and that in some areas woodland persisted into the Bronze Age. There is also evidence to suggest that woodland communities in Orkney were more diverse, and therefore that a wider range of resources was available to Neolithic people, than has previously been assumed. Recent archaeological investigations have revealed evidence for timber buildings at early Neolithic settlement sites, suggesting that the predominance of stone architecture in Neolithic Orkney may not have been due to a lack of timber as has been supposed. Rather than simply reflecting adaptation to resource constraints, the reasons behind the shift from timber to stone construction are more complex and encompass social, cultural and environmental factors.

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Approaches exploiting trait distribution extremes may be used to identify loci associated with common traits, but it is unknown whether these loci are generalizable to the broader population. In a genome-wide search for loci associated with the upper versus the lower 5th percentiles of body mass index, height and waist-to-hip ratio, as well as clinical classes of obesity, including up to 263,407 individuals of European ancestry, we identified 4 new loci (IGFBP4, H6PD, RSRC1 and PPP2R2A) influencing height detected in the distribution tails and 7 new loci (HNF4G, RPTOR, GNAT2, MRPS33P4, ADCY9, HS6ST3 and ZZZ3) for clinical classes of obesity. Further, we find a large overlap in genetic structure and the distribution of variants between traits based on extremes and the general population and little etiological heterogeneity between obesity subgroups.

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Architecture Description Languages (ADLs) have emerged in recent years as a tool for providing high-level descriptions of software systems in terms of their architectural elements and the relationships among them. Most of the current ADLs exhibit limitations which prevent their widespread use in industrial applications. In this paper, we discuss these limitations and introduce ALI, an ADL that has been developed to address such limitations. The ALI language provides a rich and flexible syntax for describing component interfaces, architectural patterns, and meta-information. Multiple graphical architectural views can then be derived from ALI's textual notation.

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Software Product-Line Engineering has emerged in recent years, as an important strategy for maximising reuse within the context of a family of related products. In current approaches to software product-lines, there is general agreement that the definition of a reference-architecture for the product-line is an important step in the software engineering process. In this paper we introduce ADLARS, a new form of architecture Description language that places emphasis on the capture of architectural relationships. ADLARS is designed for use within a product-line engineering process. The language supports both the definition of architectural structure, and of important architectural relationships. In particular it supports capture of the relationships between product features, component and task architectures, interfaces and parameter requirements.

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In this chapter Morrow talks of her return to Northern Ireland to 2003 and how her involvement in establishing a new school of architecture and a recent suite of interdisciplinary masters has led her to consider the relationship between the post-conflict context, architectural practice and its education. She examines the consequences of not facing the effects of conflict; the impact on societal and architectural creativity; and the potential for live project pedagogy to evolve effective models of socio-spatial rehearsals. She concludes with some strategies for schools of architecture that wish to feed and be fed by their context. This is a personalized commentary that teeters somewhere between deep-seated frustration with a blind-folded profession and sustained belief in architectural education’s potential to offer more than built solutions.

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In the digital age, the hyperspace of virtual reality systems stands out as a new spatial concept creating a parallel realm to "real" space. Virtual reality influences one’s experience of and interaction with architectural space. This "otherworld" brings up the criticism of the existing conception of space, time and body. Hyperspaces are relatively new to designers but not to filmmakers. Their cinematic representations help the comprehension of the outcomes of these new spaces. Visualisation of futuristic ideas on the big screen turns film into a medium for spatial experimentation. Creating a possible future, The Matrix (Andy and Larry Wachowski, 1999) takes the concept of hyperspace to a level not-yet-realised but imagined. With a critical gaze at the existing norms of architecture, the film creates new horizons in terms of space. In this context, this study introduces science fiction cinema as a discussion medium to understand the potentials of virtual reality systems for the architecture of the twenty first century. As a "role model" cinema helps to better understand technological and spatial shifts. It acts as a vehicle for going beyond the spatial theories and designs of the twentieth century, and defining the conception of space in contemporary architecture.

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In The City of Collective Memory, urban historian Christina Boyer (1994) defines the image of a city as an abstracted concept, an imaginary (re)constructed form. This urban image is created from many aspects, one of which is the framed and edited views and experiences found in films situated in or about a particular city. In this study, to explore the collective memory of the city of Berlin from an architectural point of view, one film from each of the major historical periods of Berlin since the invention of cinema is examined: pre-WWI, interwar period, the Nazi period, post-WWII, Berlin Wall/Cold War, and the reunification period. Memory-making in the city is studied following the footsteps of the protagonists in the films, concluding that film-making and memory-making make use of similar processes, the editing of fragmented pieces of so-called reality, to create its own reality.

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This article offers a reconsideration of planning and development in
English towns and cities after the Black Death (1348). Conventional historical
accounts have stressed the occurrence of urban ‘decay’ in the later fourteenth and fifteenth centuries. Here, instead, a case is made that after 1350 urban planning continued to influence towns and cities in England through the transformation of their townscapes. Using the conceptual approaches of urban morphologists in particular, the article demonstrates that not only did the foundation of new towns and creation of new suburbs characterize the period 1350–1530, but so too did the redevelopment of existing urban landscapes through civic improvements and public works. These reveal evidence for the particular ‘agents of change’ involved in the planning and development process, such as surveyors, officials, patrons and architects, and also the role played by maps and drawn surveys. In this reappraisal, England’s urban experiences can be seen to have been closely connected with those instances of urban planning after the Black Death occurring elsewhere in contemporary continental Europe.

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In this paper, we have developed a low-complexity algorithm for epileptic seizure detection with a high degree of accuracy. The algorithm has been designed to be feasibly implementable as battery-powered low-power implantable epileptic seizure detection system or epilepsy prosthesis. This is achieved by utilizing design optimization techniques at different levels of abstraction. Particularly, user-specific critical parameters are identified at the algorithmic level and are explicitly used along with multiplier-less implementations at the architecture level. The system has been tested on neural data obtained from in-vivo animal recordings and has been implemented in 90nm bulk-Si technology. The results show up to 90 % savings in power as compared to prevalent wavelet based seizure detection technique while achieving 97% average detection rate. Copyright 2010 ACM.

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In this paper, we present a novel discrete cosine transform (DCT) architecture that allows aggressive voltage scaling for low-power dissipation, even under process parameter variations with minimal overhead as opposed to existing techniques. Under a scaled supply voltage and/or variations in process parameters, any possible delay errors appear only from the long paths that are designed to be less contributive to output quality. The proposed architecture allows a graceful degradation in the peak SNR (PSNR) under aggressive voltage scaling as well as extreme process variations. Results show that even under large process variations (±3σ around mean threshold voltage) and aggressive supply voltage scaling (at 0.88 V, while the nominal voltage is 1.2 V for a 90-nm technology), there is a gradual degradation of image quality with considerable power savings (71% at PSNR of 23.4 dB) for the proposed architecture, when compared to existing implementations in a 90-nm process technology. © 2006 IEEE.

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In this paper, we present a unified approach to an energy-efficient variation-tolerant design of Discrete Wavelet Transform (DWT) in the context of image processing applications. It is to be noted that it is not necessary to produce exactly correct numerical outputs in most image processing applications. We exploit this important feature and propose a design methodology for DWT which shows energy quality tradeoffs at each level of design hierarchy starting from the algorithm level down to the architecture and circuit levels by taking advantage of the limited perceptual ability of the Human Visual System. A unique feature of this design methodology is that it guarantees robustness under process variability and facilitates aggressive voltage over-scaling. Simulation results show significant energy savings (74% - 83%) with minor degradations in output image quality and avert catastrophic failures under process variations compared to a conventional design. © 2010 IEEE.

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2-D Discrete Cosine Transform (DCT) is widely used as the core of digital image and video compression. In this paper, we present a novel DCT architecture that allows aggressive voltage scaling by exploiting the fact that not all intermediate computations are equally important in a DCT system to obtain "good" image quality with Peak Signal to Noise Ratio(PSNR) > 30 dB. This observation has led us to propose a DCT architecture where the signal paths that are less contributive to PSNR improvement are designed to be longer than the paths that are more contributive to PSNR improvement. It should also be noted that robustness with respect to parameter variations and low power operation typically impose contradictory requirements in terms of architecture design. However, the proposed architecture lends itself to aggressive voltage scaling for low-power dissipation even under process parameter variations. Under a scaled supply voltage and/or variations in process parameters, any possible delay errors would only appear from the long paths that are less contributive towards PSNR improvement, providing large improvement in power dissipation with small PSNR degradation. Results show that even under large process variation and supply voltage scaling (0.8V), there is a gradual degradation of image quality with considerable power savings (62.8%) for the proposed architecture when compared to existing implementations in 70 nm process technology.