Radiizonates arcuatus, a distinctive new miospore species from the Lower Carboniferous of Western Gondwana

A new species of trilete zonate miospores, Radiizonates arcuatus, is established for Lower Carboniferous Western Gondwanan forms hitherto ascribed misguidedly to Radiizonates genuinus (Jushko) Loboziak and Alpern (1978), a Russian Lower Carboniferous species. The latter binomen is, moreover, not a valid combination and is more correctly designated as Vallatisporites genuinus (Jushko) Byvsheva, 1980. R. arcuatus is, from records to date, confined to westerly parts of Gondwana (Brazil, North Africa and Middle East), in which it is characteristic of Early Carboniferous strata, albeit with some slightly older and slightly younger occurrences.

New calibration technique for multiple-component stress wave force balances

Force measurement in hypervelocity expansion tubes is not possible using conventional techniques. The stress wave force balance technique can be applied in expansion tubes to measure forces despite the short test times involved. This paper presents a new calibration technique for multiple-component stress wave force balances where an impulse response created using a load distribution is required and no orthogonal surfaces on the model exist.. This new technique relies on the tensorial superposition of single-component impulse responses analogous to the vectorial superposition of the calibration loads. The example presented here is that of a scale model of the Mars Pathfinder, but the technique is applicable to any geometry and may be useful for cases where orthogonal loads cannot be applied.

(FAB12_1_002) 'Would you know the new, you must search the old': William Lethaby's 'Architecture, Mysticism and Myth' (1891) and the 'Hypnerotomachia Poliphili' (1499)

Published in the final months of 1891, Architecture, Mysticism and Myth was the first architectural treatise written by the late nineteenth-century English architect and theorist William Richard Lethaby (1857-1931).' Documenting the characteristic attributes of the architectural myth of the "temple idea", and its presence amongst architectures of multiple ancient cultures, the text was endowed with a distinctly historical tone. In examining the motives behind myth, which Lethaby defined as the interaction and reaction between the natural universe and the built environment, Lethaby also injected a series of theoretical considerations into the text. It is clear that Lethaby's interest in the temple idea was not limited to its curious, prolific presence in past architectures, hut also embraced a consideration of what lessons the temple idea may contribute to the struggle of the late nineteenth-century English architect to define an "art of the future".

The myth of the nation: Historiography of New Zealand architecture since 1907

This paper considers the relationship between the recent historiography (of the last quarter century) of “New Zealand architecture” and the historical notion of “New Zealand-ness” invoked in contemporary architecture. It argues that a more recent programmatic uptake of post-War discussions on national identity and regional specificity has fed the tendencies of practicing architects to defer to history in rhetorical defences of their work: the beach-side mansion as a contemporary expression of the 1950s bach; a formal modernism divorced from the social discourse adherent to the historical moment that it “restates”; and so on. The paper will consider instances in the historiography of New Zealand architecture where historians have compounded, consciously or accidentally, a problem that is systemic to the uses made by architects of historical knowledge (in the most general examples), identifying the difficulties of relying upon the tentative conclusions of an under-studied field in developing principles of contemporary architectural practice under the banners of New Zealand-ness, regionalism, or localism, or with reference to icons of New Zealand architectural history. At the heart of this paper is a reflection on historiographical responsibility in presenting knowledge of a national past to an audience that is eager to transform that knowledge into principles of contemporary production. What, the paper asks, is the historical basis for speaking of a New Zealand architecture? Can we speak of a national history of architecture distinct from a regional history, or from an international history of architecture?