Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Facade Study], untitled. Ink sketches on tracing paper with gray and blue marker coloring, 12 x 15 1/2 inches [from photographic copy by Lance Burgharrdt]

Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Schematic Design Drawing of Elevations], untitled. Ink and red pencil drawing on blue-line print, initialed, 14 1/4 x 42 inches [from photographic copy by Lance Burgharrdt]

Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Roof Study], untitled. Ink sketch on tracing paper with purple marker coloring, 18 x 20 3/4 inches [from photographic copy by Lance Burgharrdt]

Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Roof Study], untitled. Ink sketch on tracing paper with purple marker coloring, 18 x 22 3/4 inches [from photographic copy by Lance Burgharrdt]

Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Roof Study], untitled. Ink and red crayon sketch on tracing paper, 18x19 inches [from photographic copy by Lance Burgharrdt]

Sports and Civic Stadium, Venice, Italy 1989-1992 (unbuilt project)

[Roof Study], untitled. Ink sketch on notebook paper, 8 1/2 x 11 inches [from photographic copy by Lance Burgharrdt]

Sui quattro cavalli della basilica di S. Marco in Venezia;

Cicognara,

La sotterranea confessione della romana basilica di S. Marco : recentemente scoperta, descritta, ed illustrata /

Includes bibliographical references.

Temporalité et surveillance dans l'art de David Rokeby

Pour respecter les droits d'auteur, la version électronique de ce mémoire à été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Table 1: Soil chemical properties of the analysed depth profiles in the Venice lagoon

Visual traces of iron reduction and oxidation are linked to the redox status of soils and have been used to characterise the quality of agricultural soils.We tested whether this feature could also be used to explain the spatial pattern of the natural vegetation of tidal habitats. If so, an easy assessment of the effect of rising sea level on tidal ecosystems would be possible. Our study was conducted at the salt marshes of the northern lagoon of Venice, which are strongly threatened by erosion and rising sea level and are part of the world heritage 'Venice and its lagoon'. We analysed the abundance of plant species at 255 sampling points along a land-sea gradient. In addition, we surveyed the redox morphology (presence/absence of red iron oxide mottles in the greyish topsoil horizons) of the soils and the presence of disturbances. We used indicator species analysis, correlation trees and multivariate regression trees to analyse relations between soil properties and plant species distribution. Plant species with known sensitivity to anaerobic conditions (e.g. Halimione portulacoides) were identified as indicators for oxic soils (showing iron oxide mottles within a greyish soil matrix). Plant species that tolerate a low redox potential (e.g. Spartina maritima) were identified as indicators for anoxic soils (greyish matrix without oxide mottles). Correlation trees and multivariate regression trees indicate the dominant role of the redox morphology of the soils in plant species distribution. In addition, the distance from the mainland and the presence of disturbances were identified as tree-splitting variables. The small-scale variation of oxygen availability plays a key role for the biodiversity of salt marsh ecosystems. Our results suggest that the redox morphology of salt marsh soils indicates the plant availability of oxygen. Thus, the consideration of this indicator may enable an understanding of the heterogeneity of biological processes in oxygen-limited systems and may be a sensitive and easy-to-use tool to assess human impacts on salt marsh ecosystems.

The exaptive excellence of spandrels as a term and prototype

In 1979, Lewontin and I borrowed the architectural term “spandrel” (using the pendentives of San Marco in Venice as an example) to designate the class of forms and spaces that arise as necessary byproducts of another decision in design, and not as adaptations for direct utility in themselves. This proposal has generated a large literature featuring two critiques: (i) the terminological claim that the spandrels of San Marco are not true spandrels at all and (ii) the conceptual claim that they are adaptations and not byproducts. The features of the San Marco pendentives that we explicitly defined as spandrel-properties—their necessary number (four) and shape (roughly triangular)—are inevitable architectural byproducts, whatever the structural attributes of the pendentives themselves. The term spandrel may be extended from its particular architectural use for two-dimensional byproducts to the generality of “spaces left over,” a definition that properly includes the San Marco pendentives. Evolutionary biology needs such an explicit term for features arising as byproducts, rather than adaptations, whatever their subsequent exaptive utility. The concept of biological spandrels—including the examples here given of masculinized genitalia in female hyenas, exaptive use of an umbilicus as a brooding chamber by snails, the shoulder hump of the giant Irish deer, and several key features of human mentality—anchors the critique of overreliance upon adaptive scenarios in evolutionary explanation. Causes of historical origin must always be separated from current utilities; their conflation has seriously hampered the evolutionary analysis of form in the history of life.

Pieces of Iowa’s Past, April 11, 2012

Pieces of Iowa’s Past, published by the Iowa State Capitol Tour Guides weekly during the legislative session, features historical facts about Iowa, the Capitol, and the early workings of state government. All historical publications are reproduced here with the actual spelling, punctuation, and grammar retained. April 11, 2012 THIS WEEK: Iowa State Capitol Mosaics BACKGROUND: Frederick Dielman Born in Germany in 1847, Frederick Dielman was an illustrator and figure painter. Dielman designed the six mosaic panels in the Iowa State Capitol along the east wall on the third floor. The mosaics were actually made in Venice, Italy, and shipped to the Capitol. The mosaics in the Capitol represent the three branches of government, education, defense, and charities.