947 resultados para site specific


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Fire is an important natural disturbance process within the Australian landscape, but the complex and hazardous nature of fire creates a conservation management dilemma. For landholders of private conservation lands, management for conservation of biodiversity and risk reduction is complicated. Private conservation landholders in eastern Australia directed far less effort towards fire management than other conservation management actions, despite clearly acknowledging the risk and associated responsibilities of fire management on their lands. Nonetheless, landholders did undertake actions to reduce fuel hazards and prepare for wildfire events on their land. Despite the established role and benefits of fire to many ecosystems in the region, landholder understanding of the ecological role of fire was generally poor. Few landholders were aware of ecologically appropriate fire regimes for the vegetation types on their property, and few undertook fire management actions to achieve ecological outcomes. Site-specific obstacles, lack of fire management knowledge and experience, and legal and containment concerns contributed to the low level of fire management observed. There is a need for property-specific fire management planning across all private conservation lands, to further integrate ecological fire requirements into biodiversity management, and prioritise actions that aim to improve conservation outcomes while safeguarding life and property.

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Micropatterning of surfaces with varying chemical, physical and topographical properties usually requires a number of fabrication steps. Herein, we describe a micropatterning technique based on plasma enhanced chemical vapour deposition (PECVD) that deposits both protein resistant and protein repellent surface chemistries in a single step. The resulting multifunctional, selective surface chemistries are capable of spatially controlled protein adhesion, geometric confinement of cells and the site specific confinement of enzyme mediated peptide self-assembly.

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Im/mobile develops imagery of train passengers photographed using a technique that 'dissolves' the vehicle and reveals the temporary human interactions in the state of transit. It is site-specific in the context of White Street Projects which is in the Frankston Station precinct. In terms of public Melbourne commuter transport particularly for the Metro passengers on the Frankston line. It is a window into the demographic and the social relations of suburban Frankston.

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This installation work sets out a number of proposals for future collaborations with the Southwest Victoria regions communities. Through a series of drawings/ diagram that focus on particular aspects of the region: stone walls, eel weirs. The concept for the work is taken from the folktale of travelers who come to a village asking for food and when denied, they make a magical stone soup which only need a few garnishes. in the end the traveler have enough soup for the entire village. this stands as a allegory of the way artist engage with community and induce cooperative activities a through the trickery of art practices by which all can partake and produce common, mutually beneficial experience.

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A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.

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A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.

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Two improvised performances of five hours duration each with nine dancers responding to the environment and interacting with spectators within the red train in CERES environmental park.

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For these performances, the new Design Hub building will play the role of architectural surrounds used as spatial research devices, architectural agent and collaborator – by giving the building our attention we aim to bring it and its affordances explicitly into the collective body. In exploring the set of interlinked spaces in the Hub (with an emphasis, we propose, on the stairs) as “elaborately structured pretexts for action” , we anticipate that the beginnings of an approach may emerge and allow us to understand that when a person “flexes her muscles, a person [also] flexes her surroundings”. Arakawa and Gins offer ways to assist us in approaching architecture as a tentative constructing toward a holding in place – in which all modes of sensing and scales of action are exercised – through their notions of ‘architectural surround’ and ‘architectural body’ garnered from chapters ‘Notes for an Architectural Body’ and ‘Architectural Surround’ (Gins and Arakawa, 2002).

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Writing operates in an expanding field of intersections between symbol, inflection and further meaning. The materiality of writing, its embodied action, situated context and myriad substantive expressions, requires an interdisciplinary approach best advanced by collaborative teams and fuelled by collective concerns. At a recent design conference, Doha 2013: Hybrid Making, our team of creative arts researchers (Jondi Keane, Patrick West and Valerie Jeremijenko) conducted a workshop based on the idea of reverse engineering the notion of a souvenir, by starting with the sensation rather than the iconic image. The approaches explored by the group focused on the ways in which a sensation, emotion and/or idea attach to an object and how an object offers itself as an attractor for memory and indicate that when experience, sensation and place are emphasized, the materiality of writing comes to the fore. We assert that material writing allows or even requires a fluid movement between conceptual and perceptual modes of creative practice. In this paper we will unpack different methods of material writing: the materiality of the act of writing with substances, site-specific/site-conditioned writing and 3D printing. Through the particularity of each mode of material writing our discussions will examine the points of attachment that we, as symbolizing creatures, produce in order to orient and reconstruct a world on the fly. Material writing constantly brings us back to earth, anchoring us to the expanded processes integral to hybrid-making.

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While it is widely acknowledged that bones adapt to the site-specific prevalent loading environment, reasonable ways to estimate skeletal loads are not necessarily available. For long bone shafts, muscles acting to bend the bone may provide a more appropriate surrogate of the loading than muscles expected to cause compressive loads. Thus, the aim of this study was to investigate whether mid-thigh muscle cross-sectional area (CSA) was a better predictor of tibial mid-shaft bone strength than mid-tibia muscle CSA in middle aged and older men. 181 Caucasian men aged 50–79 years (mean±SD; 61±7 years) participated in this study. Mid-femoral and mid-tibial bone traits cortical area , density weighted polar moment of area and muscle CSA [cm²] were assessed with computed tomography. Tibial bone traits were positively associated with both the mid-femur (r=0.44 to 0.46, P<0.001) and the mid-tibia muscle CSA (r=0.35 to 0.37, P<0.001). Multivariate regression analysis, adjusting for age, weight, physical activity and femoral length, indicated that mid-femur muscle CSA predicted tibial mid-shaft bone strength indices better thn mid-tibia muscle CSA. In conclusion, the association between a given skeletal site and functionally adjacent muscles may provide a meaningful probe of the site-specific effect of loading on bone.

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Three dancers moved between and into Lake Bolac’s historic and community buildings dancing in each building. A series of transient micro-dances intimately inhabited the spaces themselves, stirred by the qualities and impact of the architecture. Evoking ghosts of the past but also inviting fresh eyes for these spaces, the mingling of past and present was embodied in the presence of the performers as they traversed the township of Lake Bolac.

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A multi-disciplinary, site-specific performance which moved between several spaces in the Courthouse Arts building. The work combined improvised dance, choreographic practice, video projection and sound which utilized and computer-manipulated the Federation Handbells.

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Energy consumption attributed to the residential sector makes up around 8% of the total consumption in Australia. Roughly a third of all houses built in Victoria are done so by the largest 20 builders. These volume builders keep costs down by offering a selection of ‘clone’ designs from which the client can choose, however they lose the site-specific customisation which is required for effective passive design in favour of a one-size-fits-all approach where designs are developed to a point where they can satisfy just the minimum requirements in a range of orientations and site locations. The Australian government has implemented regulations regarding the minimum efficiency standards for housing and these initiatives to limit the carbon emissions have brought the question of energy use to the table, yet are they enough? This paper will explore the concept of cloned house designs in terms of energy efficiency and optimal siting and through computer simulation, evaluate how a cloned house design performs under different site conditions in Victoria.

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Stories from the River was a visual investigation into the forgotten history of the Yarra River presented by students studying Performance for Alternative Spaces at Deakin University’s School of Communication and Creative Arts. They dredged from the river, forgotten objects…and every object had a story to tell. On the main lawns of Arts Centre Melbourne, the objects were placed as symbols of remembrance to the mysterious and intriguing history of the River.

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The author's studied the photocatalytic properties of rational designed TiO2-ZnO hybrid nanostructures, which were fabricated by the site-specific deposition of amorphous TiO2 on the tips of ZnO nanorods. Compared with the pure components of ZnO nanorods and amorphous TiO2 nanoparticles, these TiO2-ZnO hybrid nanostructures demonstrated a higher catalytic activity. The strong green emission quenching observed from photoluminescence of TiO2-ZnO hybrid nanostructures implied an enhanced charge transfer/separation process resulting from the novel type II heterostructures with fine interfaces. The catalytic performance of annealing products with different TiO2phase varied with the annealing temperatures. This is attributed to the combinational changes in Egof the TiO2phase, the specific surface area and the quantity of surface hydroxyl groups.