Temperature, water level and bathymetry of thermokarst lakes in the continuous permafrost zone of northern Siberia - Lena River Delta, Siberia

Thermokarst lakes are typical features of the northern permafrost ecosystems, and play an important role in the thermal exchange between atmosphere and subsurface. The objective of this study is to describe the main thermal processes of the lakes and to quantify the heat exchange with the underlying sediments. The thermal regimes of five lakes located within the continuous permafrost zone of northern Siberia (Lena River Delta) were investigated using hourly water temperature and water level records covering a 3-year period (2009-2012), together with bathymetric survey data. The lakes included thermokarst lakes located on Holocene river terraces that may be connected to Lena River water during spring flooding, and a thermokarst lake located on deposits of the Pleistocene Ice Complex. Lakes were covered by ice up to 2 m thick that persisted for more than 7 months of the year, from October until about mid-June. Lake-bottom temperatures increased at the start of the ice-covered period due to upward-directed heat flux from the underlying thawed sediment. Prior to ice break-up, solar radiation effectively warmed the water beneath the ice cover and induced convective mixing. Ice break-up started at the beginning of June and lasted until the middle or end of June. Mixing occurred within the entire water column from the start of ice break-up and continued during the ice-free periods, as confirmed by the Wedderburn numbers, a quantitative measure of the balance between wind mixing and stratification that is important for describing the biogeochemical cycles of lakes. The lake thermal regime was modeled numerically using the FLake model. The model demonstrated good agreement with observations with regard to the mean lake temperature, with a good reproduction of the summer stratification during the ice-free period, but poor agreement during the ice-covered period. Modeled sensitivity to lake depth demonstrated that lakes in this climatic zone with mean depths > 5 m develop continuous stratification in summer for at least 1 month. The modeled vertical heat flux across the bottom sediment tends towards an annual mean of zero, with maximum downward fluxes of about 5 W/m**2 in summer and with heat released back into the water column at a rate of less than 1 W/m**2 during the ice-covered period. The lakes are shown to be efficient heat absorbers and effectively distribute the heat through mixing. Monthly bottom water temperatures during the ice-free period range up to 15 °C and are therefore higher than the associated monthly air or ground temperatures in the surrounding frozen permafrost landscape. The investigated lakes remain unfrozen at depth, with mean annual lake-bottom temperatures of between 2.7 and 4 °C.

Field measurements of the atmosphere, ocean, sea ice and sub-ice platelet layer at Atka Bay in 2013

Ice shelves strongly interact with coastal Antarctic sea ice and the associated ecosystem by creating conditions favourable to the formation of a sub-ice platelet layer. The close investigation of this phenomenon and its seasonal evolution remain a challenge due to logistical constraints and a lack of suitable methodology. In this study, we characterize the seasonal cycle of Antarctic fast ice adjacent to the Ekström Ice Shelf in the eastern Weddell Sea. We used a thermistor chain with the additional ability to record the temperature response induced by cyclic heating of resistors embedded in the chain. Vertical sea-ice temperature and heating profiles obtained daily between November 2012 and February 2014 were analyzed to determine sea-ice and snow evolution, and to calculate the basal energy budget. The residual heat flux translated into an ice-volume fraction in the platelet layer of 0.18 ± 0.09, which we reproduced by a independent model simulation and agrees with earlier results. Manual drillings revealed an average annual platelet-layer thickness increase of at least 4m, and an annual maximum thickness of 10m beneath second-year sea ice. The oceanic contribution dominated the total sea-ice production during the study, effectively accounting for up to 70% of second-year sea-ice growth. In summer, an oceanic heat flux of 21 W/m**2 led to a partial thinning of the platelet layer. Our results further show that the active heating method, in contrast to the acoustic sounding approach, is well suited to derive the fast-ice mass balance in regions influenced by ocean/ice-shelf interaction, as it allows sub-diurnal monitoring of the platelet-layer thickness.

Hydrological and meteorological records from the Vernagtferner Basin - Vernagtbach station, for the years 2002 to 2012

In November 2001, two separate Campbell loggers ("Meteologger" and "Hydrologger", both type CR23X) were installed at the Vernagtbach site in the Oetztal Alps, Austria (Latitude: 46.85; Longitude: 10.82; Elevation: 2640 m). On these loggers, 10-minutes centred averages for the meteorological data and 5-minutes centred averages for the hydrological data are recorded. The meteorological parameters comprise air temperature, humidity of the air, air pressure, four radiation components, wind direction and speed, precipitation and snow height. For air temperature, two records are published, recorded with a ventilated and an unventilated Pt-100 in a Stevenson screen; for precipitation, three time series are available: (I) the cumulative record of a weighing gauge for the whole year, (II) single events derived from (I), and (III) single events from a tipping bucket; (II) and (III) are only provided for the period 1, May to 31, October of each year. Wind records are also given with a time step of one hour, as only these records include several statistics of speed and direction. Hydrological parameters are recorded on the "Hydrologger", they comprise water stage, discharge, water temperature and electrolytic conductivity of the water. An identifying number gives the kind of instrument used in the water stage time series. Daily photographs of the glacier are provided and analysed with respect to precipitation type.

European Leaf Physiognomic Approach ELPA

Physiognomic traits of plant leaves such as size, shape or margin are decisively affected by the prevailing environmental conditions of the plant habitat. On the other hand, if a relationship between environment and leaf physiognomy can be shown to exist, vegetation represents a proxy for environmental conditions. This study investigates the relationship between physiognomic traits of leaves from European hardwood vegetation and environmental parameters in order to create a calibration dataset based on high resolution grid cell data. The leaf data are obtained from synthetic chorologic floras, the environmental data comprise climatic and ecologic data. The high resolution of the data allows for a detailed analysis of the spatial dependencies between the investigated parameters. The comparison of environmental parameters and leaf physiognomic characters reveals a clear correlation between temperature related parameters (e.g. mean annual temperature or ground frost frequency) and the expression of leaf characters (e.g. the type of leaf margin or the base of the lamina). Precipitation related parameters (e.g. mean annual precipitation), however, show no correlation with the leaf physiognomic composition of the vegetation. On the basis of these results, transfer functions for several environmental parameters are calculated from the leaf physiognomic composition of the extant vegetation. In a next step, a cluster analysis is applied to the dataset in order to identify "leaf physiognomic communities". Several of these are distinguished, characterised and subsequently used for vegetation classification. Concerning the leaf physiognomic diversity there are precise differences between each of these "leaf physiognomic classes". There is a clear increase of leaf physiognomic diversity with increasing variability of the environmental parameters: Northern vegetation types are characterised by a more or less homogeneous leaf physiognomic composition whereas southern vegetation types like the Mediterranean vegetation show a considerable higher leaf physiognomic diversity. Finally, the transfer functions are used to estimate palaeo-environmental parameters of three fossil European leaf assemblages from Late Oligocene and Middle Miocene. The results are compared with results obtained from other palaeo-environmental reconstructing methods. The estimates based on a direct linear ordination seem to be the most realistic ones, as they are highly consistent with the Coexistence Approach.

Continuous measurements at Schwingbachtal Studienlandschaft in the growing seasons 2013-2014

The recent development of in-situ monitoring devices, such as UV-spectrometers, makes the study of short-term stream chemistry variation relevant, especially the study of diurnal cycles, which are not yet fully understood. Our study is based on high-frequency data from an agricultural catchment (Studienlandschaft Schwingbachtal, Germany). We propose a novel approach, i.e. the combination of cluster analysis and Linear Discriminant Analysis, to mine from these data nitrate behavior patterns. As a result, we observe a seasonality of nitrate diurnal cycles, that differs from the most common cycle seasonality described in the literature, i.e. pre-dawn peaks in spring. Our cycles appear in summer and the maximum and minimum shift to a later time in late summer/autumn. This is observed both for water- and energy-limited years, thus potentially stressing the role of evapotranspiration. This concluding hypothesis on the role of evapotranspiration on nitrate stream concentration, which was obtained through data mining, broadens the perspective on the diurnal cycling of stream nitrate concentrations.

Materialidad poética: arquitectura suiza en el entorno de los Grisones 1992-2004

El entorno alpino de los Grisones ha sido un laboratorio donde experimentar un método arquitectónico procedente de diversas fuentes durante los años 70 en la ETHZ. Este método ha producido durante las últimas tres décadas un discurso teórico propiamente suizo alemán. La tradición continúa siendo un valor cultural para la comunidad alpina de los Grisones, que apuesta por seguir relacionando la arquitectura con su historia y su paisaje. La especificidad de cada entorno suizo alemán es un hecho obvio pero, por encima de sus rasgos característicos, hay un denominador común que les da unidad en silencio: se trata de una idea de la construcción. El fenómeno de los Grisones es territorial en su localización concreta, pero comparte el trasfondo teórico del resto de la arquitectura suizo alemana reciente. La tesis recorre transversalmente las condiciones que han dado lugar a esa trayectoria común hasta la actualidad, en que la arquitectura suizo alemana se halla precisamente en un momento de cambio generacional. La obra de Peter Märkli constituye en esta tesis un paradigma de la voluntad suizo alemana por formar parte de la continuidad cultural de la arquitectura, como una actitud de resistencia compartida frente al mundo globalizado. La tesis se articula a partir de ocho proyectos recientes, realizados por arquitectos suizo alemanes en el entorno del territorio alpino de los Grisones. Estos proyectos condensan la trayectoria arquitectónica suizo alemana durante el siglo XX, así como el fenómeno arquitectónico que ha tenido lugar en el entorno de los Grisones durante las últimas tres décadas. La tesis analiza a través de cada pareja de proyectos los episodios teóricos, artísticos y filosóficos más relevantes que se sintetizan en estas obras, así como sus referentes arquitectónicos y la dimensión trascendente de los materiales en los que la cultura suiza hunde sus raíces: la madera, la piedra y el hormigón. Las vanguardias pictóricas, el Movimiento Moderno y las corrientes humanistas y regionalistas que se fueron sucediendo durante el pasado siglo, configuran el escenario en el que tomó cuerpo la sensibilidad arquitectónica suizo alemana reciente, que emerge a través de la compleja red de relaciones establecidas entre el panorama suizo y el internacional. El mismo bagaje teórico subyace al territorio suizo alemán a nivel general, por lo que asociarlo a través de esta tesis a proyectos realizados en un entorno característico, permite acceder a una realización concreta de ese debate en un entorno tan particular como son los Grisones. La aproximación a los proyectos es de carácter fenomenológico: la experiencia directa de los mismos ha sido el sustrato fundamental del enfoque de la tesis. El trabajo de campo no se limitó a visitar los proyectos que vertebran la tesis, sino que trató de abarcar las obras más relevantes de la producción suizo alemana reciente en los Grisones, con el fin de adquirir cierto grado de sensibilidad perceptiva hacia la singularidad de su identidad territorial. La tesis hace especial hincapié en las obras de Peter Märkli y Peter Zumthor, representantes de los dos extremos del discurso suizo alemán reciente, respecto a la materialidad y al carácter de la secuencia espacial, sistemático o fluido respectivamente, pero que asimismo comparten el clasicismo formalista que subyace al fenómeno suizo alemán. Los dos proyectos que establecen el periodo 1992-2004 explorado por esta investigación constituyen dos hitos fundamentales. El Museo de La Congiunta en Giornico de Peter Märkli se construyó en 1992 y se erige a partir de entonces como un icono arquitectónico de la condensación típicamente suizo alemana de base reductiva. Este paradigma de síntesis conceptual y constructiva comenzó a forjarse en la década de 1930 de la mano del Konkrete Kunst formulado por Max Bill, que es la única manifestación artística genuinamente suiza del siglo XX y que desarrolló pictóricamente los valores de precisión, rigor, racionalismo y abstracción afines a la sensibilidad suizo alemana. En segundo lugar, el proyecto para la rehabilitación de la Villa Garbald y la construcción de la Torre Roccolo en Castasegna llevado a cabo por Miller & Maranta en 2004, supuso la consumación de la Analoge Architektur, que fue la primera corriente arquitectónica propiamente suiza, desarrollada durante la década de 1980 por Miroslav Sik. La Deutscher Tendenza es un periodo de la trayectoria suizo alemana reciente poco conocido, representado por una figura tan relevante como es Peter Zumthor. Las obras que proyectó Zumthor entre 1979 y 1985 forman parte de un periodo en que el arquitecto se encontraba profundamente influido por el neorracionalismo italiano, como ilustra la escuela de Churwalden de 1983. La arquitectura suizo alemana reciente exploró sistemáticamente los sistemas compositivos de las vanguardias pictóricas y del Movimiento Moderno, por encima de su formalismo concreto. La segunda fase de la obra de Zumthor entre 1985 y 1996 se caracteriza por la transfiguración del plano libre del sistema compositivo neoplasticista desarrollado por De Stijl, plano que adquirió grosor hasta convertirse en la caja articuladora de la fluidez de la secuencia espacial. El formalismo de Zumthor en esta fase implica la prioridad del esquema compositivo, compuesto por un perímetro regular en el que se reúnen las cajas que, como las superficies de color de las composiciones de Mondrian, articulan el espacio a su alrededor. La Residencia de Masans de Zumthor de 1993 es un proyecto canónico de este sistema compositivo, que culmina en el esquema radial de las Termas de Vals de 1996. La imagen poética se convirtió en el lenguaje propio del pensamiento de la arquitectura suizo alemana, que permitía una reflexión no verbal, a partir de unos pocos arquetipos fundamentales. Los arquitectos del Ticino buscaron en la Tendenza italiana durante la década de 1970 una alternativa al insostenible modelo territorial que estaba destruyendo su paisaje cultural. Algunos de estos arquitectos comenzaron a dar clase durante esa década en la ETHZ, por lo que transmitieron sus inquietudes al alumnado e introdujeron a Aldo Rossi en la facultad, que era uno de los máximos representantes de la Tendenza. El método analógico de Rossi, basado en la psicología analítica de Carl Jung, fue una influencia fundamental en la ETHZ durante los años 70. Rossi partía de una teoría afín al colectivo intelectual suizo que los arquitectos de la ETHZ pronto comprendieron que debían independizar del contexto italiano, desarrollando su propio método a partir de 1985 con la Analoge Architektur. El valor de la preexistencia de acuerdo a este método incipiente se hallaba en su papel articulador de la continuidad cultural de una comunidad, que Miroslav Sik definió a partir de su concepto de Altneue (literalmente, lo Nuevo-Viejo). La fusión entre lo nuevo y lo viejo era la base de la espontaneidad con la que habían crecido los asentamientos históricamente. Sik consideraba que la continuidad dependía de la comprensión de los patrones preexistentes, con el objeto de mantener su vigencia mediante la incorporación de estrategias contemporáneas, que renovarían su significado sin perder su esencia. La Casa Gugalun en Versam de Zumthor de 1994 supone una aproximación a escala doméstica a este planteamiento. La arquitectura suizo alemana reciente a menudo busca en sus referentes plásticos una manera de explorar ámbitos poco accesibles para la disciplina arquitectónica. El pensamiento arquitectónico basado en la imagen poética se implementa a partir de la tectónica de la construcción, que es el medio para comunicar una idea vertebradora del proyecto de principio a fin. La construcción como medio introduce el concepto clave de la apariencia de la arquitectura, estrechamente relacionado con la filosofía idealista de Friedrich Schiller. La apariencia debe expresar el sentido conceptual de la obra, que los arquitectos suizo alemanes denominan idea, por lo que la construcción no tiene un valor por sí misma, sino en cuanto a la apariencia. La Capilla de Oberrealta de Christian Kerez de 1993 puede ser considerada una obra escultórica en el paisaje, más próxima a las artes plásticas que a la arquitectura. La tensión que surge entre la figura ideal y la pieza sometida a una sutil deformación confiere un carácter dinámico a la composición, que intensifica el efecto perceptivo, de acuerdo a la teoría del pensamiento visual de Rudolph Arnheim. La deformación al servicio de la psicología de la percepción es un fenómeno que caracteriza la arquitectura suizo alemana reciente. El concepto de Forme Forte (forma fuerte) fue introducido por Martin Steinmann para caracterizar el objeto arquitectónico denominado internacionalmente Swiss Box. Este concepto se caracteriza por una predilección por lo monolítico, lo unitario y lo arquetípico. La condición más sustancial de una Forme Forte es, sin embargo, la de configurar un elemento estructurador del entorno. Tanto la base morfológica de una Forme Forte, como su capacidad para estructurar el lugar, se corresponden con los conceptos de arquetipo y monumento de la teoría de Rossi. La tesis explora el sentido de la deformación en la producción suizo alemana reciente, a partir de la Escuela de Paspels de Valerio Olgiati de 1998 y la Torre Roccolo de Villa Garbald de Miller&Maranta de 1998. La teoría tectónica de Gottfried Semper y la razón de la forma de Adolf Loos constituyen el sustrato teórico, que relaciona la actividad existencial de habitar con la materialidad de la arquitectura suizo alemana reciente. La teoría tectónica de Semper fundamenta las revisiones posteriores de los sistemas constructivos tradicionales suizo alemanes. Esta influencia sirvió como base a la vanguardia suiza de la Neues Bauen, que desarrolló un racionalismo funcionalista durante las décadas de 1920 y 1930, que constituye una gramática de base no simbólica. Esta gramática constituye el fundamento de la transición del orden clásico a la materialidad como instrumento compositivo durante la segunda mitad del siglo XX, consolidando el concepto de la base material de la forma. La revisión de la tradición regionalista y racionalista llevada a cabo por la generación de arquitectos suizo alemanes de la década de 1950 y 1960, constituyó una investigación lingüística sustancial. Rudolph Olgiati es la figura determinante de este periodo. La revisión de esta investigación se codificó en clave estructuralista durante los años 70 en la ETHZ, influenciada por la presencia de Roland Barthes como profesor invitado. Esta revisión constituyó la base de la articulación tectónica propiamente suizo alemana todavía vigente, como ilustra expresamente la obra de Burkhalter&Sumi en esta tesis. La obra de Gion Caminada en Vrin entre 1995 y 2002 aporta una intensa investigación sobre el Strickbau, que implementa una y otra vez variaciones sobre un sistema tradicional, ilustrando las infinitas posibilidades que ofrece un lenguaje, paradójicamente limitado por los medios disponibles en un entorno alpino aislado. Para terminar Jürg Conzett es el ingeniero con el que han desarrollado sus proyectos la mayoría de los arquitectos en el entorno de los Grisones, formado durante 8 años con Zumthor y colaborador habitual de Caminada entre otros. Conzett es el referente que relaciona la ingeniería con la arquitectura en el ámbito de esta tesis, imprescindible en el contexto de esta investigación. ABSTRACT The Alpine setting of Grisons has been a laboratory for architectural experimentation with an approach forged in the 1970s from various sources in the Swiss Federal Institute of Technology in Zurich (ETHZ). This method has produced a uniquely German-Swiss theoretical discourse over the past three decades. Tradition continues to be a cultural value for Grisons, a region committed to continue linking its architecture with the region’s history and landscape. The specificity of the German-Swiss environment is obvious, but beyond its characteristic features, there is a common denominator that gives these settings a silent unity: it is an idea of building. The phenomenon of Grisons is geographic in its specific location, but it shares the theoretical basis of the rest of the new German-Swiss architecture. This thesis transversely delves into the conditions that have shaped this common path up to the present, just as German-Swiss architecture is going through a time of generational change. In this thesis, Märkli Peter's work constitutes a paradigm of the German-Swiss will to uphold the cultural and architectural continuity of the region, exemplifying an attitude of shared resistance to the globalized world. The thesis is structured around eight recent projects carried out by German-Swiss architects in the Alpine region of Grisons. These projects represent the trajectory of twentieth century German-Swiss architectural history, as well as the architectural phenomenon that has taken place in the environs of Grisons over the past three decades. Through these projects the thesis analyzes the most relevant theoretical, artistic and philosophical references that are synthesized in the works, as well as their architectural references and the transcendental dimension of the materials in which Swiss culture is rooted: wood, stone and concrete. The artistic avant-garde, together with Modernism and the humanistic and regional movements that occurred during the last century, set the stage for present-day German-Swiss architectural sensitivity, which emerges from a complex web of relationships established between the Swiss and international panorama. This same theoretical background and experience underlies all of the German-Swiss territory in general, so associating it through this thesis to a particular context allows the description of a specific embodiment of this debate, within the unique environment of Grisons. The methodological approach to analyzing the projects was phenomenological: direct experience is the main substrate underpinning the focus of the thesis. Field work was not limited to visiting the projects featured in the thesis, but rather encompassed the most important works of recent German-Swiss construction in the Grisons in order to gain some degree of perceptual sensitivity to the uniqueness of its territorial identity. The present paper puts special emphasis on the works of Peter Märkli and Peter Zumthor, who share the formal classicist perspective of the German-Swiss context but stand on opposite sides of the philosophical spectrum with regard to the notion of materiality and the nature of space, which they conceive as systematic or fluid, respectively. The two projects that establish the boundaries of the time period 1992–2004 explored by this research represent two key milestones. The Museum La Congiunta in Giornico, by Peter Märkli, was built in 1992 and quickly established itself as an architectural icon of German-Swiss reductionism. This paradigm of conceptual and constructive synthesis began to take shape in the 1930s under the banner of Konkrete Kunst (Concrete Art), led by Max Bill. The only genuinely Swiss artistic movement of the twentieth century, Konkrete Kunst was characterized by the artistic values of precision, rigor, rationalism and abstraction, sentiments that were very close to the German-Swiss tradition. Secondly, the project for the rehabilitation of Villa Garbald and the construction of the Roccolo Tower in Castasegna, conducted by Miller&Maranta in 2004, represented the consummation of the Analoge Architektur, which was the first truly Swiss architectural movement, spearheaded in the 1980s by Miroslav Sik. The Deutscher Tendenza is a little-known period of recent German-Swiss history, represented by the important figure of Peter Zumthor. The projects that Zumthor led between 1979 and 1985 are part of a period when Italian Neo-Rationalism exercised a profound influence on the architect, as illustrated by the Churwalden School, circa 1983. Recent German-Swiss architecture systematically explored the compositional systems of the artistic avant-garde and Modernism, beyond its specific formal aspects. The second phase of Zumthor's work, between 1985 and 1996, is characterized by the transfiguration of the free plane, neoplastic compositional system developed by De Stijl, a plane that thickened until it became the box articulating fluidity from the spatial sequence. Zumthor's formalism in this phase prioritizes the compositional scheme, consisting of a regular perimeter in which the boxes that -like Mondrian’s colored surfaces- arrange the space around it. Zumthor’s Masans Residence, circa 1993, is a canonical project of this compositional system, which culminates in the radial pattern of the Therme Vals, circa 1996. The poetic image became the appropriate language of thought for German-Swiss architecture, which invited a nonverbal reflection inspired by a few fundamental archetypes. The architects of Ticino sought, through the Italian Tendenza of the 1970s, an alternative to the unsustainable territorial model that was destroying their cultural landscape. Some of these architects began to teach during that decade at ETHZ, and naturally they transmitted their unease to their students. These architects also introduced Aldo Rossi, one of the leading representatives of the Tendenza, to the school. Rossi’s analogue method, based on the analytical psychology of Carl Jung, was a major influence on the ETHZ during the 1970s. Rossi’s theoretical grounding was very much in tune with Swiss intellectualism, and it did not take long for architects from ETHZ to realize that they should break away from the Italian context, developing their own method from 1985 on with the Analoge Architektur. The value of the pre-existing conformity of this emerging method, stemmed from its role in facilitating the cultural continuity of a community, which Miroslav Sik defined in his concept of Altneue (literally, Old-new). This fusion of old and new was the basis for the spontaneity with which settlements had historically grown. Sik considered that continuity depended on understanding the existing patterns and sustaining their relevance through the incorporation of contemporary strategies, which would renew their meaning without losing their essence. Zumthor’s Gugalun House in Versam, circa 1994, is a domestic-scale approach to this philosophy. Modern German-Swiss architecture often looks to its references in visual art for a way to explore areas that are normally inaccessible to the architectural discipline. Architectural thinking based on the poetic image is achieved through a building’s tectonics, which communicate the core idea of a project from start to finish. The understanding of construction as a medium introduces the key concept of the appearance in architecture, closely related to the idealistic philosophy of Friedrich Schiller. The appearance should express the conceptual meaning of the work, which German-Swiss architects call the idea, so that the building does not have value in and of itself, but only in terms of its appearance. The Oberrealta Chapel by Christian Kerez, circa 1993, can be considered a sculpture in the landscape, closer to the visual arts than to architecture. The tension that arises between the ideal figure and the piece subjected to a subtle deformation confers a dynamic character onto the composition, intensifying the perceptual effect, according to Rudolf Arnheim’s theory of visual thought. The deformation in the service of the psychology of perception is a phenomenon that characterizes recent German-Swiss architecture. Martin Steinmann introduced the Forme Forte (Strong Form) concept to describe the architectural object known internationally as the Swiss Box. This concept is characterized by a predilection for all things monolithic, unitary and archetypal. The most substantial condition of a Forme Forte, however, is the configuration of a structuring element in the environment. Both the morphological basis of a Forme Forte and its ability to frame the place, correspond to the concepts of archetype and monument put forward by Rossi’s theory. The present thesis explores the sense of deformation in recent German-Swiss production, based on the School of Paspels by Valerio Olgiati, circa 1998 and the Roccolo Tower in Villa Garbald, by Miller&Maranta, circa 1998. Gottfried Semper’s tectonic theory and Adolf Loos’s reason for form constitute the theoretical foundation that links the existential activity of dwelling to the materiality of recent German-Swiss architecture. Semper’s tectonic theory laid the foundation for subsequent revisions of the German-Swiss traditional building systems. This influence was the basis for the Swiss avant-garde of Neues Bauen, which developed a functional rationalism during the 1920s and 30s that served as a non-symbolic grammatical foundation for the transition from classical order to materiality as a compositional tool. During the second half of the twentieth century, this architectural grammar helped consolidate the concept of the material base of the form. The revision of the regionalist and rationalist tradition, carried out by the generation of German-Swiss architects of the 1950s and 60s, constituted a substantial linguistic investigation. Rudolph Olgiati is the key figure of this period. The research was codified in terms of structuralism in the 1970s in ETHZ and influenced by the presence of Roland Barthes as a visiting professor. This revision was the basis of the uniquely German-Swiss tectonic design still in use today, as specifically illustrated by the work of Burkhalter & Sumi in this thesis. Gion Caminada's work in Vrin between 1995 and 2002 offers an extensive study on the Strickbau, which implements variations on a traditional system again and again, illustrating the endless possibilities of a language that paradoxically seems limited by the available resources in a remote Alpine setting. Finally, Jürg Conzett is the engineer with whom most architects in the Grisons region have developed their projects. Trained under Zumthor for 8 years, and a regular collaborator of Caminada, among others, Conzett is the reference point linking engineering with architecture in this thesis, essential in the context of this research.

Sleep-wake disorders persist 18 months after traumatic brain injury but remain underrecognized

OBJECTIVE This study is a prospective, controlled clinical and electrophysiologic trial examining the chronic course of posttraumatic sleep-wake disturbances (SWD). METHODS We screened 140 patients with acute, first-ever traumatic brain injury of any severity and included 60 patients for prospective follow-up examinations. Patients with prior brain trauma, other neurologic or systemic disease, drug abuse, or psychiatric comorbidities were excluded. Eighteen months after trauma, we performed detailed sleep assessment in 31 participants. As a control group, we enrolled healthy individuals without prior brain trauma matched for age, sex, and sleep satiation. RESULTS In the chronic state after traumatic brain injury, sleep need per 24 hours was persistently increased in trauma patients (8.1 ± 0.5 hours) as compared to healthy controls (7.1 ± 0.7 hours). The prevalence of chronic objective excessive daytime sleepiness was 67% in patients with brain trauma compared to 19% in controls. Patients significantly underestimated excessive daytime sleepiness and sleep need, emphasizing the unreliability of self-assessments on SWD in trauma patients. CONCLUSIONS This study provides prospective, controlled, and objective evidence for chronic persistence of posttraumatic SWD, which remain underestimated by patients. These results have clinical and medicolegal implications given that SWD can exacerbate other outcomes of traumatic brain injury, impair quality of life, and are associated with public safety hazards.

Unterhaltungen am hau slichen Herd.

Editor 1852- : Karl Gutzkow.

Die Plastik.

"Illustrierte Zeitschrift für die gesamte Bildhauerei und Bildnerei und ihre Beziehungen zu Architektur und Kunstgewerbe."

Napoleon : a history of the art of war, from the beginning of the peninsular war to the end of the Russian campaign, with a detailed account of the Napoleonic Wars /

Mode of access: Internet.

Die Kunstthätigkeit in Prag zur Zeit Karls IV.

Accompanies "Eilfter [-zwölfter] Jahresbericht über das Deutsche Staats-Gymnasium in Prag-Altstadt für das Schuljahr 1882-83 [- 1883-84]"

Archiv für experimentelle Pathologie und Pharmakologie

Mode of access: Internet.