Marie Caroline Josephine Grassari als Amazili, Rollenbild, in: Gaspare Spontini: Fernand Cortez

Signatur des Originals: S 36/G04058

Fernand Lungren; a biography,

Mode of access: Internet.

La bibliothèque française de Fernand Colomb,

Mode of access: Internet.

Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

Engineering thin film semiconductor gas sensors to increase sensitivity and decrease operation temperature

Thin film nanostructured gas sensors typically operate at temperatures above 400°C, but lower temperature operation is highly desirable, especially for remote area field sensing as this reduces significantly power consumption. We have investigated a range of sensor materials based on both pure and doped tungsten oxide (mainly focusing on Fe-doping), deposited using both thermal evaporation and electron-beam evaporation, and using a variety of post-deposition annealing. The films show excellent sensitivity at operating temperatures as low as 150°C for detection of NO2. There is a definite relationship between the sensitivity and the crystallinity and nanostructure obtained through the deposition and heat treatment processes, as well as variations in the conductivity caused both by doping and heat treatmetn. The ultimate goal of this work is to control the sensing properties, including selectivity to specific gases through the engineering of the electronic properties and the nanostructure of the films.

Sapientia, 1971, Vol. XXVI, nº 100-102 (número completo)

Contenido: Sapientia, Veinticinco años después / Octavio N. Derisi – Tomás de Aquino, peregrino de Dios / Adolfo Muñoz Alonso – Qu’est-ce que la philosophie? / A. Dondeyne – La subordinación de la lógica a la ciencia / A. Furlán – Volición y voluntad en Aristóteles / B. Raffo Magnasco – Entendement et imagination selon Aristote / A. Guy – Le problème de l’existence de Dieu dans le Commentaire de Saint Thomas sur la Physique d’Aristote / F. Van Steenberghen – Individuación, analogía y participación en el plano físico / J. E. Bolzán – La “Summa Physicorum” y la filosofía natural de Grosseteste / C. Lértora Mendoza – El infinito actual en Santo Tomás / O. Argerami – Tomás de Aquino en la Universidad de París / G. E. Ponferrada – Dante y la filosofía / G. Terán – El ámbito del objeto de la fenomenología en E. Husserl / O. N. Derisi – Orígenes doctrinales de la Tercera Escolástica en la filosofía argentina del siglo XIX / A. Caturelli – Hegel e Cristo / C. Fabro – Sapientia reconsidered / A. G. M. Van Melsen – El punto de partida de la metafísica : ¿abstracción o intuición? / J. R. Sanabria – La catégorie hégélienne de contradiction / R. Verneaux – La ontología modificada / C. A. Iturralde Colombres – L’acte moral et le sujet / J. de Finance – La crítica de Monseñor Derisi a la ciencia política empírica / A. E. Sampay – Notas y comentarios -- Bibliografía

Sapientia, 1954, Vol. IX, nº 31 (número completo)

Contenido: Por la libertad a la esclavitud y por el sometimiento a la libertad / La Dirección – Reflexiones sobre el principio de causalidad / Fernand Van Steenberghen – Ubicación metafísica del ser del hombre / Octavio N. Derisi -- Concepción del hombre en la línea de la esencia /Ángel González Álvarez – Notas y comentarios -- Bibliografía

Sapientia, 1974, Vol. XXIX, nº 113 (número completo)

Contenido: El Esse y el Intelligere divino, fundamento universal e inmediato de todo ser y de toda verdad y entender participados en Santo Tomás / Octavio N. Derisi – Saint Thomas contre l’agnosticisme / F. Van Steenberghen – Trascendentalidad de la belleza en el pensamiento de Santo Tomás / José R. Sanabria -- ¿Navaja de Ockham o navaja de Santo Tomás? / J. E. Bolzán – Notas y comentarios -- Bibliografía

Sapientia, 1956, Vol. XI, nº 39-40 (número completo)

Nota: Homenaje a Octavio Nicolás Derisi en sus veinticinco años de docencia filosófica.

Sapientia, 1949, Vol. IV, nº 14 (número completo)

Contenido: Filosofía y ateísmo / La Dirección – Corrientes filosóficas del siglo XIII / Fernand Van Steenberghen – Las leyes arquitectónicas de la comunidad política / Benito R. Raffo Magnasco – La razón y la fe / Manuel Gonzalo Casas – La finalidad de la creatura intelectual / Jorge María Mejía – Notas y comentarios -- Bibliografía