Dan Kiley en la casa Miller

El propósito de esta tesis es estudiar los aspectos fundamentales de la obra del paisajista norteamericano Dan Kiley a través del ejemplo de la casa Miller en Columbus, Indiana. A la hora de abordar el estudio se ha tratado por una parte de estudiar y explicar cuánto hay de relevante en esta obra, pero también de situarla en su contexto. Éste es, además, múltiple: el de la obra, de su autor, el del lugar en que se encuentra y el del momento cultural e histórico en que se produce. En el caso de la casa Miller, la autoría es compartida, y el resultado final, como ocurre en muchos casos de viviendas unifamiliares, responde a un carácter coral, en el que los protagonistas son varios, con mayor o menor influencia, pero indispensables todos ellos en la visión final de conjunto. El primero de los aspectos a considerar son los antecedentes que la han hecho posible ya que el entorno que conforma el universo de Dan Kiley hasta llegar a Columbus es fundamental para entender las circunstancias de partida de una obra como la casa Miller: sus años previos a la universidad, su particular relación con el paisaje a través de sus diferentes trabajos, su extenso conocimiento de las especies de plantas y la experiencia acumulada trabajando para Warren Manning, como la formación basada en la enseñanza, herencia de Olsmted y de las Bellas Artes. Después, sus compañeros de Harvard Eckbo y Rose, la influencia dentro de la universidad tanto de Walter Gropius como de los paisajistas Thomas Church o Christopher Tunnard y de los jardines realizados en Europa durante las primeras décadas del siglo XX conocidos a través de las publicaciones y de la arquitectura de Mies van der Rohe. Años más tarde, después de haber abandonado Harvard, la decisiva influencia de Eero Saarinen y también la de sus relaciones con los diversos colaboradores, los primeros viajes a Europa y con ello la posibilidad de visitar las grandes obras de Le Nôtre. Por otro lado, y en paralelo, la biografía de Irwin Miller, propietario de la casa, nos lleva hasta el momento en el que se ponen en contacto las tres figuras clave para el inicio de las obras (Miller, Saarinen y Kiley) terminando de situar a la casa Miller en el contexto biográfico de su creación. El análisis del lugar, una ciudad tan especial como Columbus, nos remite continuamente a la figura de Irwin Miller, manteniendo siempre una relación indisoluble entre este singular patrono y su ciudad, materializada en la creación del Architecture Program. La primera parte del trabajo aborda estos temas, alternando entre una figura y otra, aunque todas las partes se encuentran ligadas entre sí. En la segunda parte de la tesis se analiza en profundidad primero la casa Miller y después con una mayor precisión los jardines: su esquema compositivo general, sus tres partes diferenciadas y dentro de ellas las sucesivas subpartes que las componen. El análisis se estructura en tres fases: una primera descriptiva del desarrollo del proyecto hasta su materialización en la obra, la siguiente que analiza lo realmente ejecutado y por último los cambios sufridos a lo largo del tiempo. En cuanto al análisis propio de la casa y los jardines, la información de los planos, así como de las fotografías familiares, junto con las imágenes más oficiales de la casa pertenecientes a Ezra Stoller y Balthazar Korab, permitirá conocer los cambios producidos a lo largo del tiempo debidos a diversos factores, como el cambio de criterio en cuanto al uso o decisiones personales del matrimonio Miller: sustitución de plantas y árboles, desaparición de elementos curiosos como las cascadas del techo de uno de los porches, o aparición de elementos singulares que formaran parte de las visiones ya clásicas de la casa, como la escultura de Henry Moore. La tercera parte de la tesis describe la influencia de los jardines de Le Nôtre en el jardín de la casa Miller, gracias a la utilización y adaptación de numerosos recursos del jardín barroco francés, y se configura, junto con el análisis de las obras de jardín doméstico más significativas de Kiley en su obra posterior a la Miller, como el análisis final de todo el trabajo. La utilización de estos instrumentos depurados bajo una estética formal propia del movimiento moderno tiene una singularidad única en los jardines de la Miller, y a pesar de que a lo largo de su carrera Dan Kiley convirtió esta utilización en una constante, no logró la armonía demostrada en esta residencia de Columbus en ninguno de los jardines posteriores en cuanto a forma, escala, relación entre las partes, respuesta a las necesidades de uso y de evolución a lo largo del tiempo. ABSTRACT The purpose of this thesis is to study the fundamental aspects of the work of the american landscape architect Dan Kiley through the example of the Miller House in Columbus, Indiana. When addressing the study it was treated on the one hand to study and explain how much is relevant in this work, but also put it into context. This is also multiple: the work, its author, the place where it lands and the cultural and historical context in which it occurs. In the case of the Miller house, the authorship is shared, and the end result, as in many cases houses, responds to a coral nature, in which the protagonists are several, with more or less influence on it, but indispensable all of them in the final overview. The first aspect to be considered are the antecedents that made it possible, because the environment which forms the universe of Dan Kiley to reach Columbus is essential to understand the circumstances of departure for a work like the Miller house: his previous years of college, his particular relationship with the landscape through his different jobs, his extensive knowledge of species of plants and the accumulated experience working for Warren Manning, and also the training based on Olmsted and Beaux Arts heritage . After that, his Harvard fellows Eckbo and Rose, the influence from Walter Gropius Thomas Church and Christopher Tunnard within the university, and also the landscape and garden made in Europe during the first decades of the twentieth century known through publications and the architecture of Mies van der Rohe. Years later, after leaving Harvard , the decisive influence of Eero Saarinen and also his relationships with various partners, the first trips to Europe and therefore the opportunity to visit the great works of Le Nôtre. On the other hand, and in parallel, Irwin Miller´s biography, owner of the house, takes us to the time when the three key figures come into contact to the start the construction (Miller, Saarinen and Kiley) putting the Miller house into the biographical context of its creation. The analysis of the place, a very special city like Columbus, continually refers us to Irwin Miller´s figure while maintaining an indissoluble relationship between employer and this unique city, materialized in the creation of the Architecture Program. The first part of the work deals with these issues, alternating between one figure and another, although all parties are linked. The second part of the thesis analyzes in depth Miller´s house and then with greater precision the gardens: its overall compositional scheme, its three distinct parts and within them the successive subparts that compose the garden The analysis is divided into three phases: the first one is focused in the project development to its materialization in the final work, the second one which analyzes what is really executed and finally the changes undergone over time. As for the own analysis of the house and gardens, the information drawings, as well as family photographs, along with the official pictures of the house belonging to Ezra Stoller and Balthazar Korab, will reveal the changes throughout time due to various factors, as the change in criterion for the use, or Miller´s marriage personal decisions: replacement of plants and trees, disappearance of curious elements like waterfalls roof of one of the porches, or appearance of single elements that now have become part of the classic visions of the house, like the sculpture of Henry Moore. The third part of the thesis describes the influence of the gardens of Le Nôtre in the garden of Miller´s house, through the use and adaptation of numerous resources from the French Baroque garden, and it is configured as the final analysis of of the work, also with the description of Kiley´s most significant post-Miller one family housing gardens. The use of these released under its own formal aesthetics of modernism instruments has a unique singularity in the gardens of the Miller´s , and although Dan Kiley turned this use in a constant throughout his career, he never got to the harmony demonstrated in Columbus residence in any of the later gardens in form, scale, relationship between the parties, responding to the needs of use and evolution over time.

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.

The human placental proteome is affected by maternal smoking

Acknowledgements This paper belongs to the studies carried out by Kuopio Birth Cohort consortium (www.KuBiCo.fi). We thank Ms Pirjo Hänninen for expert laboratory assistance at University of Eastern Finland, Ms Margaret Fraser, Dr Panagiotis Filis and the Proteomics Core Facility at the University of Aberdeen for their expert assistance. We also thank the staff of the Department of Obstetrics and Gynaecology in Kuopio University Hospital for skilful collection of these specimens. This work was supported by the Academy of Finland [122859/2007], the Helena Vuorenmies Foundation, the Emil Aaltonen Foundation, the University of Eastern Finland Doctoral Programme in Drug Research and the Medical Research Council, UK [MR/L010011/1]. The funders played no roles in study design, data collection, data analysis, manuscript preparation and/or publication decisions.

Inherited susceptibility to uterine leiomyomas and renal cell cancer

Herein we report the clinical, histopathological, and molecular features of a cancer syndrome with predisposition to uterine leiomyomas and papillary renal cell carcinoma. The studied kindred included 11 family members with uterine leiomyomas and two with uterine leiomyosarcoma. Seven individuals had a history of cutaneous nodules, two of which were confirmed to be cutaneous leiomyomatosis. The four kidney cancer cases occurred in young (33- to 48-year-old) females and displayed a unique natural history. All these kidney cancers displayed a distinct papillary histology and presented as unilateral solitary lesions that had metastasized at the time of diagnosis. Genetic-marker analysis mapped the predisposition gene to chromosome 1q. Losses of the normal chromosome 1q were observed in tumors that had occurred in the kindred, including a uterine leiomyoma. Moreover, the observed histological features were used as a tool to diagnose a second kindred displaying the phenotype. We have shown that predisposition to uterine leiomyomas and papillary renal cell cancer can be inherited dominantly through the hereditary leiomyomatosis and renal cell cancer (HLRCC) gene. The HLRCC gene maps to chromosome 1q and is likely to be a tumor suppressor. Clinical, histopathological, and molecular tools are now available for accurate detection and diagnosis of this cancer syndrome.

From local to global in quasiconformal structures.

We exhibit a large class of metric spaces whose infinitesimal quasiconformal structure is strong enough to capture the global quasiconformal structure. A sufficient condition for this to happen is described in terms of a Poincaré-type inequality.

Symphonie No. 4, A moll, : Op. 63. /

"An Eero Järnefelt" -- P. 1.

Saarinen's Music School

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

School of Music Building on North Campus

Eero Saarinen, architect. The building, located in a park-like setting on the university's North Campus was named for Earl V. Moore, dean from 1923-1960, and completed in 1964. In 1985, the Margaret Dow Towsley Center, a significant addition to the Moore building, was dedicated.

U of M, School of Music

On the North Campus of the University of Michigan at Ann Arbor, Michigan, this air-conditioned and sound proofed building occupies a gently sloping hill above the Huron River. Designed by Eero Saarinen and Associates, it contains the administrative and faculty offices, as well as a most complete range of the facilities for the school of Music.

Developmental expression of two Haliotis asinina hemocyanin isoforms

Hemocyanins are large copper-containing respiratory proteins that play a role in oxygen transport in many molluscs. In some species only one hemocyanin isoform is present while in others two are expressed. The physiological relevance of these isoforms is unclear and the developmental and tissue-specific expression of hemocyanin genes is largely unknown. Here we show that two hemocyanin genes in the gastropod Haliotis asinina, which encode H. asinina hemocyanin (HaH1) and HaH2 isoforms, are developmentally expressed. These genes initially are expressed in a small number of mesenchyme cells at trochophore and pre-torsional veliger stages, with HaH1 expression slightly preceding HaH2. These cells largely are localized to the visceral mass, although a small number of cells are present in head and foot regions. Following metamorphosis the isoforms show overlapping as well as isoform-specific expression profiles, suggesting some degree of isoform-specific function.

Selling, resistance and reconciliation:a critical discursive approach to subsidiary role evolution in MNEs

Studies of political dynamics between multinational enterprise (MNE) parents and subsidiaries during subsidiary role evolution have focused largely on control and resistance. This paper adopts a critical discursive approach to enable an exploration of subtle dynamics in the way that both headquarters and subsidiaries subjectively reconstruct their independent-interdependent relationships with each other during change. We draw from a real-time qualitative study of a revealing case of charter change in an important European subsidiary of an MNE attempting to build closer integration across European country operations. Our results illustrate the role of three discourses – selling, resistance and reconciliation – in the reconstruction of the subsidiary–parent relationship. From this analysis we develop a process framework that elucidates the important role of these three discourses in the reconstruction of subsidiary roles, showing how resistance is not simply subversive but an important part of integration. Our findings contribute to a better understanding of the micro-level political dynamics in subsidiary role evolution, and of how voice is exercised in MNEs. This study also provides a rare example of discourse-based analysis in an MNE context, advancing our knowledge of how discursive methods can help to advance international business research more generally.

An activity theory approach to strategy as practice

This chapter introduces activity theory as an approach for studying strategy as practice. Activity theory conceptualizes the ongoing construction of activity as a product of activity systems, comprising the actor, the community with which that actor interacts and those symbolic and material tools that mediate between actors, their community and their pursuit of activity. The focus on the mediating role of tools and cultural artefacts in human activity seems especially promising for advancing the strategy-as-practice agenda, for example as a theoretical resource for the growing interest in sociomateriality and the role of tools and artefacts in (strategy) practice (for example, Balogun et al. 2014; Lanzara 2009; Nicolini 2009; Spee and Jarzabkowski 2009; Stetsenko 2005). Despite its potential, in a recent review Vaara and Whittington (2012) identified only three strategy-as-practice articles explicitly applying an activity theory lens. In the wider area of practice-based studies in organizations, activity theory has been slightly more popular (for example, Blackler 1993; 1995; Blackler, Crump and McDonald 2000; Engeström, Kerosuo and Kajamaa 2007; Groleau 2006; Holt 2008; Miettinen and Virkkunen 2005). It still lags behind its potential, however, primarily because of its origins as a social psychology theory developed in Russia with little initial recognition outside the Russian context, particularly in the area of strategy and organization theory, until recently (Miettinen, Samra-Fredericks and Yanow 2009). This chapter explores activity theory as a resource for studying strategy as practice as it is socially accomplished by individuals in interaction with their wider social group and the artefacts of interaction. In particular, activity theory’s focus on actors as social individuals provides a conceptual basis for studying the core question in strategy-as-practice research: what strategy practitioners do. The chapter is structured in three parts. First, an overview of activity theory is provided. Second, activity theory as a practice-based approach to studying organizational action is introduced and an activity system conceptual framework is developed. Third, the elements of the activity system are explained in more detail and explicitly linked to each of the core SAP concepts: practitioners, practices and praxis. In doing so, links are made to existing strategy-as-practice research, with brief empirical examples of topics that might be addressed using activity theory. Throughout the chapter, we introduce key authors in the development of activity theory and its use in management and adjacent disciplinary fields, as further resources for those wishing to make greater use of activity theory.

A knowledge driven approach towards the validation of externally acquired traceability datasets in supply chain business processes

The sharing of near real-time traceability knowledge in supply chains plays a central role in coordinating business operations and is a key driver for their success. However before traceability datasets received from external partners can be integrated with datasets generated internally within an organisation, they need to be validated against information recorded for the physical goods received as well as against bespoke rules defined to ensure uniformity, consistency and completeness within the supply chain. In this paper, we present a knowledge driven framework for the runtime validation of critical constraints on incoming traceability datasets encapuslated as EPCIS event-based linked pedigrees. Our constraints are defined using SPARQL queries and SPIN rules. We present a novel validation architecture based on the integration of Apache Storm framework for real time, distributed computation with popular Semantic Web/Linked data libraries and exemplify our methodology on an abstraction of the pharmaceutical supply chain.

Uusi Saksa, uusi Eurooppa – uusi ulkopolitiikka? Suomi ja Saksan kysymys 1989−1990.

Tämä tutkielma käsittelee Suomen ulkoasianhallinnon suhtautumista Saksojen yhdistymisprosessiin 1989−1990. Jaetusta Saksasta oli vuosien saatossa tullut niin olennainen osa kylmän sodan voimatasapainoa Euroopassa, että vastaus Saksan kysymyksen vaati myös ratkaisua siitä, miten koko Euroopan turvallisuus tulevaisuudessa järjestettäisiin ja kenen tai minkä toimesta tämä tapahtuisi. Siksi yhdistyminen olikin monipolvinen prosessi, jossa erilaiset visiot Euroopan tulevaisuudesta kamppailivat. Voittajaksi selviytyi lopulta Länsi-Saksan liittokanslerin Helmut Kohlin ja Yhdysvaltain ajama malli, jossa DDR liitettiin osaksi Länsi-Saksaa ja yhdistynyt Saksa jäi sekä EY:n että Naton jäseneksi. Suomalaisdiplomaatit suhtautuivat Saksojen kysymyksen kehitykseen alusta asti varsin varovaisesti. Toisen maailmansodan jälkeisen perinnön selvittäminen ja Saksan kysymyksen ratkaiseminen vastasi Suomen tavoitteita poistamalla jännitystä ylläpitäneen tekijän Euroopassa. Lisäksi Saksojen yhdistymiskehitys näytti suomalaisarvioiden mukaan vahvistavan Suomelle tärkeän Euroopan turvallisuus- ja yhteistyökokouksen, Etykin, roolia. Suomen suhtautumista Saksan kysymyksen ratkaisuun voidaankin kuvata Etyk-optimismiksi. Suomalaisten Etyk-optimismi koostui kahdesta osasta, joista ensimmäinen koski turvallisuuspoliittisessa ympäristössä tapahtuneen muutoksen laajuutta: Berliinin muurin murruttua koko toisen maailmansodan jälkeinen Euroopan kahtiajakoon perustunut Jaltan järjestys oli kaatumassa ja edessä oli koko eurooppalaisen turvallisuusjärjestelmän muutos. Ajattelun toinen osa koski ”Jaltan” korvaajaa, joka suomalaisten arvioiden ja toiveiden mukaan rakentuisi Etykin pohjalle. Suomalaisilla olikin koko Saksan yhdistymisprosessin ajan vahva usko siihen, että juuri Etyk on se järjestys, jonka perusteella uusi Eurooppa rakennettaisiin. Saksan kysymyksen ratkaisun synnyttämä uusi turvallisuuspoliittinen ympäristö loi Suomelle myös mahdollisuuden muuttaa asemaansa. Syntyi Operaatio PAX, salainen suunnitelma, jonka avulla Suomi tulkitsi syksyllä 1990 uudelleen Pariisin rauhansopimusta sekä YYA-sopimusta. Operaatio oli irtiotto vanhoista ulko- ja turvallisuuspolitiikan linjoista ja siten myös Suomessa 1990-luvulla tapahtuneen ulkopoliittisen suunnanmuutoksen ensimmäinen askel. Sen avulla Suomi asemoi itseään uuteen kylmän sodan jälkeiseen tilanteeseen.