Ten centuries of art. Its progress in Europe from the IXth to the XIXth century.

Architecture.--Sculpture.--Painting.--Metal work.--Ivory and wood carving.--Glass and pottery.--Textile fabrics.--Mosaic.

The nomenclature of style: Brutalism, Minimalism, art history and visual style in architecture journals

The naming of styles or movements is a basic mechanism of the architectural journals. The announcement of new tendencies, groups or philosophies, gives a journal its character as ‘news’, and if such terms are taken up in general discourse this demonstrates the prescience of the editor and enhances the repute of the journal. The announcement of phenomenon such as ‘critical regionalism’ or ‘deconstructivism’ referred architectural developments to a context in socio-politics or philosophy, and thus aimed to provide at least an initial resistance to their understanding as the formal styles which they quickly became. A different strategy, or occasion, which this paper will discuss, is where the name of an architectural moment is given in the traditional form of an art historical style. Here the nomenclature of style and a certain attitude to form is introduced as the starting point for a more open ended critical inquiry. Two examples of this strategy will be given. The first is Peter Reyner Banham and the Architecture Review’s promotion of ‘Brutalism’ as an anti-aesthetic which took its conceptual form from early twentieth century art movements, particularly Futurism. The second, identified with Architectural Design in the 1990’s is ‘Minimalism’, a term describing a strand of the visual arts of the 1960’s which can be understood as an attempt to nuance and add seriousness to the present rampant nostalgia for the style of the architecture of the 1960’s.

Optimising the nanoporous architecture of solid acid and base catalysts for biodiesel synthesis

Dwindling oil reserves and growing concerns over CO2 emissions and associated climate change are driving the utilisation of renewable feedstocks as alternative, sustainable fuel sources. While rising oil prices are improving the commercial feasibility of biodiesel production, many current processes still employ homogeneous acid and/or base catalysts to transform plant or algae oil into the fatty acid methyl ester (FAME) components of biodiesel. Fuel purification requires energy intensive aqueous quench and neutralization steps, thus the rational design of new high activity catalysts is required to deliver biodiesel as a major player in the 21st century sustainable energy portfolio. Advances in the development of heterogeneous catalysts for biodiesel synthesis require catalysts with pore architectures designed to improve the accessibility of bulky viscous reactants typical of plant oils. Here we discuss how improvements to active site accessibility and catalyst activity in transesterification or esterification reactions can be achieved either by designing hierarchical pore networks or by pore expansion and use of interconnected pore architectures.

The long term preservation of an 18th century gene bank heritage

The allée is one of the oldest instruments and forms of landscape architecture, which has often been used from the Antiquity for the expression of visual and functional relationships, for the delimitation of space, or for the pictorial creation of movement. The several hundred years old allées of the late baroque age, which still live among us as the witnesses of bygone times, represent a special value throughout Europe. The longevity and the respectable size as such bestow a certain value upon the trees. However, the allées also stand for a garden art, landscape, culture historical and natural value, which in a summarized way are called cultural heritage. Furthermore, the gene pool of the proven longevous, high tolerance tree specimens is a natural and genetic heritage of scientific signification. The age of the trees and allées is finite. Even with a careful and professional care, the renewal is inevitable, which, beyond technical problems of landscape architecture might raise many scientific, nature conservation, yes, esthetical and ethical questions. This is why there is no universal methodology, but there are aspects and examination procedures of general validity with the help of which a renewal can be prepared. The renewal concept of the lime tree allée in Nagycenk aims at the protection and the transmission of the value-ensemble embodied in the allée. One part of the value-ensemble is the spiritual, cultural heritage, the extraordinary value of the landscape-scaled, landscape architectural creation planted and taken care of by the Széchenyis. On the other hand the two and a half centuries old trees represent an inestimable botanical and genetic wealth. Its transmission and preservation is a scientifically important program coming up to the Széchenyi heritage. After the registration of the originally planted old trees, the complete nursery material of the “Széchenyi limes” necessary for the replanting can be produced by vegetative propagation. The gradual replacement of the stand with its own propagation material, by the carefully raised nursery trees of the same age can be a model for the gene-authentic renewal method – a novelty even at an international level.

Kinetic performance : a study in portable architecture

The purpose of this research was to explore a new way of experiencing a performance space using the portability and flexibility of a cargo container. Since the 17th century there has been a split between theater, as a written work, and architecture. Theater has lost its founding essence becoming more about the structure and less about the performance. Contemporary theater designs came through the development of street performances, which developed into theater types such as the Black Box and lately video and projection screening. With the exploration of kinetic uses in architecture and defragmentation of a cargo container there is a new step on the development of theater design. Using a cargo container gave me a familiar object with specific dimensions to start my exploration as well as the possibility of having the theater transported to many sites. The findings demonstrate that there are many unexplored possibilities to create a performance space outside the conventional theater that can promote new types of performances as well as the use of new technologies of video and projection.

The Gentleman-Scholar at Home: Domesticity, Masculinity, and Civility in Dutch Seventeenth-Century Genre Painting

This dissertation examines the gentleman-scholar depicted at home in Dutch seventeenth-century genre paintings, focusing primarily on art created in the Northern Netherlands from the 1630s through the 1670s. The methodological approach is art historical but also pertains to history of architecture, history of dress, and gender studies. Employing the framework of the 'Ages of Man', this thesis investigates three related pictorial themes: the student, the scholar in his prime, and the aged scholar. Variations of male scholarly figures and the accoutrements of the study have a long history in Europe. Prototypical sources include religious history paintings of learned hermit-saints; artistic interest in the allegorical Saturnine persona; portraits of famous scholars; and the iconography of scholarly melancholy implied through vanitas allusions in portraiture and genre paintings. While the majority of Dutch genre paintings pertain to themes of women, male domestic routines form a small but important subset of this imagery and have not been studied. By the 1640s, this subject is readily identified by his setting, clothing, and actions. The ubiquity of scholarly attributes, such as books and globes, paired with the wearing of scholarly robes suggest the merits of intellectual curiosity and the privileges of studying as a pastime and designating a room as a study (studeerkamer). Distinct themes in genre also imply the challenges and rewards of scholarly activity pursued in concert with masculine civic and familial duty. Central to the development of this pictorial theme were: the innovative treatment of learned men by Rembrandt and his circle; the fijnschilder subjects of Dou; and the practice of amateur study by elite men, as suggested by the art of Vermeer. As this dissertation reveals, this convention did not grow to be consistent across the Northern Netherlands, nor was artistic interest limited to university towns. Rather, the larger relevance of scholars in Dutch society is evident in visual and literary sources. The domesticity of this figure in genre painting suggests that scholars mediated between an active and a contemplative life. Societal respect was garnered for scholars through their balance of familial and social duties with the honorable pastime of scholarly leisure.

Fossil associations from the middle and upper Eocene strata of the Pamplona Basin and surrounding areas (Navarre, western Pyrenees)

Fossil associations from the middle and upper Eocene (Bartonian and Priabonian) sedimentary succession of the Pamplona Basin are described. This succession was accumulated in the western part of the South Pyrenean peripheral foreland basin and extends from deep-marine turbiditic (Ezkaba Sandstone Formation) to deltaic (Pamplona Marl, Ardanatz Sandstone and Ilundain Marl formations) and marginal marine deposits (Gendulain Formation). The micropalaeontological content is high. It is dominated by foraminifera, and common ostracods and other microfossils are also present. The fossil ichnoasssemblages include at least 23 ichnogenera and 28 ichnospecies indicative of Nereites, Cruziana, Glossifungites and ?Scoyenia-Mermia ichnofacies. Body macrofossils of 78 taxa corresponding to macroforaminifera, sponges, corals, bryozoans, brachiopods, annelids, molluscs, arthropods, echinoderms and vertebrates have been identified. Both the number of ichnotaxa and of species (e. g. bryozoans, molluscs and condrichthyans) may be considerably higher. Body fossil assemblages are comparable to those from the Eocene of the Nord Pyrenean area (Basque Coast), and also to those from the Eocene of the west-central and eastern part of South Pyrenean area (Aragon and Catalonia). At the European scale, the molluscs assemblages seem endemic from the Pyrenean area, although several Tethyan (Italy and Alps) and Northern elements (Paris basin and Normandy) have been recorded. Palaeontological data of studied sedimentary units fit well with the shallowing process that throughout the middle and late Eocene occurs in the area, according to the sedimentological and stratigraphical data.

Party rules, party resources and the politics of parliamentary democracies How parties organize in the 21st century

This article introduces the first findings of the Political Party Database Project, a major survey of party organizations in parliamentary and semi-presidential democracies. The project’s first round of data covers 122 parties in 19 countries. In this article, we describe the scope of the database, then investigate what it tells us about contemporary party organization in these countries, focusing on parties’ resources, structures and internal decision-making. We examine organizational patterns by country and party family, and where possible we make temporal comparisons with older data sets. Our analyses suggest a remarkable coexistence of uniformity and diversity. In terms of the major organizational resources on which parties can draw, such as members, staff and finance, the new evidence largely confirms the continuation of trends identified in previous research: that is, declining membership, but enhanced financial resources and more paid staff. We also find remarkable uniformity regarding the core architecture of party organizations. At the same time, however, we find substantial variation between countries and party families in terms of their internal processes, with particular regard to how internally democratic they are, and the forms that this democratization takes.

Session organiser/chair: The architecture of coal and other energies

Coal ignited the industrial revolution. An organic sedimentary rock that energized the globe, transforming cities, landscapes and societies for generations, the importance of ‘King Coal’ to the development and consolidation of modernity has been well-recognised. And yet, as a critical factor in the production of modern architecture, coal—as well as other forms of energy—has been mostly overlooked.

From Appalachia to Lanarkshire, from the pits of northern France, Belgium and the Ruhr valley, to the monumental opencast excavations of Russia, China, Africa and Australia, mining operations have altered the immediate social and physical landscapes of coal-rich areas. But in contrast to its own underground conditions of production, the winning of coal, especially in the twentieth-century, has produced conspicuously enlightened and humane approaches to architecture and urbanism. In the twentieth century, educational buildings, holiday camps, hospitals, swimming pools, convalescent homes and housing prevailed alongside model collieries in mining settlements and areas connected to them. In 1930s Britain, pit head baths—funded by a levy on each ton produced—were often built in the International Style. Many won praise for architectural merit, appearing in Nicholas Pevsner’s guides to the buildings of England alongside cathedrals, village manors and Masonic halls as testimonies to the public good.

The deep relationships between coal and modernity, and the expressions of architecture it has articulated, in the collieries from which it was hewn, the landscape and towns it shaped, and the power stations and other infrastructure where it was used, offer innumerable opportunities to explore how coal produced architectures which embodied and expressed both social and technological conditions. While proposals on coal are preferred, we also welcome papers that interrogate the complexity, heterogeneity and hybridity of other forms of energy production and how these have also interceded into architectural form at a range of scales.

Concrete Nurse Logs: Spawning Biodiversity from Ballard’s Century-Old Locks

Thesis (Master's)--University of Washington, 2016-08

Towards a Generic Enterprise Systems Architecture Based on Cyber-Physical Systems Principles

Part 7: Cyber-Physical Systems

Confrontation de l'architecture de l'Iran avec la modernité occidentale : constance de la question identitaire

À la fin du 19e siècle, l’Iran commence à se transformer radicalement. Ce changement est le résultat d’un processus de métamorphose socioculturelle, avec le désir d’effacer les méthodes du passé et de recommencer ; une ambition de faire un renouvellement fondamental dans la société, en bénéficiant des grandes idées progressistes de l'Occident moderne. Cette volonté s’est renforcée à la suite des premières visites en Europe d’étudiants et de Nassereddin Shah, le roi de l'Iran, dans les années 1870. Dans ce contexte, les Iraniens et leurs gouvernants, considérant leurs infériorités politico-économiques, ont décidé de remplacer les frustrations internationales par des idées nationalistes et une propagande de suprématie raciale ou religieuse, notamment concertant « l'identité culturelle ». Suivant ces tentatives pour réformer les infrastructures sociopolitiques de l'Iran, tous les domaines culturels du pays, incluant l’architecture, ont été modifiés, selon les idéologies des dirigeants de l’Iran pendant trois périodes historiques du pays : l'époque Qadjar (dès le règne de Nassereddin Shah en 1848), l'époque Pahlavi (1925-1979) et l'époque Post-révolution islamique (1979- jusqu'à présent). L'idée générale de notre mémoire est d'étudier le processus de modernisation de l'architecture de l'Iran, de même que les influences majeures de tous ces changements, concrétisés par des fusions éclectiques et des idées pluralistes – souvent basées sur la politique. De là, en usant des approches de l’histoire sociale et culturelle de l’art, nous analysons des exemples de monuments de l'architecture publique de l'Iran depuis l'entrée de l'Iran dans la modernité, pour chacune des trois périodes mentionnées. Cela, afin de comprendre si les architectes iraniens ont trouvé de nouvelles conceptions pour opérer un déploiement créatif des principes traditionnels et pour trouver de nouvelles orientations dans le processus général de leur évolution architecturale. Autrement dit, nous cherchons à savoir si l'architecture iranienne, avec tous les changements stylistiques dans le processus de conceptualisation, a pu trouver - depuis l'intervention de la modernité occidentale et de l'architecture moderne - son propre langage de la modernité en architecture.