bluuebunny/crossref_metadata_2025 huggingface dataset:
Ornament and Expressive Lines: Nature and Symbol in Victor Ruprich‐Robert's
Flore ornementale
Authors: Ghoche Ralph
Published: March 2017

This chapter examines the work of Victor Ruprich‐Robert (1820–87), an architect and leading reformer of ornament during the Second Empire, and situates it within the crisis of meaning in ornamentation in mid‐nineteenth‐century France. Particular attention is given to
Flore ornementale
, Ruprich‐Robert's major work on ornamental design, first published in 1866, and republished in expanded form in 1876. The chapter locates the main ideas set forth in the book at the intersection of new ideals in philosophical aesthetics and the natural sciences.
Constructing Emotions: The Scientific Aesthetics of Architecture in France 1860–1900
Authors: Thibault Estelle
Published: March 2017

In late nineteenth‐century France, the ambition of founding a “science of architectural aesthetics” cut across an array of miscellaneous writings, articles, and more or less known works that at times were correlated to teaching endeavors. The period during which aesthetics became an autonomous discipline in France, be it at the Académie des sciences morales et politiques or at the Collège de France, provides the background for these discourses. Under the heading of scientific aesthetics, architects, historians, and critics called upon a mix of expression theories, sensorial physiology, and social psychology in order to better comprehend the beholder's emotional reactions to buildings. Between scientific exploration and theoretical fiction, these fields aided in the codification of the visual language of architecture and the reduction of its forms to an abstract set of components with affective significance. This formalist reflection was compared to old stylistic categories while stimulating speculation on the architecture of the future.
The Tectonics of the Soul: Animist Survivals in Nineteenth‐Century Architecture and Ornamentation
Authors: Papapetros Spyros
Published: March 2017

Following the emergence of theories of tectonics and the novel theorization of ornament based on principles of the natural sciences, mid‐nineteenth‐century architectural discourses were informed by a resurgence of interest in animism. These animist descriptions were a veritable amalgam of earlier philosophical theories of the soul from Aristotle to the early modern medical philosopher Georg‐Ernest Stahl and ethnographic accounts of the religious beliefs of non‐Western cultures granting agency in natural or manmade objects, including trees, buildings, implements, and bodily ornaments. The epistemological impact of animism was implicitly catholic, expanding from imaginative theories of tectonics, such as the study of ancient Greek “tree worship” by the preeminent theorist of tectonics Karl Boetticher to the emerging discipline of architectural history, including the first monographic descriptions of non‐Western monuments, such as the study of “tree and serpent worship” retraced on the heavily ornamented façades of two Indian monuments by “world” architectural historian James Fergusson.
What American Architects Learned in Paris, 1845–1914
Authors: Zanten David Van
Published: March 2017

The Beaux‐Arts system of architectural composition aimed at clarity and was admired for achieving it, especially in Anglo‐American corporate and administrative design at the turn of the twentieth century. But Paris teaches lessons beyond conceptual simplicity, and the experience of architectural education in that city embraces a number of complexities, first in that a number of the most creative products were especially cognizant of France and French language so that they were more catholic and subtle in what they took away – Hunt, Richardson, Sullivan – and second in that not all Americans attended the École des Beaux‐Arts once there but, like William Le Baron Jenney and Theodore Link, the École Centrale des Arts et Manufactures or, like Louis Millet, the École des Arts Décoratifs. This raises the fundamental issue of what Americans went to the École to achieve in the first place, which seems to have been a specific professional consecration that the graphic reasoning of “Beaux‐Arts” composition bestowed back across the Atlantic.
Structural Expression and Functional Representation in American Architecture 1850–1910
Authors: Siry Joseph M.
Published: March 2017

From the mid‐1800s on, American architects worked with the competing priorities of structural expression of new materials or methods of construction, and the question of how best to represent a building's social function in its exterior, often via eclectic adaptation of historical forms. This chapter examines this issue with reference to Richard Morris Hunt's Griswold House, Newport, Rhode Island; James Bogardus and cast iron architecture in New York City; Frank Furness’ Pennsylvania Academy of Fine Arts, Philadelphia, and the Furness Library, University of Pennsylvania; Henry Hobson Richardson's Trinity Church, Boston, and Marshall Field Wholesale Store, Chicago; Dankmar Adler and Louis Sullivan's Wainwright Building, St. Louis, and the Carson Pirie Scott Building, Chicago; McKim, Mead, and White's Pennsylvania Station, New York City; and Frank Lloyd Wright's Robie House, Chicago. These memorable works of American architecture from the mid‐nineteenth to the early twentieth century vary widely in type, construction, and context, but they all exhibit some degree of conceptual tension between structural expression as an attribute of modernity, and functional representation that engages earlier architectural styles or conventions. An ideal historiography embraces both of these perspectives, such that inconsistencies within works between apparent modernity and retrospection find a place in our accounts.
Dismembering and Remembering the Virtuous Mughal City in Nineteenth‐Century British India
Authors: Kavuri‐Bauer Santhi
Published: March 2017

In nineteenth‐century India, Mughal architectural sites went through a critical transformation that changed their relationship with and symbolic importance to the city of Delhi. This chapter traces how these structures that once ordered and represented the ethos of the Mughal city were resignified to represent the power and positivism of British imperialism. It first describes how the buildings functioned as constitutive parts of a virtuous Islamic city. Then it describes the circumstances that led to the sites being wrested from the Mughals by the East India Company. Finally, it focuses on the period that followed the Uprising of 1857 when the imperial practices of archaeology, conservation, and tourism separated the Mughal architecture of Delhi from the urban network and emptied them of their cultural meaning, limiting their meaning to archaeological specimens, historical monuments, and tourist destinations.
Of Emperor and Empire: Architectural Constructions of Imperial Japan
Authors: Tseng Alice Y.
Published: March 2017

This chapter focuses on the major building projects that directly served the imperial institution and the imperialist mission during the reign of Emperor Meiji of Japan (1868–1912). Recognizing the ideological centrality of the emperor in the construction of modern Japan as Imperial Japan allows for the assessment of what may otherwise appear to be a varied amalgam of architectural functions, styles, and expressions as an integrated body of works with a shared agenda. The buildings examined – imperial residences, shrines and mausolea, and parks and museums – when understood as conscious built forms expressive of Imperial Japan, vividly demonstrate the complex, and at times contradictory, sets of inspirations and aspirations that were frequently cross‐cultural and cross‐temporal.
Glass House at Cologne: Bruno Taut
Authors: Breitschmid Markus
Published: March 2017

Part of the prestige of the Glass House rests upon the renown of the man who designed it, Bruno Taut, an architect with a particularly ambitious vision for the future of architecture. Yet Taut's reputation derives in no small degree from the Glass House itself and the prominent place it continues to hold in the history of modern architecture. The most obvious and exceptional fact about the Glass House is implied in its seemingly lapidary name, as glass is chiefly responsible for the architectonic expression andStimmungthat made it exceptional. However, the architect himself called it “my ‘Glass House,’ the lightest possible concrete structure” and was thus pointing to a duality of the building that is pervasive in every aspect of it, for example, in its spatial dramaturgy. Described by contemporaries as an “overwhelmingly beautiful” structure, the aesthetic characteristic of the building consists of the duality of a matter‐of‐fact objectivity and a quixotic utopianism. Thereby, Taut's Glass House serves as a primary expression of the architect's search for the “cosmic character of architecture.”
Monument to the Third International: Vladimir Tatlin
Authors: Anderson Richard
Published: March 2017

Conceived in 1919, Vladimir Tatlin's Monument to the Third International remains a powerful and enigmatic icon of the artistic and architectural innovations that followed the October Revolution. The project was at once central to architecture's development in the post‐revolutionary period, but Tatlin operated only on the periphery of the productive experiments undertaken by the Soviet architectural vanguard during the 1920s and early 1930s. His Monument to the Third International was widely recognized as having initiated a new approach both to the monument as a building type and to architecture as such. To some, this project for a towering skeleton of steel appeared as a logical consequence of Tatlin's exploration of material properties; to others it was a design overburdened with symbolism.
Brick Country House Project: Mies Van Der Rohe
Authors: Dodds George
Published: March 2017

The image of a building, at times, attains a status above and beyond the physical artifact represented, wherein the depiction of what could have been is given equal status to or privileged over what was built. Ludwig Mies van der Rohe's oeuvre is chockablock with such instances – both intentional and not. The canonical Berliner Bild‐Bericht photographs of his German Pavilion for the Barcelona International Exposition (1928–29) are the most celebrated of these, while the drawings of his “Project for a Brick Country House” are arguably the most influential of his early Weimar experiments (1921–25). Yet, typical of the uncertainty that surrounds much of Mies’ avant‐garde work of the 1920s, little is known with certainty of the genesis of the brick villa project: not its client, if there was one; not its site, if there was one; not even the year in which the drawings were made. Moreover, while they have influenced generations of architects, their resonance in Mies’ own architectural production is relatively limited, and short lived.
Contra‐Construction
Authors: Bryon Hilary
Published: March 2017

Theo van Doesburg's Contra‐Construction is one of modern architecture's iconic pictorial representations. Embedded in its traces are early modernism's regard for universality and infinite space, and by extension spatial simultaneity and formal abstraction. The drawing's convention itself, parallel projection, is inherently based on the concept of infinity. Unlike perspective, pictorial depth is indicated objectively via parallel projectors extending infinitely. As well, the Contra‐Construction is an oblique parallel projection drawing and thus has coexisting two‐dimensional and three‐dimensional spatial aspects. Of course, parallel projection techniques had been representational tools with varied ends for engineers, architects, and artists for centuries, but van Doesburg's drawing immerses the representation in its projective essence. For perhaps the first time, the visual expression of a conceptual proposition exactly coincided with this means of architectural representation.
Dymaxion House: R. Buckminster Fuller
Authors: Brennan AnnMarie
Published: March 2017

While Fuller is best known for his dome structures, the Dymaxion House is perhaps the most important failed architecture project of the twentieth century. It can be considered a failure because the project never achieved its primary goal of being a mass‐produced house that would be transported directly to its customers across the United States at an affordable price. The house's significance, however, lies in the fact that Fuller reimagined the way people would live in the future, and introduced to the architectural profession new criteria by which to judge and assess housing design, which was according to a standard of improved performance, not unlike the manufacturing and performance benchmarks of industrially‐designed objects such as boats, cars, and airplanes. Fuller's insight into this advanced approach was derived through his ability to transfer knowledge from his experience in manufacturing and the U.S. military to the field of design.
Schocken Department Store: Erich Mendelsohn
Authors: James‐Chakraborty Kathleen
Published: March 2017

Erich Mendelsohn's preliminary sketch, made in 1926, for the Schocken Store in Stuttgart, completed two years later, stands at the center of interconnected stories about the New Building, as the commercial and residential architecture erected in a bold and inexpensive new style was termed in Germany during the 1920s and early thirties; about Mendelsohn, who was one of its most famous and fashionable practitioners; and about the impact that industrialization has had on consumerism and thus in turn upon architectural and urban space. The commercial function and downtown location of the Schocken store, and Mendelsohn's other department stores, office buildings, and single cinema set them slightly apart from the other most celebrated examples of the New Building, even as they established new prototypes for these building types that would be influential for decades around the world. More than any of his contemporaries allied with either the New Building or the broader Modern Movement of which it was a part, Mendelsohn relied, despite having lost on eye to cancer in 1921, on the perspective sketch as the crucial stage in his design process. This enabled him to respond effectively to an urban context that remained invisible in the sketches themselves. The dynamism with which he dressed up such key precedents as Albert Kahn's Ford factories in Detroit, provided an alternative to the palatial settings in which mass produced goods were often sold. At the same time it acknowledged the drama inherent in introduction to consumers of new technology, whether elevators and escalators; new goods, such as radios and gramophones; and, of course, the latest fashions.
Danteum: Giuseppe Terragni
Authors: Mekinda Jonathan
Published: March 2017

Known only through a small number of drawings and photographs as well as a single model, the Danteum is arguably one of the most enigmatic architectural projects by a renowned architect of the twentieth century. Commissioned in the late 1930s as a center for the study of the poet Dante Alighieri, the Danteum was also conceived by its architects Pietro Lingeri and Giuseppe Terragni as a monument to the poet's particular vision for a renewed imperial Italy, which seemed finally to have been realized by Mussolini's fascist order. To that end, the architects developed a design that fused symbolic structures extracted from Dante's work directly with the interior organization and architectural form of the building. Rejecting figurative ornament almost entirely, Lingeri and Terragni deployed the stripped surfaces, abstract forms, and orderly but irregular arrangement of spaces typical of architectural modernism to design a building that would embody the journey told in
The Divine Comedy
, from hell to paradise and beyond. In this synthesis of form and content, the Danteum proposed a modernist monumentality of unprecedented – and unequalled – integrity and power.
Maison Du Peuple: Jean Prouvé
Authors: Beim Anne
Published: March 2017

Maison du Peuple by Jean Prouvé (1901–84), Eugène Beaudoin, Marcel Lods, and Vladimir Bodianski, shows how deep insight into material properties, craftsmanship, and a curiosity for new technologies can inform original architectural expression of particularly high standards. Jean Prouvé called himself a “constructeur,” but was an architect, engineer, and industrial designer. His educational background as an artisan gave him special advantages in terms of pushing the limits of new materials and technologies. Maison du Peuple served as one of the first significant architectural structures in which Jean Prouvé tested these limits. Maison du Peuple appears as a pragmatic, grave, and opaque structure made of steel and glass. It is characterized by a limited number of different building components with simplified design features. In that sense, the building is highly contemporary, expressing a “machine aesthetics” emphasized by the industrialized components of the construction, while at the same time these means provide the building with universal characteristics of serving and served elements. Maison du Peuple is situated in Clichy, a working‐class district in the north‐west of Paris and has from the very beginning served as a local community center for various worker unions and the neighborhood. Today it still stands out as extraordinary.
Villa Mairea: Alvar Aalto
Authors: Poole Scott
Published: March 2017

As late as 1927, at a time when modernism was making bold advances in the centers of European culture, Alvar and Aino Aalto were designing neoclassical buildings and handcrafted furniture in an array of historical styles in Jyväskylä, a small city in the countryside of central Finland. By 1938, when the Villa Mairea was completed, Alvar Aalto had his own exhibit of furniture and architecture at New York's Museum of Modern Art, and the couple had established a flourishing practice in Helsinki where they attracted highly influential, like‐minded clients who shared their interest in advancing the aesthetic and social mission of modern architecture. Key among those clients were industrialists Maire and Harry Gullichsen, who commissioned the Villa Mairea, a house that prefigured one of the most daunting challenges of modern architecture and the twenty‐first century: How to be rooted in a specific place, its local economy, and its indigenous traditions, while at the same time being globally intertwined with the world at large and its fluid movement of ideas, forms, and technical innovations.
Golden Lane: Alison and Peter Smithson
Authors: Mumford Eric
Published: March 2017

At the ninth International Congresses of Modern Architecture (CIAM), held in Aix‐en‐Provence, France in 1953, the young British architects Alison and Peter Smithson presented a recent urban housing competition project that put forward a new sensibility about the potential for architecture to shape urban life. Although never built, as it was an unplaced design in a competition for rebuilding a war‐damaged area of the City of London known as Golden Lane, their well‐known set of drawings and photographs for this project, a series of linked 16‐story high‐rise slab buildings connected by “streets in the air,” altered the postwar history of modern architecture and urbanism.
Pajaritos Chapel: Alberto Cruz
Authors: de Arce Rodrigo Pérez
Published: March 2017

“The making of this church entailed covering extensive ground … how should that (ground) form be, within which one prays?” So asked Alberto Cruz in his 1954 introduction to the presentation of this little chapel designed between 1952 and 1953. Although it was never built, the scheme stands as a key exponent of modern architecture in Chile, and was arguably a source of inspiration for Martin and Guarda's 1961–64 Benedictine chapel in Santiago, which is generally recognized as a highlight of the modern period. As a leading teacher at the Valparaiso Catholic University school of architecture and design Cruz spread his influence broadly, with the school gaining a reputation for its original appraisals and experimental ethos. Seen from a broader perspective the little chapel stands for a particular vision about the modern project where abstraction, phenomenological considerations, and a certain ascetic poetry also admit pragmatism and circumstantial constrictions at the level of technique, knowhow, and finance. Much like anthropologists, the Valparaiso school members staked high claims upon participant observation and its outcome in sketch drawings and field notes; also a particular consciousness about place, ambiances, and ritual. These considerations ranged from the phenomenal to the symbolic and prosaic, all of them contributing to the making of a single project.
The Naked City: Guy Debord and Asger Jorn
Authors: Sadler Simon
Published: March 2017

This chapter seeks to account for the marked ingress of The Naked City; a 1957 print by Guy Debord and Asger Jorn, into architecture culture. As a product of the anarchist‐Marxist Situationist International avant‐garde, The Naked City announced that modern culture was one of overlap and contingency rather than sequenced and orthogonal repetitive relation. It was a manifesto, of sorts, for revolutionary intervention in the city led by the vanguard intelligentsia, but especially with the waning of the revolutionary culture of the 1960s, it inspired an intervention in the city led by an architectural intelligentsia seekingdesignedrather thanrevolutionaryevents. An account of architecture's adoption of The Naked City's message is then one way of abbreviating the long story of architecture's turn from rationalist to postmodern urbanism.
Brasilia: Lucio Costa
Authors: Comas Carlos Eduardo
Published: March 2017

Cities are not built in a single day. Brasilia was the name suggested for a new capital in the hinterland when Brazil became an independent empire in 1822. The idea was written into the country's first republican constitution (1891), and land surveys in the central plateau subtropical savanna followed (1892–93); after that, nothing much happened before the end of World War II. When President Juscelino Kubitschek was inaugurated in January 1956, a federal district had been demarcated and a plan had been drawn up by José de Oliveira Reis, Raul Penna Firme, and Roberto Lacombe in 1955. They recommended damming the Paranoá River to create a lake and consequently reduce the aridity of the climate. Called Vera Cruz, the new capital would stand on a triangular site extending and rising dome‐like to the west between two branches of the lake.
Brion Cemetery: Carlo Scarpa
Authors: Cadwell Michael
Published: March 2017

Late in his career, in November of 1976, Carlo Scarpa lectured at the Academy of Fine Arts in Vienna. Entitled “Can Architecture Be Poetry?,” Scarpa's lecture acknowledged his respect for Oriental architecture as well as that of Hoffmann, Wright, Le Corbusier, and Kahn. Scarpa also defended his project under construction, a private cemetery in honor of the successful industrialist Giuseppe Brion and his wife Onorina Tomasin Brion. Opposition to the project was pronounced, especially within academia, where the extravagance of a memorial to a wealthy patron flew in the face of prevailing egalitarian ideology. During the discussion that followed his presentation, Scarpa bemoaned the graffiti that students had scrawled on the cemetery walls, yet closed with his typical equanimity, “Allow me a small personal idea. A large work of art is always small.”
Swimming Pool On The Beach At Leça de Palmeira: Álvaro Siza
Authors: Gänshirt Christian
Published: March 2017

Constructed north of Oporto in the 1960s, the swimming pool on the beach at Leça da Palmeira (in Portuguese called Piscinas das Marés) is considered one the most interesting early works of Portuguese architect Álvaro Siza Vieira. This chapter is an attempt to describe the genealogical and architectural characteristics of this work from different perspectives: the visitor experience, the design and building process, relation to context, and architectural and cultural references. The planning documents, including drawings, project descriptions, building documents, and countless sketches had just recently become available when this text was written, permitting the reconstruction of a painfully long planning and building procedure that developed over 14 years.
Walking City: Archigram
Authors: Deyong Sarah
Published: March 2017

Archigram is perhaps best known for their bold and fanciful visions of the future metropolis, but in the 1960s, their iconic projects belonged to a larger debate on the limits of functionalism. Topics in this debate included the question of style, which Archigram and others saw as woefully absent in the rationalist rhetoric of postwar modern architecture. Informed by the charismatic arguments of Reyner Banham, Archigram looked to popular culture for inspiration and set out to invent the new symbols of the second machine age. In so doing, they recast the traditional relation between form and function, style and technology, with their visionary projects, standard‐of‐living packages and counter‐environments. These projects also marked a shift in the discourse on style from the postwar preoccupation with symbolic expression to a critique of the postmodern sign.
Marie Short House: Glenn Murcutt
Authors: Gusheh Maryam , Lassen Catherine
Published: March 2017

Glenn Murcutt's Kempsey farmhouse is a six‐hour car journey north from Sydney through towns and state forests. One turns at last from the major highway onto a regional road that is less and less groomed and the final approach is a long bumpy track. Signposts only just mark the slow dusty drive through mature forest where enormous eucalypts suggest the age and locale of this landscape. A gate or two in farm fences at the road's end reveals almost nothing. It is only by opening a gate and stopping to look closely, that far off a small structure of perhaps two horizontal houses is visible. Through a large paddock one reaches another gate leading directly to a silvered timber building hovering on a lawn. Drawing close, stopping just past the house, arrival is at an open‐ended porch.
Centre Pompidou: Renzo Piano and Richard Rogers
Authors: Steiner Hadas A.
Published: March 2017

The Centre Nationale d'Art et Culture Georges Pompidou (1971–77), also known as the Pompidou Center, makes a stark impression even today. From afar, the scale of the inside‐out structure with its vast public plaza retains a monumental status within the densely populated medieval quarter from which it differentiates itself. The building takes up half of its site, with the rest given over to a plaza, known as the Plateau Beaubourg, which remains an animated civic space in its own right. In proximity, the skeletal structure of steel columns, trusses, tension rods and
gerberettes
that together with the mechanical and circulation systems make up the façades of the building cause the eye to follow the latticework of structure and focus on the connective details. The Pompidou Center continues to present itself as a vision of technologically enabled adaptability that clearly exhibits what became known in architectural discourse as “High Tech.” Effectively, the building has become “a manifesto of late modernism with its commitment to the public realm, the integration of design and technology, and the unflinching belief in total flexibility.”
Teatro Del Mondo: Aldo Rossi
Authors: Lobsinger Mary Louise
Published: March 2017

It could be argued that Aldo Rossi's Teatro del Mondo is the single most memorable contribution to the 1980 inaugural Venice Biennale of International Architecture. The project was co‐sponsored by the Biennale's theater and architecture sections. Constructed on a barge in the Fusina shipyards, the theater was towed by tugboat to a mooring near thePunta della Doganaor Custom Point across the water from the Piazza San Marco. In this location it was first presented to the public in 1979 on November 11 as part of an exhibition dedicated to the theme of “Venezia e lo spazio scenico,” or “Venice and the Space of the Stage.” In the early months of 1980 the Teatro del Mondo served as a performance space for the inaugural Carnival of the Theater held in Venice from January 28 to February 19. In early August the barge with theater atop traveled across the Adriatic to Dubrovnik to participate in the International Theater Festival. In late August it journeyed back to Venice to participate in the first Biennale dedicated to international architecture. The theater as architectural object was, however transitory, a determined gesture, the image of which has had lasting significance.
Sangath: Balkrishna Doshi
Authors: Ashraf Kazi Khaleed
Published: March 2017

Sangath (1979–81) sits between two phases in the
oeuvre
of the Indian master architect Balkrishna Doshi: a first phase, in which machine‐like cubic masses are raised aloft in the landscape; and a second, characterized by crustacean‐like creatures lying embedded in the ground. The first includes the Institute of Indology in Ahmedabad (1957–62) and the Indian Institute of Management in Bangalore (1977–85), and the second the eccentric Husain‐Doshi Gufa (1992–95) that followed Sangath. Sangath is a key project that takes Doshi from an explicitly rational and objective approach to architecture toward an openly oneiric and mythopoeic way of working.
Stone House: Herzog & de Meuron
Authors: Ursprung Philip
Published: March 2017

The very first commission of Herzog & de Meuron outside the surroundings of their native city of Basel, where they founded their office in 1978, was a vacation house in the Italian region of Liguria. The project started in 1982 and the building was completed in 1988. The house is located near the village of Tavole, about 10 kilometers from the Mediterranean coast, halfway between Genoa and Nice. Liguria belongs to the south‐western extremity of the Alps and is characterized by high mountains, steep valleys, and a combination of Alpine and Mediterranean vegetation. The area near the coastal port towns has been used for the cultivation of olives since antiquity, but in the late twentieth century the hinterland was struck by depopulation and many of the orchards in the old man‐made terraces, which structure the landscape, had fallen into decay. When the building was published under the title of Stone House in 1988 its resonance among the architectural community was striking. Together with a handful of other small buildings it triggered Herzog & de Meuron's international breakthrough. Like the Stone House, they all bear characteristic names, such as the Blue House (1980), the House for a Veterinary Surgeon (1984), the Plywood House (1985), and the House for an Art Collector (1987).
Church of The Light: Tadao Ando
Authors: Baek Jin
Published: March 2017

The Church of the Light by Tadao Ando, a representative Christian church in post‐war religious architecture, presents a distinguishing ‘cross of light’ in a restrained atmosphere enveloping the congregation and the altar. The cross of blankness is diametrically opposite to that of the Baroque crucifix, acquiring a state of ‘pure iconicity’ with the effect of radically Protestantizing the universal symbol of Christianity. The blankness further leads the enduring aspect of the cross as an icon to be joined with the transformative nature of the phenomenal light. This union of the phenomenal with the iconic is efficacious. The light's ceaseless alteration saves the perception of the cross from any idolatrizing fixation; the immovability of the iconic prevents the perception of the light from being subjected to an endless manifestation in différance. Another key to the proper understanding of the status of the cross is
shintai
, or the Japanese notion of the body. Thanks to
shintai's
sensational and postural alertness and the ensuing pre‐predicative and pre‐reflective corporeal pulsation with the cross, the cross operates not as a representational figure to be deciphered by the semiotic gaze of instrumental attitude but as a figure of the corporeally and pre‐reflectively apprehended domain.
Yokohama Ferry Terminal: Foa
Authors: Furján Helene
Published: March 2017

When they left Rem Koolhaas’ Office of Metropolitan Architecture in 1992, Farshid Moussavi and Alejandro Zaera‐Polo started Foreign Office Architects (FOA), moving the practice to London to teach at the Architectural Association (AA). The AA in the 1990s, under Chairman Alan Balfour and Jeffery Kipnis, Director of the Graduate Design Program, was a crucible for experimental practice and design research. Zaera‐Polo and Moussavi were commissioned to run a three‐year research studio using international competitions to provide content forAA Files, the in‐house scholarly journal. The Yokohama Ferry Terminal was the product of the 1994–95 competition to rebuild the 1894 Osanbashi Pier in the Japanese port city of Yokohama as an international passenger terminal. With their 1995 winning scheme, FOA and their students took a decisive lead in the shift toward digital design that no longer distinguished between ground and building mass, or between surface and depth, section and plan.
21
st
Century Museum of Contemporary Art: Sanaa
Authors: Costa Xavier
Published: March 2017

Kanazawa proposes a new paradigm in museum conception and design. Inscribed in SANAA's trajectory, this structure manages to reposition the art museum in architectural culture, as it redefines its sense of space and materiality, its relationship to the phenomena of exhibition and display, and its role in today's society.
Individual volume‐based 3D gamma indices for pretreatment VMAT QA
Authors: Yi Jinling , Han Ce , Zheng Xiaomin , Zhou Yongqiang , Deng Zhenxiang , Xie Congying , Jin Xiance , Jin Fu
Published: March 2017

Although gamma analysis is still a widely accepted quantitative tool to analyze and report patient‐specific QA for intensity‐modulated radiotherapy (IMRT) and volumetric‐modulated arc therapy (VMAT), the correlation between the 2D percentage gamma passing rate (%GP), and the clinical dosimetric difference for IMRT and VMAT has been questioned. The purpose of this study was to investigate the feasibility of individual volume‐based 3D gamma indices for pretreatment VMAT QA. Percentage dosimetric errors (%DE) of dose‐volume histogram metrics (includes target volumes and organ at risks) between the treatment planning system and QA‐reconstructed dose distribution, %GPs for individual volume and global gamma indices, as well their correlations and sensitivities were investigated for one‐ and two‐arc VMAT plans. The %GPs of individual volumes had a higher percent of correlation with individual 15 %DE metrics compared with global %GPs. For two‐arc VMAT at 2%/2 mm, 3%/3 mm, and 4%/4 mm criteria, individual volume %GPs were correlated with 9, 12, and 9 out of 15 %DE metrics, while global %GPs were correlated with only 2 out of 15 %DE metrics, respectively. For one‐arc VMAT at 2%/2 mm, 3%/3 mm, and 4%/4 mm criteria, individual volume %GPs were correlated with 18, 16, and 13 out of 23 %DE metrics, and global %GPs were correlated with 19, 12, and 1 out 23 %DE metrics, respectively. The area under curves (AUC) of individual volume %GPs were higher than those of global %GPs for two‐arc VMAT plans, but with mixed results for one‐arc VMAT plans. In a conclusion, the idea of individual volume %GP was created and investigated to better serve for VMAT QA and individual volume‐based %GP had a higher percent of correlation with DVH 15 %DE metrics compared with global %GP for both one‐ and two‐arc VMAT plans.
Comparison of the Sensitivity to Change of the 36‐Item Short Form Health Survey and the Lupus Quality of Life Measure Using Various Definitions of Minimum Clinically Important Differences in Patients With Active Systemic Lupus Erythematosus
Authors: Nantes Stephanie G. , Strand Vibeke , Su Jiandong , Touma Zahi
Published: March 2017

Objective

The Medical Outcomes Study Short Form 36 (SF‐36) and Lupus Quality of Life (LupusQoL) are health‐related quality of life questionnaires used in systemic lupus erythematosus (SLE). We first determined the hypothesis‐testing construct validity of the SF‐36 and LupusQoL against disease activity in patients with active SLE and then compared the sensitivity to change of SF‐36 and LupusQoL domains according to different definitions of minimum clinically important differences (MCIDs) for improvement and worsening in the current cohort.

Methods

Seventy‐eight clinically active SLE patients concurrently completed both questionnaires at their baseline and followup visits. Questionnaire domain scores were correlated with the SLE Disease Activity Index 2000 (SLEDAI‐2K) and evaluated for floor/ceiling effects. The sensitivity to change of domains in each questionnaire was analyzed first, according to the various MCID definitions and, second, by clinically meaningful changes in disease activity. The magnitudes of change in each domain score between the baseline and followup visit were evaluated using standardized response means.

Results

In the 78 patients, the mean ± SD SLEDAI‐2K scores were 9.7 ± 4.8 at baseline and 8.8 ± 5.1 at followup. SF‐36/LupusQoL domain scores did not correlate with disease activity. The SF‐36 showed floor effects, and ceiling effects were evident in both questionnaires. All domains of both questionnaires showed sensitivity to change over time. Specific domains that reflected worsening or improvement differed according to differing MCID definitions.

Conclusion

In SLE patients with active disease, both the SF‐36 and LupusQoL are sensitive to change, reflecting both improvement and worsening. More importantly, the LupusQoL SLE‐specific domains (planning, burden to others, body image, and intimate relationships) were largely responsive to change.
Nano‐Hydroxyapatite and TiO2 Bioactivated Polymer for Implant Applications
Authors: Bsat Suzan , McTaggart Jennifer , Huang Xiao
Published: March 2017

Polymers have been successfully used for implant applications, however, challenges remain as their design requires a delicate balance between mechanical, chemical, and physical properties to ensure cell survival and tissue formation. Additive manufacturing techniques, such as SLA, offer the opportunity to achieve desired physical and mechanical properties because of the precision and control over architecture. Such control allows manipulation over the distribution of mechanical properties throughout the implant. PMA/HA and PMA/TiO2 solid and porous structures are, therefore, manufactured using room temperature SLA techniques. HA and TiO2 are added to the polymer for bio‐functionalizing purposes. The apatite forming ability of the samples are evaluated using HBSS immersion. All PMA and PMA/TiO2 samples does not show any bioactivity in terms of apatite formation, although limited amounts of CaO is found on PMA surfaces. PMA/HA samples demonstrate bioactivity with newly formed apatite formation observed after 3 and 5 week HBSS immersion.
Amine‐Triggered 6π‐Electrocyclization–Aromatization Cascade of Ynedienamines
Authors: Li Xijian , Yu Huidong , Huang Yong
Published: March 2017

An unprecedented 6π‐electrocyclization–aromatization cascade reaction of ynedienamines is described. The electron‐rich ynedienamine is converted by γ‐protonation to an electrophilic allenyl iminium species which is susceptible to amine addition generating a highly electron‐rich triene intermediate. The 6π‐electrocyclization is accelerated by three electron‐donating substituents in a captodative manner. Subsequent redox‐neutral aromatization allows the direct synthesis of 1,3‐diaminobenzenes from readily available ynedienamines.

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Intramolecular Direct Arylation of 1,3‐Diketone‐Derived Enol Ethers in a Synthesis of Tricyclic Oxoisochromene Derivatives
Authors: Muimhneacháin Eoin Ó , Pardo Leticia M. , Bateman Lorraine M. , Rao Khandavilli U. B. , Lawrence Simon E. , McGlacken Gerard P.
Published: March 2017

A synthesis of tricyclic oxoisochromene derivatives via an intramolecular direct arylation of cycloalkyl‐1,3‐diketone‐derived α,β‐unsaturated ketone substrates is described. Interesting mechanistic insight has been gathered, based on deuterium migration studies, induced by palladium (Pd).

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N,N′‐Dioxide–Lanthanum(III)‐Catalyzed Asymmetric Cyclopropanation of 2‐Cyano‐3‐arylacrylates with 2‐Bromomalonates
Authors: Zhang Yuheng , Lin Lili , Chen Yushuang , Liu Xiaohua , Feng Xiaoming
Published: March 2017

An efficient N,N′‐dioxide–lanthanum(III) complex catalytic system has been developed for the diastereo‐ and enantioselective Michael‐initiated ring‐closure (MIRC) reaction of 2‐cyano‐3‐arylacrylates with 2‐bromomalonates. Various chiral cyclopropanes with multiple substitutions were obtained in high yields (up to 93%) with excellent dr (>95:5 dr) and good ee values (up to 91% ee). The catalytic system also worked for the tandem halogenation/asymmetric MIRC reaction of α,β‐unsaturated nitriles, malonates and NBS. Besides, a possible catalytic model has been proposed to explain the origin of the stereoselectivity.

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High‐Performance and Stable All‐Polymer Solar Cells Using Donor and Acceptor Polymers with Complementary Absorption
Authors: Li Zhaojun , Zhang Wei , Xu Xiaofeng , Genene Zewdneh , Di Carlo Rasi Dario , Mammo Wendimagegn , Yartsev Arkady , Andersson M. R. , Janssen René A. J. , Wang Ergang
Published: March 2017

To explore the advantages of emerging all‐polymer solar cells (all‐PSCs), growing efforts have been devoted to developing matched donor and acceptor polymers to outperform fullerene‐based PSCs. In this work, a detailed characterization and comparison of all‐PSCs using a set of donor and acceptor polymers with both conventional and inverted device structures is performed. A simple method to quantify the actual composition and light harvesting contributions from the individual donor and acceptor is described. Detailed study on the exciton dissociation and charge recombination is carried out by a set of measurements to understand the photocurrent loss. It is unraveled that fine‐tuned crystallinity of the acceptor, matched donor and acceptor with complementary absorption and desired energy levels, and device architecture engineering can synergistically boost the performance of all‐PSCs. As expected, the PBDTTS‐FTAZ:PNDI‐T10 all‐PSC attains a high and stable power conversion efficiency of 6.9% without obvious efficiency decay in 60 d. This work demonstrates that PNDI‐T10 can be a potential alternative acceptor polymer to the widely used acceptor N2200 for high‐performance and stable all‐PSCs.
Maxillofacial features and systemic malformations in expanded spectrum Hemifacial Microsomia
Authors: Cohen Noah , Cohen Erica , Gaiero Alberto , Zecca Silvia , Fichera Graziella , Baldi Federica , Giordanetto Joseph Felix , Mercier Jacques Marie , Cohen Amnon
Published: March 2017

Hemifacial microsomia (HFM) is a rare, multisystemic congenital disease with estimated frequency of 1/26370 births in Europe. Most cases are sporadic and caused by unilateral abnormal morphogenesis of the first and second pharyngeal arches. The aim of this study is to define the types and frequency of maxillofacial and systemic malformations in HFM patients. This is a case series study of patients with HFM evaluated at a single institution. Data were acquired through history, physical examination, photographs, diagnostic radiology, and laboratory and analyzed by the FileMakerPro database on 95 patients (54F; 41M) of which 89 met the inclusion criteria. Mandibular hypoplasia was observed in 86 patients with right‐side preponderance (50). One patient had bilateral mandibular hypoplasia. Seventy‐four had external ear anomalies (anotia or microtia). Eleven had bilateral malformed ears. Hearing impairment, associated with stenosis or atresia of the external ear canal, was found in 69 patients (eight with bilateral canal defects). Ocular anomalies were seen in 41 (23 with dermoid cysts) and 39 had orbital malformations. Facial nerve paralysis was observed in 38 patients. Cleft lip/palate (10), preauricular tags (55), and macrostomia (41) were also described. A total of 73/86 had systemic malformations, mainly vertebral (40), genitourinary (25), and cardiovascular (28). Sixteen had cerebral anomalies (four with intellectual disability). All patients suspected of HFM should undergo a complete systematic clinical and imaging investigation to define the full scope of anomalies. Since the disease is rare and complex, affected patients should be monitored by specialized multidisciplinary team centers.
Isocyanid‐Komplexe von Cr0, Mo0 und W0 als Leuchtstoffe und Photosensibilisatoren mit langlebigen angeregten Zuständen
Authors: Büldt Laura A. , Wenger Oliver S.
Published: March 2017

d6‐Metallkomplexe der Gruppe 6 mit Arylisocyanid‐Liganden sind aus in der Erde reichlich vorhandenen Elementen aufgebaute Alternativen zu photoaktiven Komplexen edler Metalle wie RuII, ReI, OsII oder IrIII. Einige dieser Komplexe haben langlebige angeregte 3MLCT‐Zustände, die Lumineszenz mit guten Quantenausbeuten mit Lebensdauern im Bereich von Nano‐ bis Mikrosekunden vereinbaren und überdies stark reduzierend sind. Kürzlich erfolgte Studien zeigten, dass Cr0‐, Mo0‐ und W0‐Arylisocyanide großes Anwendungspotential in Leuchtvorrichtungen, in der Photoredoxkatalyse und in Farbstoff‐sensibilisierten Solarzellen haben.
Effect of cellulose triacetate membrane thickness on forward‐osmosis performance and application for spent electroless nickel plating baths
Authors: Chen Gui‐E , Sun Wei‐Guang , Wu Qiong , Kong Ya‐Fang , Xu Zhen‐Liang , Xu Sun‐Jie , Zheng Xiao‐Peng
Published: March 2017

Cellulose triacetate (CTA) forward‐osmosis (FO) membranes were prepared via the phase inversion method. The influence of thickness on the performance and morphology of CTA FO membranes was discussed in detail. When the thickness of the membrane was 50.0 ± 0.5 μm (CTA4), the prototype CTA membranes displayed a water flux of 20.2 L m−2 h−1 and a reverse salt transport of 14.6 g m−2 h−1 using 1 mol/L NaCl as the draw solution and deionized water as the feed solution during the FO process at 25 °C. In addition, the high‐performance CTA4 FO membranes have been used to process spent electroless nickel plating baths where the water flux could reach 13 L m−2 h−1 and NiSO4·6H2O crystals occurred in the feed solution of the spent electroless nickel plating baths. The recovery rates of NiSO4·6H2O and water from the spent electroless nickel plating baths were 44.54% and 53.53%, respectively. This study focused on improving membrane design for the FO process and finding a new method of waste liquor or wastewater treatment. © 2017 Wiley Periodicals, Inc. J. Appl. Polym. Sci. 2017, 134, 45049.