scholarly journals 2020 IGWS Calendar

2019 ◽  
Vol 2 ◽  
Author(s):  
Polly Root Sturgeon
Keyword(s):  
North America ◽  
State Building ◽  
Indiana University ◽  
National Register ◽  
Art Deco ◽  
Empire State Building ◽  
Architectural Styles ◽  
South Central ◽  
History Of ◽  
Indiana Limestone

Indiana limestone, known to geologists as the Salem Limestone,is quarried in a narrow 30-mile-long area of south-central Indiana that is alsohome to Indiana University. Gracing up to 75 percent of all limestonebuildings in North America, this stone is known for its particularstrength, durability, and ageless beauty, and clads the nation’s most eminentbuildings, including the Empire State Building, Pentagon, andNational Cathedral. For more than 100 years, this local stone hasbeen used for buildings on the Bloomingtoncampus. Beginning in 1890 with Maxwell Hall,to 2017 and the completion of Luddy Hall,home of the School of Informatics, Computing,and Engineering, nearly all academic buildingshave been built of Indiana limestone. Architectural styles on campus span threecenturies. From the highly ornate carvings andpointed arches that define Collegiate Gothicarchitecture to the streamlined Art Deco styleof the early 1900s, the beauty of the campusreflects the skills of local stone artisans. In1979, the National Register of Historic Placesadded the Old Crescent portion of campus toits list to ensure its preservation. Walking around campus, you’ll see manycarvings on the exteriors of the buildings. Fish,maize, and chemical symbols can be foundon the science buildings on the south side ofcampus, while decorative scrolls of text adornseveral of the art buildings to the east. Themost common carved figure on campus is theowl, a symbol of learning and education, andtwelve are scattered on various buildings. Today, the history of Indiana’s limestone legacyis preserved in several campus collections andarchives. Most of the photographs used for themosaic on this calendar belong to the IndianaLimestone Photograph Collection. Curated bythe Indiana Geological and Water Survey since2012, this impressive archive consists of morethan 26,000 architectural photos depictingquarries, mills, and buildings from the earlyto mid-1900s. The digitized photographs arestored on IU Libraries Image Collections Online(http://go.iu.edu/16dx). Other photos in the mosaic are from researchand outreach efforts and the collections of theIndiana Geological and Water Survey.

scholarly journals COERCION AND CONCILIATION AT THE EDGE OF EMPIRE: STATE-BUILDING AND ITS LIMITS IN WAZIRISTAN, 1849–1914

2017 ◽  
Vol 61 (3) ◽  
pp. 695-718 ◽  
Author(s):  
MARK CONDOS ◽  
GAVIN RAND
Keyword(s):  
State Building ◽  
Colonial History ◽  
Policy Makers ◽  
Empire State Building ◽  
Colonial Authority ◽  
Imperial Power ◽  
History Of ◽  
Significant Region ◽  
Colonial Frontier ◽  
Imperial State

AbstractSince 2001, the geo-strategic priorities of the ‘War on Terror’ have prompted renewed attention to the historically significant region of Waziristan. Ironically, given the apparent failure of British attempts to pacify the region in the century after 1849, Waziristan’s colonial history has been picked over by policy-makers, commentators, and scholars for lessons which might be applied to current projects of state-building and counter-insurgency. Unabashedly instrumentalist, these works have reproduced the reductive stereotypes of the colonial sources and helped to entrench partial understandings of the frontier which obscure the dynamic and contingent nature of imperial state-building. This article offers an alternate frame for writing the history of the colonial frontier by re-examining how British officials attempted to constitute colonial authority through their engagements with one of the region’s most powerful groups: the Mahsud Wazirs. Challenging historiographical emphases on oscillating metropolitan strategies, this article maps crucial and largely overlooked continuities in British attempts to pacify the Mahsuds, providing new insights into state-building at the edge of empire and a more nuanced account of how imperial power was engaged, resisted, and deflected by those it sought to control.

scholarly journals Reaching New Heights

2021 ◽  
Vol 143 (5) ◽  
pp. 51-56
Author(s):  
Jim Coaker, P.E. ◽  
George W. Gibson
Keyword(s):  
State Building ◽  
Empire State Building ◽  
Safety Code ◽  
Asme Code ◽  
History Of

Abstract The history of the ASME A17 elevator safety code is intertwined with the ability to build ever-taller skyscrapers. One key landmark, the Empire State Building, may have been impossible without the contribution of ASME code committee members.

scholarly journals Reaching New Heights

2021 ◽  
Vol 143 (5) ◽  
pp. 51-56
Author(s):  
P.E. Jim Coaker ◽  
W. Gibson George
Keyword(s):  
State Building ◽  
Empire State Building ◽  
Safety Code ◽  
Asme Code ◽  
History Of

Abstract The history of the ASME A17 elevator safety code is intertwined with the ability to build ever-taller skyscrapers. One key landmark, the Empire State Building, may have been impossible without the contribution of ASME code committee members.

scholarly journals NATIONAL REPRESENTATION IN THE CONSTITUENT SEIMAS (PARLIAMENT) INTERIOR BY VLADIMIR DUBENECKY (1924) / TAUTINĖ REPREZENTACIJA VLADIMIRO DUBENECKIO STEIGIAMOJO SEIMO INTERJERE (1924 M.)

2011 ◽  
Vol 3 (3) ◽  
pp. 115-123 ◽  
Author(s):  
Lina Preišegalavičienė
Keyword(s):  
Interior Design ◽  
Interwar Period ◽  
Political Representation ◽  
Additional Material ◽  
Art Deco ◽  
Conference Room ◽  
Architectural Styles ◽  
National Representation ◽  
History Of ◽  
National Style

Russian-born painter and architect Vladimir Dubenecky (1888–1932) is well known in Lithuania because of valuable architectural legacy created during his living and working in Kaunas in 1919–1932. The aim of the discussion is to open less known side of V. Dubenecky creative work – public interior design. Until now it is little examined theme, so this article will extend the approach to well-known artist’s architectural works, thereby creating additional material for the history of Lithuanian interiors. Only one part of representativeness aspect is discussed in this article, that is the national representation. The representative interior project of the Constituent Seimas, Parliament, (1924) is chosen for the study because of that. The Parliament’s interior project was focused on the conference room equipment and furniture design. Meanwhile the discussion of the design project is studied how the past architectural styles and folk art had been creatively remade in order to create the new style, which was named as National Style during the interwar period. The creative origin of the National style is discussed as well and it is supposed that the National Style started as a continuation of Art Nouveau and a little later it became the part of Art Deco. The National Style worked in order to fulfill one of the main tasks of the interior desig – national representativeness. Inspite of the National Style was widely promoted during the interwar period, other different kinds of representation existed as well: political representation, representation of modernity, representation of power. Several other inter-war Lithuanian representative interiors are mentioned in the article as examples for comparison the different types of representation. They are the Cabinet of Minister’s and the Museum of Vytautas the Great.

ʿAṣfūriyyeh: A History of Madness, Modernity, and War in the Middle East

2021 ◽  
pp. 0957154X2110284
Author(s):  
Joelle M Abi-Rached
Keyword(s):  
Social Policy ◽  
Middle East ◽  
Political History ◽  
State Building ◽  
Theory And Practice ◽  
Medical Authority ◽  
Empire State Building ◽  
History Of ◽  
Psychiatric Theory ◽  
The Impact

My book, published in 2020, reconstructs the history of ʿAṣfūriyyeh, one of the first ‘modern’ mental hospitals in the Middle East. It uses the rise and fall of this institution as a lens through which to examine the development of modern psychiatric theory and practice in the region as well as the socio-political history of modern Lebanon. ʿAṣfūriyyeh becomes a window into social-policy questions relating to dependency and welfare, definitions of deviance, the relation of mission to empire, state-building processes, and the relation of medical authority to religion. The book also examines the impact of war on health and healthcare infrastructures. Reflecting on the afterlife of this and other institutions, the book calls for a new ‘ethics of memory.’

scholarly journals CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s

2019 ◽  
Vol 21 (4) ◽  
pp. 125-137
Author(s):  
V. M. Mzhelsky
Keyword(s):  
Methodological Approach ◽  
Architectural Style ◽  
Scientific Publications ◽  
Art Deco ◽  
Architectural Styles ◽  
History Of ◽  
Research Findings ◽  
The Government ◽  
The Individual ◽  
Architectural Competitions

Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.

Virtual Embodiment as/and the Threshold of Love

2013 ◽  
Vol 3 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Anne Harris
Keyword(s):  
Urban Space ◽  
State Building ◽  
Modern Life ◽  
Space And Time ◽  
Empire State Building ◽  
Arcades Project ◽  
Performance Texts ◽  
And Performance ◽  
The Stranger

This essay draws upon the author’s performance script Fall and Walter Benjamin’s The Arcades Project as a provocation for considering the ways performance texts provide a threshold for somatic inquiry, and for recognizing the limits of scholarly analysis that does not take up performance-as-inquiry. Set at the Empire State Building, this essay embodies the connections and missed possibilities between strangers and intimates in the context of urban modern life. Fall’s protagonist is positioned within a landscape of capitalist exchange, but defies this matrix to offer instead a gift at the threshold of life/death, virtual/real, and love/loss. Through somatic inquiry and witnessing as threshold experiences, the protagonist (as Benjamin’s flaneur) moves through urban space and time, proving that both scholarship and performance remain irrevocably embodied, and as such invariably tethered to the visceral, the stranger, risk, and death.

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