spatial framework
Recently Published Documents


TOTAL DOCUMENTS

136
(FIVE YEARS 42)

H-INDEX

15
(FIVE YEARS 4)

2021 ◽  
pp. 1-11
Author(s):  
Abouzar Ramezani ◽  
MohammadReza Malek

Ships vulnerability analysis is one of the most important issues in today’s research, to reduce damage and increase safety. To increase the safety of ships, the effective parameters of the vulnerability of ships, the impact of each of them, and the relationship between these parameters should be identified to formulate different scenarios to analyze the vulnerability of ships. This process leads to the formation of simulation models to assess the risk of vessels. The creation of a spatial conceptual framework is needed to create integrated vulnerability models. The most important innovation of this research is the development of a spatial framework for analyzing ships’ vulnerability based on category theory. A framework that can be used to model the various scenarios of ships’ vulnerability from a variety of perspectives. To provide this framework, objects, operators, relationships, and assumptions for vulnerability analysis have been developed. To better express and convey the concepts, the spatial framework of the vulnerability analysis is presented in the form of category theory, which is a mathematical structure. The category theory is a good tool for expressing and creating a mathematical structure for objects and complex relationships in the real world, where other tools do not have this ability. The benefits of the built-in framework have been described with an integrated, precise mathematical structure that can be generalized to other subjects. Studies show that the developed framework is capable of modeling different scenarios for vulnerability analysis to find the best solution to reduce vulnerability.


Author(s):  
Leonid Prybieha

Abstract. The article considers the actual problem of preserving the traditional environment for the historical city in the conditions of active development of urban infrastructure. Based on the analytical study of previous research and morphological analysis of components, it proposes to define the historic environment as a monument protection category, which determines the space of a historical city, organized in a characteristic landscape by inherited historic planning and system of buildings and structures, characterized by historical and cultural content. The article proves that the material basis of the city's historic environment is a historically inherited spatial framework formed by traditional buildings. Accordingly, to protect the environment of the ancient city means to preserve the inherited historic spatial framework in a state that does not change its spatial structure and does not lead to identity loss. The article also raises issues of practical solutions to the protection of the historic environment of ancient cities.


2021 ◽  
Vol 24 ◽  
pp. 100628
Author(s):  
Maria Fernanda Oliveira Torres ◽  
Marks Melo Moura ◽  
Robério Anastácio Ferreira ◽  
Renata Silva-Mann ◽  
André Quintão de Almeida ◽  
...  

2021 ◽  
Author(s):  
◽  
Emma Rea

<p><b>This research unravels and reconstructs the all-enveloping, surreal-slowness of my kitchen during Level-4 lockdown; through the intimate familiarity of the line, and the tactility of paper. In a time and place defined by the assimilation of our public and private lives, physical boundaries that ordinarily served to separate and structure, were dissolved. Within this physically smaller world, the kitchen felt relatively larger. </b></p> <p>Architecture and the kitchen (and equally, food and cooking) have long since existed within one another, both physically (in space) and etymologically. Isodore de Seville postulated that architecture first emerged in the dining hall, where the first building was made for eating. Equally, cooking and eating rely on a more-or-less solid and spatial framework.</p> <p>Within the “pseudo-fastness” of the architectural industry, drawing is a comparatively slow and contemplative practice, cultivating an attention to detail, and embodying the capacity to enhance social and historic values. Equally, the generative capacity of drawing makes it uniquely capable of creating something new, from something else. </p> <p>Just as lockdown was a recluse from the pace of everyday life, drawing is a recluse from the pace of normative architectural practice. The outcome of the research is a series of autobiographic houses, equally symptoms of the introspective experience of lockdown, and the introspective practice of drawing. </p> <p>By exploiting the subtle parallels that transcend architectural practice, language, and the kitchen (and cooking); this research makes a sensitive proposition for a design practice deeply implicated by the composition of temporal and spatial conditions from which it is conceived.</p>


2021 ◽  
Author(s):  
◽  
Emma Rea

<p><b>This research unravels and reconstructs the all-enveloping, surreal-slowness of my kitchen during Level-4 lockdown; through the intimate familiarity of the line, and the tactility of paper. In a time and place defined by the assimilation of our public and private lives, physical boundaries that ordinarily served to separate and structure, were dissolved. Within this physically smaller world, the kitchen felt relatively larger. </b></p> <p>Architecture and the kitchen (and equally, food and cooking) have long since existed within one another, both physically (in space) and etymologically. Isodore de Seville postulated that architecture first emerged in the dining hall, where the first building was made for eating. Equally, cooking and eating rely on a more-or-less solid and spatial framework.</p> <p>Within the “pseudo-fastness” of the architectural industry, drawing is a comparatively slow and contemplative practice, cultivating an attention to detail, and embodying the capacity to enhance social and historic values. Equally, the generative capacity of drawing makes it uniquely capable of creating something new, from something else. </p> <p>Just as lockdown was a recluse from the pace of everyday life, drawing is a recluse from the pace of normative architectural practice. The outcome of the research is a series of autobiographic houses, equally symptoms of the introspective experience of lockdown, and the introspective practice of drawing. </p> <p>By exploiting the subtle parallels that transcend architectural practice, language, and the kitchen (and cooking); this research makes a sensitive proposition for a design practice deeply implicated by the composition of temporal and spatial conditions from which it is conceived.</p>


2021 ◽  
Author(s):  
◽  
Emma Rea

<p><b>This research unravels and reconstructs the all-enveloping, surreal-slowness of my kitchen during Level-4 lockdown; through the intimate familiarity of the line, and the tactility of paper. In a time and place defined by the assimilation of our public and private lives, physical boundaries that ordinarily served to separate and structure, were dissolved. Within this physically smaller world, the kitchen felt relatively larger. </b></p> <p>Architecture and the kitchen (and equally, food and cooking) have long since existed within one another, both physically (in space) and etymologically. Isodore de Seville postulated that architecture first emerged in the dining hall, where the first building was made for eating. Equally, cooking and eating rely on a more-or-less solid and spatial framework.</p> <p>Within the “pseudo-fastness” of the architectural industry, drawing is a comparatively slow and contemplative practice, cultivating an attention to detail, and embodying the capacity to enhance social and historic values. Equally, the generative capacity of drawing makes it uniquely capable of creating something new, from something else. </p> <p>Just as lockdown was a recluse from the pace of everyday life, drawing is a recluse from the pace of normative architectural practice. The outcome of the research is a series of autobiographic houses, equally symptoms of the introspective experience of lockdown, and the introspective practice of drawing. </p> <p>By exploiting the subtle parallels that transcend architectural practice, language, and the kitchen (and cooking); this research makes a sensitive proposition for a design practice deeply implicated by the composition of temporal and spatial conditions from which it is conceived.</p>


Author(s):  
Kathryn A. Haklin

This chapter examines spatial confinement in the eponymous department store of Émile Zola’s Au Bonheur des Dames. A close reading of one of the novel’s sale chapters reveals that the store director mobilizes several strategies to engender a suffocating atmosphere at the temporary exhibition. Linking literary space and publicity, the chapter argues that the store’s promotional balloons act as ephemeral, yet dynamic advertisements that dismantle interior and exterior space. The balloons instantiate the ephemeral quality of the sales since, in spite of their brief duration, they produce a lasting visual effect that problematizes a spatial framework opposing interior and exterior spaces. This reading suggests that publicity contributes to the claustrophobia of commerce in Zola’s fictional ephemeral exhibitions.


Sign in / Sign up

Export Citation Format

Share Document