The Analysis of Indoor Air Pollutants From Finishing Material of New Apartments at Business Bay, Dubai

Due to fast economic development, Dubai has built many high-rise apartments in a short period of time. The Dubai Municipality attempts to control indoor air quality with strict regulations, but the detailed provisions are still not comprehensive. The objective of this paper is to conduct on-site measurements for new high-rise apartments before moving on to investigate indoor air pollution and to analyze pollutant emissions by type of finishing material. As a methodology, on-site measurements were conducted fornine different housing units (three lower, three middle, and three higher floors) before moving on to investigate the status of indoor air pollution in new apartments. Based on the on-site measurements data, lab experiments with a small chamber for the same finishing materials from the most polluted housing unit (a lower two bedroom unit) were conducted to measure the emission of pollutants over 30 days. The result shows that the average of CH2O (64.4 μg/m3 for studio, 64.5 μg/m3 for one bedroom, and 83.4 μg/m3 for two bedroom) was lower than the standard (100 μg/m3) in all units, while the average TVOC (520.1 μg/m3 in the studio, 509.5 μg/m3 in one bedroom, and 754.7 μg/m3 in two bedroom) exceeded the standard (500 μg/m3) in most of the units. It was proven that regarding the CH2O, silk wallpaper, initial wallpaper, and wallpaper adhesive had the highest emissions and for the TVOC, tile and tile adhesive had the highest emission. During small chamber experiments, CH2O and TVOC emissions tended to decrease gradually over time, but the emission amount changed significantly in high pollutant emission material especially from day 1–10. Therefore, Dubai municipality should establish the regulation for residents to move into their new apartment after at least 10 days to avoid the high polluted emission from the curing process of the interior finishing material.

Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti

Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.

Falla (y Matheu), Manuel de (1876–1946)

Spanish composer Falla was the central figure of his generation, eclipsing composers such as Joaquín Turina and Joaquín Rodrigo. He blended Spanish musical nationalism, cultivated by Felipe Pedrell, Isaac Albéniz and Enrique Granados, with modernist techniques to create a style heralded as both universal and Spanish. After his death, he became a legendary national figure. Later Spanish composers, such as Cristóbal Halffter and Luis de Pablo, cite Falla as having the most profound effect on their esthetics. Falla received his early musical training from his mother, who taught him piano in addition to the basics of music. As a boy, Falla had literary aspirations, creating several short-lived magazines with friends, such as El Burlón (1889) and El Cascabel (1890). His talent for writing would serve him well as he later authored articles on music and fashioned his own libretti. He eventually turned his creative energies toward music and, in 1896, Falla began taking trips to Madrid to study piano with José Tragó, who also taught the young composer Joaquín Turina. The two composers would eventually meet and form a mutually beneficial friendship. Taking up residence in Madrid, Falla enrolled in the Madrid Conservatory and graduated in 1899. He also began premiering piano compositions and works for small chamber groups.