Friends, Enemies and Bunkers

<p>A biosecurity centre on Kapiti Coast is required for checks on visitors venturing 5km out to the nationally significant nature reserve, Kapiti Island. The shorefront lacks a public building connecting to Kapiti Island. The proposal for a visitors centre is the vehicle for this design-led research. This thesis experiments with architectural form in a coastal setting exploring some specific approaches to form-making. New Zealand architects often rely on metaphors as a method for making form. For example using mountain ranges or a waka as a referent. International theorists like Pier Vitorrio Aureli argue for a more self-referential logic. Architect Ron Witte explains that a good architectural ‘figure’ comprises architectural references like programme, technology and form. The removal of its representational obligation gives the figure its strength. How does a good figure work without the dependence of an external referent? Can the referent be removed allowing the figure to work internally? Derivation from earlier sources is also commonly used in making form often resulting only in the abstraction of the image. Winy Maas and Adam Caruso both acknowledge that ‘novelty is nonsense’. They argue that references from the past should be used as existing knowledge and built upon. How can past sources be used for their value in knowledge rather than their use of imagery? This thesis is organised into a series of parts with experiments around figuration and form-making each looking at a particular use of a referent. Experiment one looks at form-making through the derivation of ‘heroes’. Experiment two focuses on abstracting and using the metaphor of a waka. Experiment three explores anthropomorphic and zoomorphic figures through the architectural language developed by John Hejduk. Lastly, experiment four abandons these figures and buries the building in the site’s dunes. The form and façade of the building refer to the work of several Swiss architects including Valerio Olgiati and Christian Kerez for their use of ornamentation in heavy buildings. The outcome and implications of this design-led research address a disciplinary exploration of the referent and its use in making a form. The final design proposition extracts six formal principles used in common with works from Olgiati, Kerez and Caruso. The proposition is re-built on top of existing knowledge, offering a particular approach to form-making.</p>

Friends, Enemies and Bunkers

<p>A biosecurity centre on Kapiti Coast is required for checks on visitors venturing 5km out to the nationally significant nature reserve, Kapiti Island. The shorefront lacks a public building connecting to Kapiti Island. The proposal for a visitors centre is the vehicle for this design-led research. This thesis experiments with architectural form in a coastal setting exploring some specific approaches to form-making. New Zealand architects often rely on metaphors as a method for making form. For example using mountain ranges or a waka as a referent. International theorists like Pier Vitorrio Aureli argue for a more self-referential logic. Architect Ron Witte explains that a good architectural ‘figure’ comprises architectural references like programme, technology and form. The removal of its representational obligation gives the figure its strength. How does a good figure work without the dependence of an external referent? Can the referent be removed allowing the figure to work internally? Derivation from earlier sources is also commonly used in making form often resulting only in the abstraction of the image. Winy Maas and Adam Caruso both acknowledge that ‘novelty is nonsense’. They argue that references from the past should be used as existing knowledge and built upon. How can past sources be used for their value in knowledge rather than their use of imagery? This thesis is organised into a series of parts with experiments around figuration and form-making each looking at a particular use of a referent. Experiment one looks at form-making through the derivation of ‘heroes’. Experiment two focuses on abstracting and using the metaphor of a waka. Experiment three explores anthropomorphic and zoomorphic figures through the architectural language developed by John Hejduk. Lastly, experiment four abandons these figures and buries the building in the site’s dunes. The form and façade of the building refer to the work of several Swiss architects including Valerio Olgiati and Christian Kerez for their use of ornamentation in heavy buildings. The outcome and implications of this design-led research address a disciplinary exploration of the referent and its use in making a form. The final design proposition extracts six formal principles used in common with works from Olgiati, Kerez and Caruso. The proposition is re-built on top of existing knowledge, offering a particular approach to form-making.</p>

A Measured Approach

<p>The supply of goods to large numbers of consumers results in large, standardised buildings. The typically introverted designs of these buildings reject context and difference in favour of efficiency and standardisation. Secondly, the prioritisation of vehicles over pedestrians often results in second rate public space. Big box retail (BBR) is the epitome of an architecture driven by efficiency, often resulting in a disconnect between architecture and place. This disconnect is amplified in ‘environments of natural beauty’ where the deployed typology results in an inert architecture that withdraws from, rather than engages with, its surrounding environment. What strategies can be utilised in the development of a site-specific BBR, which engages architecture and place avoiding isolation on the town’s periphery? And, how can this car-centric architecture be modified to contribute to the public realm, enhancing rather than detracting from the surrounding context? This inquiry is tested through design-led research: firstly the thesis explores the development of a design proposal for Wanaka (idyllically sited on the southern shore of Lake Wanaka with the Southern Alps forming the horizon). A critical reflection on this site-specific design enables a broader discursive discussion about architectural figure. The first chapter presents a design for central Wanaka. The iterative design process, producing and then critiquing form models (physical and computer), enables the project to comment on the BBR typology. The second chapter discusses the project through the lens of architectural figure, situating the project within the discipline and enabling a broader discussion of the qualities of the project. The third chapter discusses the idea of ‘tightness’. The idea of ‘tightness’ emerges from the design/critical-reflection, enabling a discussion of ‘tight’ vs. ‘loose’ architecture and positioning the design within the discipline. The notion of a tight relationship between form and programme, discussed through a critical reflection on the final design, enables a further discussion and conclusion. This discussion develops from Leon Battista Alberti’s idea of Beauty. Emerging from the design discussion, Ron Witte’s notion of ‘good figure’ and Patrik Schumacher’s concept of ‘Elegance’ enable a development of these ideas. The outcome is an architectural ‘tightness’. ‘Tightness’ offers one potential way that architecture can contribute in the creation of urban spaces through an engagement with the surrounding environment.</p>

A Measured Approach

<p>The supply of goods to large numbers of consumers results in large, standardised buildings. The typically introverted designs of these buildings reject context and difference in favour of efficiency and standardisation. Secondly, the prioritisation of vehicles over pedestrians often results in second rate public space. Big box retail (BBR) is the epitome of an architecture driven by efficiency, often resulting in a disconnect between architecture and place. This disconnect is amplified in ‘environments of natural beauty’ where the deployed typology results in an inert architecture that withdraws from, rather than engages with, its surrounding environment. What strategies can be utilised in the development of a site-specific BBR, which engages architecture and place avoiding isolation on the town’s periphery? And, how can this car-centric architecture be modified to contribute to the public realm, enhancing rather than detracting from the surrounding context? This inquiry is tested through design-led research: firstly the thesis explores the development of a design proposal for Wanaka (idyllically sited on the southern shore of Lake Wanaka with the Southern Alps forming the horizon). A critical reflection on this site-specific design enables a broader discursive discussion about architectural figure. The first chapter presents a design for central Wanaka. The iterative design process, producing and then critiquing form models (physical and computer), enables the project to comment on the BBR typology. The second chapter discusses the project through the lens of architectural figure, situating the project within the discipline and enabling a broader discussion of the qualities of the project. The third chapter discusses the idea of ‘tightness’. The idea of ‘tightness’ emerges from the design/critical-reflection, enabling a discussion of ‘tight’ vs. ‘loose’ architecture and positioning the design within the discipline. The notion of a tight relationship between form and programme, discussed through a critical reflection on the final design, enables a further discussion and conclusion. This discussion develops from Leon Battista Alberti’s idea of Beauty. Emerging from the design discussion, Ron Witte’s notion of ‘good figure’ and Patrik Schumacher’s concept of ‘Elegance’ enable a development of these ideas. The outcome is an architectural ‘tightness’. ‘Tightness’ offers one potential way that architecture can contribute in the creation of urban spaces through an engagement with the surrounding environment.</p>

Keeping a Healthy Figure Scientifically

In a paper published on scientific American, February 2017, proposed that physical exercising does no help to energy expenditure so is useless to losing obesity. However, this is unbelievable and rebels the fact that exercising consume energy; furthermore, those who keep exercising and are good at sports are always very healthy with good figure, and their abilities to learn are remarkably higher than those who don’t exercise, such as Bruce Lee and many athletes on Olympics. It is a puzzle how the result in this paper was got. Read the paper carefully, noticing that the comparison is between the European people who think more and the Hadza people who only live on hunting and gathering, a relatively primary stage of the society, Hadza people have physical exercising while hunting but they don’t think therein, they just try every place out to find the poisoned giraffe without thinking where had it gone, without any theory or certainty. The way how Hadza people live is mechanical, like the sheep who only eat, drink and reproduce the next generation who live in same way as their ancestors, they don’t think to pursue what they like and to live better; therefore, it is their cutting down their thinking and learning that made their same expenditure as Europeans who don’t exercising, not their physical exercising itself doesn’t increase their energy expenditure. Using more nutriology, exercising exactly helps to losing obesity and it has better effect thereto as combined with learning, learning consumes the blood glucose first which is advantageous to fat burning in physical exercising. Learning and exercising make oneself be better so that he lives better thereby, physical exercising also has many other beneficial effects to human’s health and cleverness etc., it is a perfect way for man to lose obesity and keep healthy to combine proper physical exercising with more thinking and learning. One should learn as well as exercise to lose obesity and keep healthy, so that one could have a healthy figure as well as be better and live better thereby.

KEPRIBADIAN DAN KOMUNIKASI RIA MIRANDA SEBAGAI FASHIONPRENEUR DALAM MEMBENTUK PERSONAL BRANDING

ABSTRACTThe story of Ria Miranda's life is much admired by society for her hard work and She was struggle to become a fashionpreneur and Ria Miranda is also known as a person who is friendly, kind, simple, always patient and always gentle. The process of communicating Ria Miranda is a person who is open and Personal Branding that Ria Miranda is known as a figure who has the ability to work on something that becomes passion as fashionpreneur and look with a various styles of appearance and Ria Miranda has a lot of achievements by following the fashion show event at national and international level and to become Brand Ambassador of Wardah Products. The purpose of this study is to determine the personality and communication Ria Miranda as a fashionpreneur in forming personal branding. The method used in this study is descriptive qualitative with data collection techniques interview, observation, and literature study. The results showed that personality and communication Ria Miranda in forming personal branding known as a good figure, smart, soft and simple, always featuring its own characteristics and able to communicate well.

A Compact Broadband Monolithic Sub-Harmonic Mixer Using Multi-Line Coupler

A compact broadband monolithic sub-harmonic mixer is presented in a 70 nm GaAs Technology for millimeter wave wireless communication application. The proposed mixer adopts a novel multi-line coupler structure; where the two-sided coupling energy of radio frequency (RF) and local oscillation (LO) signals are both collected and efficiently feed to anti-parallel diode pair (APDP) topology; resulting in broadband performance and compact chip size. As a comparison in the same circuit configuration; the five-line coupler can expand the bandwidth of the existing three-line coupler by 85% and reduce the area by 39.5% when the central frequency is 127 GHz. The measured conversion gain is −16.2 dB to −19.7 dB in a wide operation frequency band of 110–170 GHz. The whole chip size is 0.47 × 0.66 mm2 including test pads. The proposed mixer exhibits good figure-of-merits for D-band down-converter applications

Character Visualization on Kumbakarna Wanda Macan Wayang Kulit Purwa Surakarta Style

This article discusses the visual analysis of one type of Wanda character Kumbakarna wayang kulit purwa Surakarta style. Kumbakarna is one of the younger siblings of Dasamuka (Rahwana) in the Ramayana story. His face and figure are the same as his brother's in the form of a giant (blind) but his soul and heart are contradictory, he has a knight's soul even though it is on the antagonist's side. These two opposites rarely occur in puppet characters. In general, the giant character has a ferocious nature, evil and not callous, but this does not apply to the character of Kumbakarna. This article tries to describe and analyze the Kumbakarna figure from the side of his wanda, looking for distinguishing elements in terms of the anatomical features of the Kumbakarna wanda that symbolize the good figure and knight behind the sinister physical features.