Guidelines for Topology Optimization as Concept Design Tool and Their Application for the Mechanical Design of the Inner Frame to Support an Ancient Bronze Statue

For the past few decades, topology optimization (TO) has been used as a structural design optimization tool. With the passage of time, this kind of usage of TO has been extended to many application fields and branches, thanks to a better understanding of how manufacturing constraints can achieve a practical design solution. In addition, the advent of additive manufacturing and its subsequent advancements have further increased the applications of TO, raising the chance of competitive manufacturing. Design for additive manufacturing has also promoted the adoption of TO as a concept design tool of structural components. Nevertheless, the most frequent applications are related to lightweight design with or without design for assembly. A general approach to integrate TO in concept designs is still missing. This paper aims to close this gap by proposing guidelines to translate design requirements into TO inputs and to include topology and structural concerns at the early stage of design activity. Guidelines have been applied for the concept design of an inner supporting frame of an ancient bronze statue, with several constraints related to different general design requirements, i.e., lightweight design, minimum displacement, and protection of the statue’s structural weak zones to preserve its structural integrity. Starting from the critical analysis of the list of requirements, a set of concepts is defined through the application of TO with different set-ups (loads, boundary conditions, design and non-design space) and ranked by the main requirements. Finally, a validation of the proposed approach is discussed comparing the achieved results with the ones carried out through a standard iterative concept design.

Demades’s last years and words

This chapter explicates how later rhetoricians contrived the image of Demades as a participant in the Macedonian domination over Greece to develop the topoi of treason, the role of rhetoric in politics, and a just punishment for one’s betrayal of his city. Rhetorical manifestations of later political agendas explain references to Demades’s oratory “taming” Alexander the Great; his public honors, including a bronze statue; and his “tyranny,” “treason,” fall from grace, public trial, and death. The rhetorical nature of such information clarifies the recycling of the well-known evidence about Demosthenes to construct the figure of Demades as Demosthenes’s opposite par excellence. The rhetorical origins of such evidence resolves the contradiction between the traditional image of Demades as a lover of peace and references to his anti-Macedonian harangue in several late texts, and explains the confusion surrounding Demades’s “just punishment” with death for his “tyranny” or for betraying Athens to Macedonians.

PAINTING CATILINE INTO A CORNER: FORM AND CONTENT IN CICERO'S IN CATILINAM 1.1

Quo usque tandem abutere, Catilina, patientia nostra? (‘Just how much longer, really, Catiline, will you abuse our patience?’). The famous incipit—‘And what are you reading, Master Buddenbrook? Ah, Cicero! A difficult text, the work of a great Roman orator. Quousque tandem, Catilina. Huh-uh-hmm, yes, I've not entirely forgotten my Latin, either’— already impressed contemporaries, including some ordinarily not so readily impressed. It rings through Sallust's version of Catiline's shadowy address to his followers, when he asks regarding the injustices they suffer (Cat. 20.9): quae quousque tandem patiemini, o fortissumi uiri? (‘Just how much longer, really, will you put up with these, o bravest men?’). More playfully, and less well-known, Sallust employed the expression again in a speech by Philippus (Hist. 1.77.17 M./67 R.): uos autem, patres conscripti, quo usque cunctando rem publicam intutam patiemini et uerbis arma temptabitis? (‘But you, members of the Senate, just how much longer will you suffer our Republic to be unsafe by your hesitation and make an attempt on arms with words?’). Soon afterwards it served Cicero's son, who, as governor of Asia, put down Hybreas fils for having dared to quote from his father's work in his presence (Sen. Suas. 7.14): ‘age’, inquit [sc. Marcus Tullius], ‘non putas me didicisse patris mei: “quousque tandem abutere, Catilina, patientia nostra”?’ (‘“Come now”, he said, “do you think that I do not know by heart my father's ‘Just how much longer, really, Catiline, will you abuse our patience’?”’). Just about the same time, Livy recalled it in order to colour Manlius’ exhortation of his followers (6.18.5): quousque tandem ignorabitis uires uestras, quas natura ne beluas quidem ignorare uoluit? … audendum est aliquid uniuersis aut omnia singulis patienda. quousque me circumspectabitis? (‘Just how much longer, really, will you remain ignorant of your own strength, which nature has willed even brutes to know? … We must dare all together, or else, separately, suffer all. Just how much longer will you keep looking round for me?’). Thereafter Quintilian would refer to it twice, when discussing apostrophe and rhetorical questions (Inst. 4.1.68, 9.2.7), just a couple of years before Tacitus has the maladroit Q. Haterius encourage Tiberius to seize the reins—quo usque patieris, Caesar, non adesse caput rei publicae? (‘Just how much longer, Caesar, will you suffer the absence of the head of state?’, Ann. 1.13.4); a few decades later still, Apuleius puts it into the mouth of the slave who chastises his master, now in asinine form (Met. 3.27): ‘quo usque tandem’, inquit, ‘cantherium patiemur istum paulo ante cibariis iumentorum, nunc etiam simulacris deorum infestum?’ (‘“Just how much longer, really,” he said, “will we suffer this old gelding to attack the animals’ food just a little while ago and now even the gods’ statues?”’). He trusted, no doubt, that the famous question would alert his readers more than anything to the many ‘similarities between Catiline and Lucius’, in order to have them appreciate this ‘ludicrous copy of Cicero's arch-enemy’. Some time after, and in a different corner of the Empire altogether, a teacher's bronze statue would carry the inscription: VERBACICRO | NISQVOVSQ | TANDEMABVTE | RECATELINAPA | TIENTIANOS | TRA.

3D DIGITISATION IN CULTURAL HERITAGE KNOWLEDGE AND PRESERVATION: THE CASE OF THE NEPTUNE STATUE IN BOLOGNA AND ITS ARCHETYPE

In the field of Cultural Heritage, the availability of a complete, detailed and photo-realistic 3D model of the objects of interest permits to describe all the aspects related to geometry, colours and materials, as well as the work techniques and the decay state. Besides, it offers multiple possibilities for the documentation, the analysis and the study.This paper describes the experience, carried out by the DICAM Geomatics group of the University of Bologna, about the 3D digitisation of two important statues of Neptune, by means of the integration of 3D image-based and range-based techniques. The two artworks, both realized by the sculptor Giambologna, are the big bronze statue of the god adorning the homonymous fountain, one of the most symbolic monuments of the city of Bologna, and its archetype, exhibited in one of the civic museums.The obtained 3D models, beyond the important function of documentation, knowledge and preservation of the two objects, also permit a comparison between the small archetype, conveniently scaled, and the big final statue. In the manuscript all the surveying and data processing operations concerning the objects digitisation are described. Particular attention is paid to the problems related to the scale of the archetype and the comparison between the two obtained 3D models, with the aim to evaluate and represent the occurred changes.

The Sinophone as Lyrical Aesthetics Redefined

This chapter attempts to demonstrate how Sinophone studies, Sinoscripts and lyrical aesthetics can help interpret contemporary Singapore Chinese poetry. Three interconnected case studies are used to highlight how various virtual ‘spaces’ of the city state are actualized as poetics. They include Liang Yue’s ‘To the Bronze Statue of Raffles’, which highlights how poetics is created with multicultural historical resources that are utilized as cultural symbols; ‘LOST’ by Xi Ni Er, in which different written scripts, modernist and post-modernist rhetoric, and visual meta-poetics are used; and Chow Teck Seng’s ‘We Speak to Fish using National Languages’, an ekphrasis which sees dialogues between languages, media and art forms, and layered historical contexts. These various poetic spaces complete the poems, giving them second lives through unlimited reincarnations.

The Battle of Representations

Opposite the Japanese embassy in downtown Seoul stands a bronze statue of a young girl. Since its erection in 2011, it has become a site of fierce symbolic battles among various parties. The objectives of this article are threefold. First, it offers an art historical account of the monument. Although it has been widely covered by numerous media, few serious studies on the monument as a work of art have been undertaken, and this article seeks to fill the gap. Second, it aims to advance an interpretation of the statue as a paradigmatic embodiment of intersubjective gaze that unsettles conventional portrayals of comfort women as erotic prostitutes. The image of comfort women as highly sexualized bodies has taken deep root in postwar Japanese popular culture, but the statue challenges this stereotyping and presents instead the pristine image of comfort women as innocent teenage victims of ruthless Japanese militarism. Third, it revisits the obvious: the statue in essence is a representation, but the representation itself is in turmoil. As people summon their own collection of desires when gazing at the statue, their encounters with it constantly question its representational stability.

A Fragment of a Monumental Bronze Statue, Lincoln

ABSTRACTA fragment of Roman monumental bronze sculpture was discovered near Lincoln in 2015 and reported to the Portable Antiquities Scheme. This note offers identification of the piece as an over-life-size finger, describes comparable examples and similar pieces from the local area, and makes suggestions as to the original form of the sculpture from which it may have derived. The statue's metallurgical characteristics and making, the possible context of display and the circumstances of deposition are also considered.

Reconstructing the Illusion

This chapter describes and critically reviews all the phases of an enquiry supported by the Museo Nacional del Prado in Madrid on an almost unknown project of a monument for Felipe IV of Spain in the portico of the Basilica of S. Maria Maggiore in Rome designed by Gian Lorenzo Bernini. The process consists of analysis and re-drawing after the existing documents, of modeling of the solid-perspective sacellum and the bronze statue actually made by Girolamo Lucenti, and of presentation and dissemination of the results, in form of video in the exhibition in Madrid and in other visual product to illustrate scientific publications. This process has been didactically divided between digital heritage, the translation of tangible historical-testimonial documents into digital formats, and virtual heritage, the production of original digital contents aimed at visually recreating the unbuilt monument and its perspective deceptive effects.

Capricorno Alae VII Phrygum … (i) Interim report on the fort near Tel Shalem

A multi-disciplinary research project has been begun in the fields next to the site of Tel Shalem (fig. 1), the locus of important discoveries since the 1970s (primarily the bronze statue of Hadrian). Recent geophysical prospections have detected the clear layout of a Roman fort and possibly even two successive forts. Two short excavation seasons carried out in 2017 and 2019, with a focus on the principia, resulted in finds that shed new light on the nature, history and identity of the site.