2 research outputs found
Ancestry estimates: Evaluating the reliability of Hefner's cranial morphoscopic method
No full textTo identify unknown skeletal remains, forensic anthropologists provide police with information of who they might belong to, such as ancestry (someone’s familial lineage and geographic origin). The cranium has shape-based traits (morphoscopic traits) that can be scored using visual analysis, and these scores are used to estimate ancestry. The purpose of this study is to evaluate the reliability of Hefner’s (2009) morphoscopic trait scoring method, which assesses sixteen traits, as well as the impact of score disagreement among and within observers on the resulting ancestry estimates. Reliability is determined through intra-observer and inter-observer repeatability tests, whereas the impact of score disagreement is observed by comparing ancestry results generated by statistical programs from each observer’s scores. In general, most traits have high intra-observer agreement, most trait scores are in agreement, and lower inter-observer agreement. Each trait has their own pattern of disagreement, such as a score of 2 and 3 were always confused with each other for the trait anterior nasal spine, but never a score of 1. Score disagreements caused ancestry estimates to change between observers in most cases. Error causing lower inter-observer agreement included experience, tool use, method iteration, prevalence of traits within the study individuals, vague descriptions, and interpretation differences. This is the first study to thoroughly assess and identify sources of error, as well as provide recommendations for improved descriptions/pictorial representation of all sixteen of Hefner’s traits. Overall, Hefner’s method requires pictorial and description improvement for the majority of traits before it can be reliably used among practitioners.University of Manitoba Graduate Fellowship
James Gordan Fletcher Graduate Research AwardMay 202
The Brussels Architects Stanislas Jasinski and Jacques Obozinski
No full textStanislas Jasinski (1901-1978) and Jacques Obozinski (1890-1981) were ancestors of Polish emigrants of the nineteenth century. They both played a role in architecture, especially that of Brussels, which found an expression in numerous mentions in the studies and guidebooks devoted to the Belgian architecture of the twentieth century.
In the beginning of the 1920s Jasinski contacted with Dutch neoplasticism and, during his stay in Paris, with le Corbusier, becoming an advocate of the latter. As an architect and painter, he belonged to the group of artists grouping the avant garde of the paper “7 Arts”, propagating on its pages the ideas of avant garde architecture.
In the years of 1929-1930 he completed the Airport in Antverpe-Deurne of simple forms in the spirit of the “international style”. At that time, being under the influence of Le Corbusier, he proposed a revolutionary conception of the Administrative Centre in the old part of Brussels, in the form of skyscrapers in the shape of crosses. In the years 1934-1939, together with Gaston Brunfaut, he realized the oncological department of the Institute Jules Bordet et Paul Heger, introducing among other things a platform instead of stairs in the place where two wings of the building join.
Most of Jasinski's conceptions is flat architecture. Starting from the 1935s onwards he realized in the representatives districts of Brussels several elegant houses such as Belle Vue at Avenue de Gaulle no 50, at 127 Montjoie Street, 4 Avenue des Scarabées, 23 Avenue l'Orée. Their simple forms, a result of the avant garde form, are characterized by an interesting plastic of details. The residences of Belvedere at 453 Avenue Louise (1939) and Chambord at 341 Avenue Louise (1947) were abold and conscious introduction of the skyscraper into a street with lower buildings. His further houses were built in the 1950s and 60s: Green Dale at 499 Avenue Brugmann, Grande Large and Grande Clarte at 48-60 Avenue Churchill, and agroup of blocks Chenee, Hetraie, Chataignerie, Eden Green at Avenue Ptolomee. Within the confines of the structure of ablock of flats Jasinski arrived at individual plastic solutions through the system of balconies, Corbusier-like placing on poles, introduction of sculptor decorations. As regards the architecture of public utility, we have the Office Building of the Society Commerce et Industrie at 30 Boulevard du Regent, with the elevation covered with aglass shelter. He designed also small houses outside Brussels. Among Jasinski's project which did not see the light of day, let us name the architectonic and town planning complex Cité du Mundaneum in Antverpe (1941) in which he participated.
Jacques Obozinski designed on the forms closer to avant garde architecture and more traditional or compromising. His Own House at 366 Avenue Brugmann of 1921 is closer to the tradition of the English house. The Houses at 56 Avenue Franklin Roosevelt (1928), 92and 72 Avenue Plissart (1933). The latter project was designed together with J.de Ligne. 84 Avenue Deschanel (1935) and, finally, Maison minimum at 124 Basse belong rather to the avant garde trend. Their form stressed by the system of the perpendiculars and the levels is aresult of the quest after the most satisfactory solutions of the function. The monaster at 25 Saint Bernard (1937) remade into aHouse is characterized by an accurate historicizing detail.
Obozinski designed also architecture for exhibitions. Together with F.Petit he designed the Pavillon Manufacture Royale de Copenhagen in Paris in 1925, and at the Common Exhibition in Brussels in 1935 the Pavillon de Cuir. And, eventually, at the Brussels EXPO in 1958 the Pavillon de la Police and Pavillon du Marbre. He designed several projects together with his brother Yvan, and author of ship interior designs. After 1945 they completed the Office National de Securité Sociale (O.N.S.S.) at 102 Prince Royal, Office de Securité d'OUtre Mer at 194 Avenue Louise, Office National du Ducroire at 40 Square de Meeus. Obozinski was also adesigner of other buildings in and outside Brussels
