323 research outputs found
Liveability and public space in Canberra's suburban developments
No full textAlmost all sustainable theories agree that to be sustainable suburbia needs to increase density and thus become aligned with urban spaces, focusing mainly on energy efficiency and transport. Even though suburbia represents one of the least sustainable spaces in the city, it remains one of the most desirable spaces for living. People choose to live in suburbs, new suburbs are built and old suburbs are preserved. The liveable aspects of suburbia are being ignored in theoretical arguments around sustainability. Using the case of Canberra, this paper aims to discuss liveability of suburbia as part of its sustainable development. Suburbia represents an important aspect of every city in Australia, particularly Canberra. With a strong commitment to being sustainable, we believe that this context represents a good place to test some of the ideas around sustainable suburbia. This paper tests the hypothesis that public green spaces are essential in discussing the liveable aspects of suburbia that can be employed to further explore sustainability. The research compares new sustainably-developed suburb and old suburban spaces to discuss liveable aspects and the connection with green spaces. The analysis uses morphological characteristics of the built environment and mapping with ArcGIS software. The results show that older suburbs had predominantly larger plots of land and smaller floor area ratio. The houses obtained link with the ground through a private garden at the back. On the other hand, with market pressure, contemporary suburban developments, even those claiming to be sustainable, are reducing the size of plots and losing the connection with the green. The paper concludes that sustainable developments are focusing mainly on densification of suburbia and liveability aspects are lost. We confirm that for achieving sustainability we need to consider public green spaces, their morphology and structure.</p
Aspects of Ambient UX Design Within Design-to-Robotic-Production and -Operation Processes
No full textAmbient User Experience design in architecture implies consideration of various intersecting and sometimes overlapping design fields such as interaction and architectural design with the aim to achieve a continuous and cohesive user experience across devices, time, and space. In this paper, Ambient User Experience design is explored in relation to Design-to-Robotic-Production and -Operation processes developed at TU Delft, which link computational design with robotic production and operation. Several case studies involving the integration of sensor-actuators into the built environment are discussed with respect to mapping activities through constraints and enablers and designing with the time as a variable.Green Open Access added to TU Delft Institutional Repository 'You share, we take care!' - Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Architectural Engineerin
FABLELIKE NARRATIVE POEM FOR CHILDREN BY MILICA BAKRAČ
No full textThe paper deals with linguostylistic analysis of Vukovanje, the only poetry book for children written by Milica Bakrač, undoubtedly the greatest Serbian poetess from Montenegro. The most important characteristics of the poem are analysed and
compared to those of narrative poems in general, especially modernist and postmodernist.
Since a narrative poem is characterised by epic, lyric and dramatic features, the analysis
points out epic (narrative structure), lyric (external na internal structure) and dramatic
characteristics (ways of reporting speech) of the poem.
The analysis deals with fablelike properties of Vukovanje as well – by depicting
wolves, the author of the poem speaks about Serbs and their main characteristics, especially related to Saint Sava’s orthodoxy. Behaviors of wolves are represented allegorically –
as behaviors of human beings. More precisely, Serbs. A large number of explicitly depicted
immanent characteristics of Serbs are attributed to wolves in the poem, which proves that
Serbs are allegorically represented as wolves.
In addition to this, Milica Bakrač revives the myth of wolves as the ancestors of
Serbs, i. e. they are represented in a positive way, which is contrary to the symbolics usually attributed to wolves in the poetry for children.Publishe
FABLELIKE NARRATIVE POEM FOR CHILDREN BY MILICA BAKRAČ
No full textThe paper deals with linguostylistic analysis of Vukovanje, the only poetry book for children written by Milica Bakrač, undoubtedly the greatest Serbian poetess from Montenegro. The most important characteristics of the poem are analysed and
compared to those of narrative poems in general, especially modernist and postmodernist.
Since a narrative poem is characterised by epic, lyric and dramatic features, the analysis
points out epic (narrative structure), lyric (external na internal structure) and dramatic
characteristics (ways of reporting speech) of the poem.
The analysis deals with fablelike properties of Vukovanje as well – by depicting
wolves, the author of the poem speaks about Serbs and their main characteristics, especially related to Saint Sava’s orthodoxy. Behaviors of wolves are represented allegorically –
as behaviors of human beings. More precisely, Serbs. A large number of explicitly depicted
immanent characteristics of Serbs are attributed to wolves in the poem, which proves that
Serbs are allegorically represented as wolves.
In addition to this, Milica Bakrač revives the myth of wolves as the ancestors of
Serbs, i. e. they are represented in a positive way, which is contrary to the symbolics usually attributed to wolves in the poetry for children.Publishe
Place as Assemblage: Abstracting, Diagramming and Mapping
Get PDFPlace is an ambiguous concept denoting various elements of the environment, both built and natural. There are a number of different philosophical approaches which examine the notion of place including those that focus on the morphology of the built environment and those deriving from phenomenology. However, most of the theories agree that place is more than what we can see, more than just a built environment and we can summarise the complexity of the built and social environments into one aspect and quality that we call - place identity. Different theories generate divergent methods for analysing place. Most approaches, however, develop an objective map of a place in which the subjective data are ignored. For this reason, this paper explores analyses that use subjectivity as a tool and asks to what extent the latter is effective in analyses of place? The intent of this paper is not to fully discard the objective mapping of place but to discuss other methods that can be used to fully understand its complexity. The paper also tests the effectiveness of the diagrammatic approach in place mapping. The definition of the diagram, which derives from both architecture and philosophy, is largely based on Vidler’s theoretical explorations overlapped with the definition of the diagram from assemblage theory. The paper highlights two case studies which use diagramming as a mapping process for understanding place. Streets in Tokyo and Canberra are examined to see how objective data could be visualised to generate an objective or subjective place diagram. The paper argues that diagrammatic mapping involves a level of abstraction that is then read in ways that differ from the intentionality of the author. Thus, a diagram allows the process of layering subjective information during which reading becomes distanced from the original intention, standing as a pure visualisation that can transmit the feeling or the atmosphere and capture the complexity of a place
Portraits of Milica Stojadinović Srpkinja: creating the public image of the woman writer
No full textУ време књижевног рада Милице Стојадиновић Српкиње, започето је и са промовисањем ауторке у јавности. У ту сврху настају њени графички портрети, као слике које су могле бити масовно дистрибуиране, како самостално тако и кроз периодичне листове, у садејству са текстуалним наративом о списатељки. Таква јавна промоција Милице Стојадиновић била је раритетан случај јавно презентоване слике жене, која је дошла као последица њених пријатељских веза у књижевним круговима. Књижевница је при томе заузимала позицију активног учесника у креирању своје јавне слике, дајући за њу директне сугестије и критике.Milica Stojadinović Srpkinja was the first female author in 19th century Serbian literature who, overcoming
patriarchal constraints, gained a certain reputation. Lithographic portraits of her were as well an exceptional
occurrence at the time. Made for public use, portraits of Milica Stojadinović also represent a kind of a breakthrough into the men-dominated public sphere. Numerous lithographic portraits were circulating at the time,
but only of individuals who stood out for their social importance, public function or profession. In such cultural
practice, lithographic portrait of a woman was a rare case, except of the female members of the ruling house.
Two of Milica’s lithographic portraits were made at the time of her writing, thanking to the friends from literary
circle. First was made in 1851 by lithographer Anastas Jovanović. It was ordered and financed by Vuk Karadžić,
the most prominent figure in literature, during Milica’s visit to his home in Vienna. The second portrait followed
in 1862. Đorđe Rajković ordered it from the printing house of Ignjat Fuks from Novi Sad. It was then published
in Rajković’s magazine Putnik, presenting the young woman writer to a wide audience. What particularly characterizes both portraits is that Milica Stojadinović actively participated in the creation process. She criticized
and made suggestions for portraits, having her own vision of how she should be publicly presented. That was
especially the case with the portrait in Putnik, whose printing she strongly opposed in the end. It is paradoxical
that the same portrait gained the most popularity in later times. Mostly forgotten after her writing stopped, Milica
Stojadinović died in poverty. The memory of her was restored in the beginning of the 20th century, mostly by
the circles of women’s writers and female charity organizations. As part of their campaign, the portrait of Milica
was popularized through postcards. The same was used as a model for the Milica Stojadinović memorial bust.
Thanking to the women’s associations, it was also the first public monument dedicated to a woman
Place as Assemblage: Abstracting, Diagramming and Mapping
Get PDFPlace is an ambiguous concept denoting various elements of the environment, both built and natural. There are a number of different philosophical approaches which examine the notion of place including those that focus on the morphology of the built environment and those deriving from phenomenology. However, most of the theories agree that place is more than what we can see, more than just a built environment and we can summarise the complexity of the built and social environments into one aspect and quality that we call - place identity. Different theories generate divergent methods for analysing place. Most approaches, however, develop an objective map of a place in which the subjective data are ignored. For this reason, this paper explores analyses that use subjectivity as a tool and asks to what extent the latter is effective in analyses of place? The intent of this paper is not to fully discard the objective mapping of place but to discuss other methods that can be used to fully understand its complexity. The paper also tests the effectiveness of the diagrammatic approach in place mapping. The definition of the diagram, which derives from both architecture and philosophy, is largely based on Vidler’s theoretical explorations overlapped with the definition of the diagram from assemblage theory. The paper highlights two case studies which use diagramming as a mapping process for understanding place. Streets in Tokyo and Canberra are examined to see how objective data could be visualised to generate an objective or subjective place diagram. The paper argues that diagrammatic mapping involves a level of abstraction that is then read in ways that differ from the intentionality of the author. Thus, a diagram allows the process of layering subjective information during which reading becomes distanced from the original intention, standing as a pure visualisation that can transmit the feeling or the atmosphere and capture the complexity of a place
Correction to: Next generation Europe: a recovery plan for children, adolescents and their families : For the time after the pandemic, we need a vision and investments for the future
No full textInternational audienceIn the Original Article, the eleventh author name was published incorrectly. The correct author name is Milica Pejovic‐Milovancevi
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