1,721,135 research outputs found
Cripps Building Cambridge: Philip Powell & Hidalgo Moya
Full text linkIn the first half of the 1950s, editor J.M. Richards voiced biting criticism in the Architectural Review of new-built projects for the universities of Oxford and Cambridge. The buildings made no contribution to the art of architecture whatsoever and merely reflected the artistic emptiness and small-mindedness of academic taste. In the late 1950s, the tide turned. Up until the 1970s, several projects were implemented in both cities, which interpreted and breathed new life into the traditional building forms and application of materials in the two cities, sometimes in a brilliant fashion. Included in the best work from this period are the extensions to a number of colleges from designs by Philip Powell and Hidalgo Moya.
After realizing a number of projects in Oxford, they were commissioned in 1962 to design a large extension of St John’s College in Cambridge. Alvar Aalto, who was initially approached, turned out to be insufficiently interested. The project was financed by an alumnus of St John’s, wealthy industrialist Humphrey Cripps. In return for his generous donation, he yearned for a building that would last for at least 500 years. The new-build, located behind the existing buildings of St John’s, had to contain 200 rooms for undergraduates and 8 apartments for fellows.In de eerste helft van de jaren 1950 uitte redacteur J.M. Richards in de Architectural Review bijtende kritiek op nieuwbouwprojecten voor de universiteiten van Oxford en Cambridge. De gebouwen leveren geen enkele bijdrage aan de kunst van architectuur, en weerspiegelen alleen de artistieke leegte en benepenheid van academische smaak. Eind jaren 1950 keerde het tij. Tot de jaren 1970 kwam in beide steden een aantal projecten tot stand dat op soms briljante wijze de traditionele bouwvormen en materiaaltoepassingen van de twee steden interpreteerde en nieuw leven inblies. Tot het beste werk uit deze periode behoren de uitbreidingen van een aantal colleges naar ontwerp van Philip Powell en Hidalgo Moya.
Na een aantal projecten in Oxford te hebben gerealiseerd, kregen zij in 1962 opdracht voor het ontwerp van een grote uitbreiding van St John’s College in Cambridge. De in eerste instantie benaderde Alvar Aalto bleek niet voldoende geïnteresseerd. Het project werd gefinancierd door een alumnus van St John’s, de gefortuneerde industrieel Humphrey Cripps. Hij verlangde voor zijn royale donatie een gebouw dat minstens 500 jaar moest meegaan. De nieuwbouw, achter de bestaande gebouwen van St John’s, moest 200 kamers voor undergraduates bevatten, en acht appartementen voor fellows
Philip Powell Calvert letter to Hortense Butler Heywood regarding her trip to Yellowstone Park, May 11, 1914
No full textPhilip Powell Calvert letter to Hortense Butler Heywood regarding a package of dragonfly papers, April 17, 1914
No full textPhilip Powell Calvert letter to Hortense Butler Heywood regarding her paper on a new species, November 12, 1914
No full textPhilip Powell Calvert letter to Hortense Butler Heywood regarding arrangements for them to meet in Philadelphia, March 31, 1914
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How to Share Series....Mixed Methods
No full textThe recording and slides from the 'How to Share...Mixed Methods Data' seminar, part of the How to Share series. This series looks at how best to share different research data types to help you make your research outputs more FAIR and open. Recorded on 2024-03-27.Informed by success stories across the University, researchers will help share their knowledge and experience of the tasks and processes required to get your outputs in the best shape possible for sharing.Mixed methods methodology aims to combine both qualitative and quantitative outputs to ensure clear, in-depth findings. Making these elements complement each other, however, is a complex task. Philip Powell from the Sheffield Centre for Health and Related Research will discuss the potential pitfalls but overall benefits of sharing both these data types together and why this will benefit other researchers, as well as some of the steps that had to be taken to make these data ready for sharing.</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
and Philip Powell, Editors: of the Information Systems Journal: Second in a series
Full text linkAn opportunity for editors of I.S. journals t
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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