This thesis proposes five new dwellings be constructed within Maggia, a medieval village in Italian-speaking Ticino, Switzerland. The modern scheme placed within Maggia's old town outlines an attempt to revitalize the village's life by providing places for individuals, families, groups of families, and the whole village community. The act acknowledges a process of evolution which integrates old and new to continually generate livable places. Building a new element into the fabric of an old village requires an understanding of the existing place and the forces which contributed to its making. An architect designing within such a context should question the physical characteristics of the built environment and also examine natural and historical factors which may have influenced previous building. The historical, natural, and built environment contributes to forming the spirit, or experience, of the place. By attempting to define and name the elements which have created this spirit, the architect may begin to develop a design uniquely specific to its locale which contributes to the built community. A study of Maggia's existing structure reveals a widening gap between the town's old and new architecture. The proposed design attempts to mediate this separation between medieval and modern design. The project acts as a bridge, both physically and metaphorically, between the central town and newer surrounding development. While the project recognizes the medieval village as the essential monument which guides and informs new design, it simultaneously integrates modern concerns which influence the inhabitants' quality of life. / Master of Architecture

Every place on earth has a voice. This voice resonates from the shaping events that have long passed and the current conditions that continue to give each place its individual character. The voice continually evolves as the cycle of birth, death, and rebirth leaves its trace. This voice in its endless variety of forms expresses the beauty that is inherent within each and every location on earth. The potential of architecture is the translation of this voice into human terms and the formal declaration that we as humans play a meaningful part in the cycle. The guiding forms, surfaces, substances of architecture allow the human body to move in grace, unhindered, and inspires the mind to sense the essential connection between matter spirit; between the individual and the whole. The role of the architect is to become sensitive to this voice; to silence the mind enough to hear, and to respond to it in material form. The resulting dialogue between the edifice and the encompassing site reaches a certain completeness that enriches the living experience of the end user, bringing the wandering mind to the present long enough to inspire the thought that "I belong here, among all of this." The technical training required in order to gain an inherent understanding of structure and materials takes years of experience in the field of architecture. However, it has been the focus of my graduate career to further develop this sensitivity to the site and make my first attempts at formulating an architectural response, suggesting structures that could achieve this engagement with the end user and the site itself. / Master of Architecture

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No description available.

Le monde de l’amphithéâtre, entre l’apparition, au IIIe s. av. J.-C., des ludi qu’il abrite à partir de la fin du IIe s. av. J.-C., et l’abandon de ce type d’édifice en tant que monument de spectacle dans lecourant du Ve s. ap. J.-C., a longtemps été perçu par l’historiographie soit comme l’excroissance monstrueuse d’une civilisation brillante, soit comme l’exemple même de la cruauté d’une société autocratique et esclavagiste. Cette image de l’arène s’appuyait en particulier sur les rites se déroulant dans les édifices dédiés aux munera décrits par les écrivains chrétiens à partir de Tertullien au IIe s. ap. J.-C. Plus tard, pour livrer une étude dépassionnée de la gladiature, Georges Ville a postulé une "laïcisation" précoce de l’institution et rejeté ainsi les textes des polémistes chrétiens dans le domaine du pur discours. La reprise attentive de l’ensemble de la documentation, tant littéraire qu’épigraphique ou iconographique permet de nuancer ces constats. Si la religion est au cœur des jeux, c’est avant tout parce que ceux-ci, non seulement, sont parfaitement intégrés à la société romaine et provinciale, mais aussi et surtout car ils sont un des lieux par excellence où est montrée l’image idéalisée de Rome, sa structure sociale, culturelle et donc religieuse. Les dieux de l’amphithéâtre sont donc avant tout les dieux de la cité, garants de sa pérennité et de son équilibre. Ils sont adorés dans les amphithéâtres par des actes publics et privés, par l’ensemble de la communauté, des groupes sociaux, ou encore des individus de toute origine. La société se soude dans ce contexte où les spectateurs forment une communauté émotionnelle, prélude à la communauté cultuelle et sociale. Les acteurs des jeux eux-mêmes ont des préférences pour des dieux censés les protéger : Diane, Hercule, Némésis, Fortune, Mars, Minerve, Vénus, Mercure, et sont acteurs des rites de la cité. Cela ne fait pas d’elles les seules divinités des arènes et tout citoyen peut également se tourner vers elles dans les sacella des amphithéâtres, généralement ouverts à tous. / The amphitheater was used as a spectacle edifice between the end of the IInd century BC, hosting the ludi that appeared during the IIIrd century BC, and the Vth century AC. It was long perceived by historiographers either as the monstrous appendix of an enlightened civilization or as an example of an autocratic and slavering society. This image of the arena was derived from the rituals taking place in the edifices dedicated to munera and described by Christian writers starting with Tertullien in the IInd century AC. Georges Ville later conducting a dispassionate study of the Gladiatura, postulated an early non-religious nature of the institution and rejected the texts written by the Christian polemists as pure discourse. The careful study of the whole literary, epigraphic and iconographic documentation allows to nuance those statements. Religion is seen as the central core of the games not only because they are perfectly integrated to the Roman and provincial society but also because they are the best place to show an idealized image of Rome with its social, cultural and de facto religious structure. The gods worshiped in the amphitheater are first and foremost those of the city that guarantee its perenniality and stability. Inside the amphitheater they receive public and private adoration from the part of the whole community, of social groups and of individuals. The audience thus becomes united creating an emotional community that will later turn into a cultural and social community. The actors of the games give preference to certain gods expected to protected them -Diana, Hercules, Nemesis, Fortuna, Mars, Minerva, Venus and Mercury- and thus become actors in the city’s rites. Other gods and goddesses can also be worshiped in the sacella of the amphitheater that are generally open to all citizens.

abstract: Planetary surface studies across a range of spatial scales are key to interpreting modern and ancient operative processes and to meeting strategic mission objectives for robotic planetary science exploration. At the meter-scale and below, planetary regolith conducts heat at a rate that depends on the physical properties of the regolith particles, such as particle size, sorting, composition, and shape. Radiometric temperature measurements thus provide the means to determine regolith properties and rock abundance from afar. However, heat conduction through a matrix of irregular particles is a complicated physical system that is strongly influenced by temperature and atmospheric gas pressure. A series of new regolith thermal conductivity experiments were conducted under realistic planetary surface pressure and temperature conditions. A new model is put forth to describe the radiative, solid, and gaseous conduction terms of regolith on Earth, Mars, and airless bodies. These results will be used to infer particle size distribution from temperature measurements of the primitive asteroid Bennu to aid in OSIRIS-REx sampling site selection. Moving up in scale, fluvial processes are extremely influential in shaping Earth's surface and likely played an influential role on ancient Mars. Amphitheater-headed canyons are found on both planets, but conditions necessary for their development have been debated for many years. A spatial analysis of canyon form distribution with respect to local stratigraphy at the Escalante River and on Tarantula Mesa, Utah, indicates that canyon distribution is most closely related to variations in local rock strata, rather than groundwater spring intensity or climate variations. This implies that amphitheater-headed canyons are not simple markers of groundwater seepage erosion or megaflooding. Finally, at the largest scale, volcanism has significantly altered the surface characteristics of Earth and Mars. A field campaign was conducted in Hawaii to investigate the December 1974 Kilauea lava flow, where it was found that lava coils formed in an analogous manner to those found in Athabasca Valles, Mars. The location and size of the coils may be used as indicators of local effusion rate, viscosity, and crustal thickness. / Dissertation/Thesis / Doctoral Dissertation Geological Sciences 2018

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Regional architecture defines a type of architecture that adapts to the everyday needs of a people and is constructed by the building methods and materials of the region. Regions do not have clear boundaries, but are largely defined by the conditions of nature: climate, soil, topography, vegetation, water. Through this thesis project I have tried to create a regional architecture in Indianapolis, Indiana that embraces the surrounding context, but does not imitate the architecture of the past, through a mixed-use building for everyday life. / Master of Architecture

The Cutler Formation is composed of thick, arkosic, alluvial conglomerate, sandstone, and mudstone shed southwestward from the Uncompahgre Uplift into the Paradox Basin. More basin-ward the Cutler is recognized as a group consisting of differentiable formations. Discrete formations historically have not been distinguished near the uplift, but this study identified several separate successions in the Richardson Amphitheater. Research at the Richardson Amphitheater, ~12 km southwest of the uplift and ~30 km northeast of Moab, Utah, led to a systematic subdivision of the Permian Cutler Formation proximal to the uplift. Likely driven by channel cutting and migration across the alluvial fan, six 10-20 m thick successions are partially exposed. The dominant observed facies are basal conglomerate and channel-fill trough cross-stratified sandstone overlain by finer-grained distal sheetflood and frequently pedogenically altered sandstone. Down-warping of identified successions and the presence of additional sands within the area of flexure suggest that localized salt withdrawal created a sediment depocenter in the Richardson Amphitheater, ~6 km northwest of the Onion Creek salt diapir. The identified salt withdrawal feature is more proximal to the Uncompahgre Uplift than any of the major documented salt structures in the area and was not previously documented. Six measured stratigraphic sections and hundreds of high-precision differential GPS data points outlining major lateral erosional surfaces form the basis for interpretation. Five mapped erosional surfaces (bounding surfaces based upon differential GPS point interpolation) are laterally extensive within the approximately one square kilometer study area, and as such, represent stratigraphically significant surfaces. Within the generated structural geocellular model, stratigraphic data from measured sections informed facies modeling between major surfaces. This outcrop model may serve as an analogue for subsurface systems deposited in similar settings.

This final diploma thesis deals with revitalization of Film studios in Zlín and its surroundings. On the west from solved area is forest cemetery and residential complex Fabiánka. Areal of the Film studios is from residential complex Fabiánka separated by terrain depression. The Film studios in Kudlov which is situated near to Zlín was established in thirties of last centrury, their strong side is interesting history, the natural environment and good availability from Zlin. The theme of the Film survived in the area to the present days, there are film laboratories and film secondary school. Some objects are rentes as office space, there is Zlín radio and on the northeastern part of the area is situated pharmaceutical production. The main new function witch is design is housing in apartment buildings which are completed by offices and public services witch is situated around film pedestrian zone. There is designed a new sports complex and film park with forest amphitheater, therefore it can be used by general public. In areal are functions for all age category.