We present the first detailed 3D hydrodynamic implicit large eddy simulations of turbulent convection of carbon burning in massive stars. Simulations begin with radial profiles mapped from a carbon-burning shell within a 15M circle dot 1D stellar evolution model. We consider models with 128(3), 256(3), 512(3), and 1024(3) zones. The turbulent flow properties of these carbon-burning simulations are very similar to the oxygen-burning case. We performed a mean field analysis of the kinetic energy budgets within the Reynolds-averaged Navier-Stokes framework. For the upper convective boundary region, we find that the numerical dissipation is insensitive to resolution for linear mesh resolutions above 512 grid points. For the stiffer, more stratified lower boundary, our highest resolution model still shows signs of decreasing sub-grid dissipation suggesting it is not yet numerically converged. We find that the widths of the upper and lower boundaries are roughly 30 per cent and 10 per cent of the local pressure scaleheights, respectively. The shape of the boundaries is significantly different from those used in stellar evolution models. As in past oxygen-shell-burning simulations, we observe entrainment at both boundaries in our carbon-shell-burning simulations. In the large Peclet number regime found in the advanced phases, the entrainment rate is roughly inversely proportional to the bulk Richardson number, Ri(B) (alpha Ri(B)(-alpha) a, 0.5 less than or similar to alpha less than or similar to 1.0). We thus suggest the use of Ri(B) as a means to take into account the results of 3D hydrodynamics simulations in new 1D prescriptions of convective boundary mixing.

The project is located in the Teton Valley of Idaho, sited on the eastern slope of the Big Hole Mountains oriented toward the western face of the Teton Mountain Range. The program is a vacation house for a young family of four to be used throughout the year. Themes covered in the project include issues of topography, site conditions, and landscape; the harnessing of a powerful context and views; water management specific to the site; architectural expressive form and scale; circulation; and materiality. The site and its conditions, including slope, vegetation, sun orientation, wind direction, drainage patterns, and views, were the driving forces behind most of the design decisions made for the project. Circulation on and off the site, how one moves throughout the house, location of the program elements, placement and size of windows to capture views, and material selection were all inextricably tied to the physical nature of the site and its environment. The project is documented with diagrams, line drawings, perspective renderings and model photographs to illustrate the thesis. / Master of Architecture

During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.

Terrestrial exoplanets in the canonical habitable zone may have a variety of initial water fractions due to random volatile delivery by planetesimals. If the total planetary water complement is high, the entire surface may be covered in water, forming a "waterworld." On a planet with active tectonics, competing mechanisms act to regulate the abundance of water on the surface by determining the partitioning of water between interior and surface. Here we explore how the incorporation of different mechanisms for the degassing and regassing of water changes the volatile evolution of a planet. For all of the models considered, volatile cycling reaches an approximate steady state after similar to 2 Gyr. Using these steady. states, we find that if volatile cycling is either solely dependent on temperature or seafloor pressure, exoplanets require a high abundance (greater than or similar to 0.3% of total mass) of water to have fully inundated surfaces. However, if degassing is more dependent on seafloor pressure and regassing mainly dependent on mantle temperature, the degassing rate is relatively large at late times and a steady. state between degassing and regassing is reached with a substantial surface water fraction. If this hybrid model is physical, super-Earths with a total water fraction similar to that of the Earth can become waterworlds. As a result, further understanding of the processes that drive volatile cycling on terrestrial planets is needed to determine the water fraction at which they are likely to become waterworlds.

In anticipation of improved observational data for Jupiter's gravitational field, from the Juno spacecraft, we predict the static tidal response for a variety of Jupiter interior models based on ab initio computer simulations of hydrogen-helium mixtures. We calculate hydrostatic-equilibrium gravity terms, using the non-perturbative concentric Maclaurin Spheroid method that eliminates lengthy expansions used in the theory of figures. Our method captures terms arising from the coupled tidal and rotational perturbations, which we find to be important for a rapidly rotating planet like Jupiter. Our predicted static tidal Love number, k(2) = 0.5900, is similar to 10% larger than previous estimates. The value is, as expected, highly correlated with the zonal harmonic coefficient J(2), and is thus nearly constant when plausible changes are made to the interior structure while holding J(2) fixed at the observed value. We note that the predicted static k(2) might change, due to Jupiter's dynamical response to the Galilean moons, and find reasons to argue that the change may be detectable-although we do not present here a theory of dynamical tides for highly oblate Jovian planets. An accurate model of Jupiter's tidal response will be essential for interpreting Juno observations and identifying tidal signals from effects of other interior dynamics of Jupiter's gravitational field.

We explore the effects of rotation on convective carbon, oxygen, and silicon shell burning during the late stages of evolution in a 20 M-circle dot star. Using the Modules for Experiments in Stellar Astrophysics we construct one-dimensional (1D) stellar models both with no rotation and with an initial rigid rotation of 50% of critical. At different points during the evolution, we map the 1D models into 2D and follow the multidimensional evolution using the FLASH compressible hydrodynamics code for many convective turnover times until a quasi-steady state is reached. We characterize the strength and scale of convective motions via decomposition of the momentum density into vector spherical harmonics. We find that rotation influences the total power in solenoidal modes, with a slightly larger impact for carbon and oxygen shell burning than for silicon shell burning. Including rotation in 1D stellar evolution models alters the structure of the star in a manner that has a significant impact on the character of multidimensional convection. Adding modest amounts of rotation to a stellar model that ignores rotation during the evolutionary stage, however, has little impact on the character of the resulting convection. Since the spatial scale and strength of convection present at the point of core collapse directly influence the supernova mechanism, our results suggest that rotation could play an important role in setting the stage for massive stellar explosions.

Stellar models provide a vital basis for many aspects of astronomy and astrophysics. Recent advances in observational astronomy - through asteroseismology, precision photometry, high-resolution spectroscopy, and large-scale surveys - are placing stellar models under greater quantitative scrutiny than ever. The model limitations are being exposed and the next generation of stellar models is needed as soon as possible. The current uncertainties in the models propagate to the later phases of stellar evolution, hindering our understanding of stellar populations and chemical evolution. Here we give a brief overview of the evolution, importance, and substantial uncertainties of core helium burning stars in particular and then briefly discuss a range of methods, both theoretical and observational, that we are using to advance the modelling. (C) 2016 WILEY-VCH Verlag GmbH & Co. KGaA, Weinheim

The idea of rhythm as applied to interior space is the basis for this thesis. The site is an old warehouse with a structure that contains a repetitive rhythm in the form of a columnar grid and a corresponding fenestration pattern, yet the building also has an atypical wedge shape. The program is a design business incubator, a place where design business startups, recent graduates of Virginia design programs, can begin their design careers and find their rhythm in a cooperative and supportive environment, a collage of design businesses, if you will. Rhythm is essential in our lives, from the beating of our hearts to the rising and setting of the sun. Rhythm is also essential to spatial design. Our built environments require some form of pattern in order to help create a sense of stability and familiarity with our surroundings. Whether in music or painting, poetry or design, rhythm starts with simple repetition. But rhythm moves beyond mere repetition to include a diverse assortment of elements. The more complex a rhythm, the more we can become involved with that rhythm and consequently with the object that provides the rhythm. How does rhythm translate into space and time? How is it possible to develop a more complex and expressive rhythm in a particular space? What might be considered more expressive? How can this old warehouse function as a design business incubator while new rhythms are introduced into the mix of old rhythms through the fulfillment of this program and thereby create a collage of space?

The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.

[pt] Depois da explosão demográfica das grandes cidades, da diminuição dos espaços internos das moradias e da hostilização dos espaços públicos, pode-se estar vivenciando o esvaziamento ou limitação de valor simbólico dos objetos industrializados para residência e uma possível preponderância de valores inócuos, tendendo ao historicismo nostálgico ou decorativismo falacioso. Esvaziamento provocado pela massificação da indústria, suportada quase exclusivamente pela publicidade, em detrimento de uma simbologia verdadeira e própria de um tempo ou uma região. Como pode então o designer elaborar um ambiente que atenda às subjetividades do indivíduo? Dispor várias peças em um ambiente é lidar com um momento de verdade íntima, constituído por uma subjetividade sem efemeridades e modismos. Na busca de fatos e impressões, foram realizadas, em quatro capitais brasileiras - Rio de Janeiro, São Paulo, Salvador e Recife, entrevistas com pessoas que se propuseram decorar a sala de estar de suas residências e esses espaços foram analisados. Foram escolhidas, como perfil de entrevistado, pessoas de poder aquisitivo padrão B e C cujas salas medissem entre 18 e 35m. Verificou-se o alcance da significação dos objetos no percurso pelas instâncias sociais, da concepção ao momento de uso. Das entrevistas, foram identificados parâmetros de valores norteadores na construção dessa significação. Foi verificado também como se estabeleceu a relação entre o discurso subjetivo dos desejos humanos e a matéria-artefato na ambientação contemporânea. Este trabalho proporcionou uma reflexão sobre o papel do design na elaboração de ambientes que atendam às necessidades elementares ou subjetividades do indivíduo, colaborando, assim, para sua saúde física e mental. / [en] After the demographic explosion of the big cities, reduction of the internal spaces of the housings and hostilization of the public spaces, we can be living the emptyning or limitation of symbolic value of industrialized objects for residence and a possible superiority of inoccuous values, tending to the nostalgic historicism or fallacious decorativism. Emptyness provoked by massification of the industry, supported almost exclusively for the advertising, in detriment of a true and proper symbology of a time or a region. Thus, how can a designer elaborate an environment that attends the individual subjectivities? To make use or arrange furniture and objects in our room is to deal with a moment of close truth, without efemerities and modisms. In the search of facts and impressions interviews were elaborated in four Brazilian capitals: Rio de Janeiro, São Paulo, Salvador and Recife. Those interviews were made with people who decorated their living room by their own. These spaces had also been analyzed. It was chosen as a standard profile interviewed people of purchasing power levels B and C, whose rooms measured between 18 to 35m. The reach of the meaning of objects in the passage for the social instances was verified, from the conception to the moment of use. From the interviews parameters of reference values were identified, on the construction of this signification. It was also verified how was established the relations between the subjective speech of the human desires and the substance-device in the contemporary ambientation. This work provided a reflection on the role of design in the environment elaboration that takes care of to the elementary necessities or subjectivities of the individual, collaborating, thus, for its physical and mental health.