Ed. commerciale de: Diss.--Bonn, 1997. / Bibliogr. p. 223-257. Notes bibliogr. Index.

Avez-vous déjà senti le monde toucher à sa fin ? Quel serait selon vous votre premier instinct ? Cette thèse propose de regarder de plus près ce qui semble être une des réactions des plus naturelles: l’immersion dans le récit. En partant des travaux de la sociologie des mouvement sociaux conduits par Francesca Polletta, l’hypothèse de ce travail suggère que dans les contextes anxiogènes de catastrophes d’antan et d’aujourd’hui — guerrière, environnementale, ou autre — la narration joue un rôle important lors de la constitution et l’organisation de nouveaux acteurs collectifs, incitant ainsi au changement qui permettra de sortir de la crise. Si toutes formes de récit peuvent nous aider à agir ensemble, cette thèse se focalise sur la charge politique d’un genre en particulier, celui de la science-fiction. S’il faut attendre les travaux pionniers de Darko Suvin pour que le monde académique s’éveille au potentiel de cette forme de para-littérature, les nombreux projets utopiques, contre-utopiques, dystopiques, voire même apocatopiques qui jalonnent l’histoire de l’architecture montrent que les architectes ont deviné depuis longtemps le potentiel subversif du genre.Ces fictions architecturales politisées sont notre terrain de jeu: le corpus est constitué d’histoires nées sur les terres de la catastrophe, à l’aube et au crépuscule du XXe siècle tel que défini par l’historien Eric Hobsbawm — d’un côté lors de l’éclatement en 1914 de la Première Guerre mondiale et de l’autre entre 1992-1995 lors du long siège de Sarajevo. Ces deux points temporels sont reliés par des projets appartenant à la même famille politique, celle de l’anarchisme - dans son incarnation souvent appelée socialisme libertaire pacifiste — tel qu’il est compris et mis en architecture par Bruno Taut (le Glashaus, Architecture alpine, La dissolution de la ville, Le constructeur du monde, Les galoches du bonheur, Mimari Bilgisi) et Lebbeus Woods (Underground Berlin, Zagreb Free-Zone, War and Architecture). Leurs anarchitectures sont accompagnées par le travail d’écrivains engagés — des figures représentatives de la facette dite dissidente et activiste du récit de science-fiction — comme Paul Scheerbart (Rakkóx, le milliardaire, Malvu. Le Timmonier, Lesabéndio. Un roman astéroïde, L’Architecture de verre), J. G. Ballard (I.G.H.), Gheorghe Săsărman (La quadrature du cercle) et China Miéville (The City & The City). Ce périple va nous permettre d’observer, à travers une lentille architecturale, l’histoire et les transformations du genre de la science-fiction au XXe siècle, ainsi que les attitudes des architectes face au conflit.Le sujet n’est pas isolé de son contexte historique. Suivant une analyse en anti-thèse, le positionnement politique des protagonistes va s’affronter aux fictions de groupes rivaux, et notamment à celles du futurisme guerrier de F. T. Marinetti (Mafarka, le futuriste) et de l’architecte officiel de son mouvement Antonio Sant’Elia (La Città Nuova). Ces architectures post-catastrophe opposées sont accompagnées de visions du corps post-catastrophe. Ainsi, nous analyserons la manière dont nos deux camps vont instrumentaliser une des figures clefs des avant-gardes modernes : celle l’Homme nouveau. Ces corps « évolués » vont finalement nous permettre d’inscrire ces rêves sociaux, politiques, architecturaux et radicaux, dans la lignée des débats contemporains sur la place de l’Homme dans le réseau de la vie, polarisés ces jours-ci autours des concepts de l’Anthropocène de Paul Crutzen, du Capitalocène de Jason Moore et du Chthulucène de Donna Haraway. / Have you ever felt that the world was coming to an end? Do you know what one of your first instincts would be? This thesis looks closer at one of our most natural reactions: the immersion in storytelling. Leaving from Francesca Polletta’s research in the field of the sociology of social mouvements, the following pages are based on the observation that in times of catastrophe — may it be due to war, global warming or many other causes — storytelling plays an important part in the constitution and organisation of new collective actors that demand and create change, potentially contributing to an exit from crisis. If all forms of storytelling can help us act together, this thesis focuses on the political charge of a particular genre, that of science-fiction. Even if the academic world is barely starting to acknowledge the potential of this form of para-literature, the vast array of utopian, counter-utopian, dystopian, even apocatopian projets that dot the history of architecture shows that architects have long understood the subversive potential of this genre.Politicised architectural fictions will be our playing field: the corpus is made up of stories born on the realms of disaster at the dawn and dusk of the XXth century, as defined by the historian Eric Hobsbawm — starting in 1914 with the beginning of World War I and ending in 1992-1995 and the long siege of Sarajevo. These two temporal points are connected by stories and projets that belong to the same political family, that of anarchism — namely it’s pacifist branches — as it is understood and translated into architecture by Bruno Taut (The Glass Pavilion, Alpine Architecture, The Dissolution of the City, The Worldbuilder, The Galoches of Fortune, Mimari Bilgisi) and Lebbeus Woods (Underground Berlin, Zagreb Free-Zone, War and Architecture). Their anarchitectures are accompanied by the works of writers — representatives of the dissident and activist facet of science-fiction and fantasy — such as Paul Scheerbart (Rakkóx, the billionaire, Lésabendio. An asteroid novel, Malvu. The Helmsman, Glass Architecture, The Gray Cloth), J. G. Ballard (High-Rise), Gheorghe Săsărman (Squaring the Circle), as well as China Miéville (The City & The City). This overview will allow us to gauge through an architectural lens at the history and the transformations of the genre of science-fiction throughout the XXth century, as well as architecture’s changing attitudes in relation to conflict.Nonetheless, the subject is not isolated from it’s historical context. Shaped as a confrontation between two radically different visions of the future, the political positioning of our protagonists will face the fictions of rival groups, especially the pro-conflit stance of F. T. Marinetti’s futurism (Mafarka, the futurist) as well as that of the official architect of his mouvement, Antonio Sant’Elia (La Città Nuova). These fictions of a post-catastrophe architecture will translate themselves also into post-catastrophe bodies, since — in the good tradition of the modern avant-gardes — we will also reflect on the nature of the New Man they put forth. These “evolved” bodies will allow us to inscribe the radical, social, political and architectural dreams we study, witin larger contemporary debates on the place of Man in the network of life, polarised these days around the concepts of the Anthropocene of Paul Crutzen, the Capitalocene of Jason Moore and the Chthulucene of Donna Haraway.

Robert Delaunay (1885-1941) est l’un des artistes français les plus présents à Berlin à l’aube de la Première guerre mondiale. Avec l’aide de Herwarth Walden (1878-1941), directeur de la revue et galerie Der Sturm, l’artiste acquiert rapidement une solide réputation dans la capitale allemande, où il expose une quarantaine de toiles au cours de la seule année 1913, tandis qu’il diffuse abondamment ses propres textes théoriques et ceux de ses amis Guillaume Apollinaire (1880-1918) et Blaise Cendrars (1887-1961). Le peintre français suscite bientôt l’engouement de certains artistes berlinois, nombreux à l’avoir rencontré lors de ses deux voyages en Allemagne avant la guerre. Pour une large partie de la recherche, ce succès s’expliquerait par un « malentendu productif » : les artistes de la capitale allemande auraient détourné l’œuvre de Delaunay dans un sens germanique, appréciant sa peinture pour des raisons étrangères à ses intentions initiales. Contestant cette hypothèse – variante de celle, pluriséculaire, de l’incompatibilité par nature des goûts allemands et français – nous proposons d’envisager la réception berlinoise de Delaunay dans une perspective micro-historique, en nous intéressant au regard porté sur lui par trois artistes : Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) et Bruno Taut (1880-1936). Après avoir mis en exergue les discours possiblement « entendus » par ceux-ci autour de l’œuvre du peintre français en Allemagne, nous nous intéressons à la trajectoire individuelle de chacun d’entre eux, mettant en évidence la profondeur des liens qui unissent finalement les avant-gardes désignées sous les termes d’orphisme et d’expressionnisme. / Robert Delaunay (1885-1941) is among the French artists that are the most involved in Berlin at the dawn of the World War I. Thanks to Herwarth Walden (1878-1941), who is the director of the magazine and the gallery Der Sturm, the artist quickly earns a solid reputation in the German capital city where he exhibits around forty paintings in 1913 alone, while widely circulating his own theoretical texts as well as those of his friends Guillaume Apollinaire (1880-1918) and Blaise Cendrars (1887-1961). The French painter soon spurs the interest of some Berlin artists, many of whom have met him during his two trips to Germany before the war. For an extensive part of the research, this success could be explained by a “working misunderstanding”: the artists of the German capital city supposedly twisted Delaunay’s work in a Germanic sense, appreciating his painting for reasons that were not related to his initial intents. We contest this hypothesis – which is a variant of the centuries-old hypothesis that states a natural incompatibility between German and French tastes – we suggest to consider the Berlin welcome of Delaunay in a micro-historical perspective by focusing on three artist’s point of view about him: Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) and Bruno Taut (1880-1936). After underlining the speeches they possibly “heard” surrounding the French painter’s work in Germany, we focus on each artist’s individual path, showcasing the depths of the links that join actually the avant-gardes that are coined under the terms of orphism and expressionism.

La tesis se compone de cuatro partes. La primera tiene carácter introductivo, ofreciendo un visión general de la breve pero intensa experiencia profesional de Bruno Taut en Turquía. En particular evidencia como el acercamiento a la modernidad ejercido por Taut, bajo un punto de vista teórico y práctico, haya encontrado perfecta sintonía en el contexto cultural de la joven Republica Turca. Gracias a esta empatía Taut ganó el papel privilegiado de Experto en los debates culturales de aquellos años en el país, no sólo por la propuesta de un lenguaje arquitectónico moderno y al mismo tiempo devoto a la tradición, sino también en relación a temas diferentes como el estudio de la arquitectura tradicional y los problemas debidos a su conservación. La primera parte muestra además un catálogo descriptivo de las obras realizadas y de los textos publicados en Turquía entre el año1936 y el año 1938.La segunda parte mira a los aspectos más eterminantes de la llegada de Taut como director del Departamento de Arquitectura de la Academia de Bellas Artes de Istambul y de la Oficina de Proyectos del Ministerio de Cultura. Se juntan informaciones procedentes de otros autores, de testimonios que en parte hasta este momento habían sido secundarios, de notas del diario turco de Taut y de un documento inédito, que nos permite entender la complejidad del procedimiento burocrático en el encargo que le fue confiado.La información contenida en el documento inédito, sobretodo, tiene información sobre los primeros trabajos de la Oficina de Proyectos bajo la dirección de Taut: los proyectos para las Clínicas universitarias y el Instituto de Química de la Universidad de Istambul.La tercera parte enfoca un aspecto de la actividad de Taut en Turquía hasta ahora desconocido: su papel de experto extranjero en el programa del Ministerio de Cultura para la protección de los monumentos históricos. Gracias a un artículo dedicado a la restauración del Mausoleo Verde de Bursa (una de las restauraciones más importantes de los años treinta) en el que se habla de la implicación de Taut en el proyecto, a notas de su diario y al texto de la Relación que Taut escribió para la restauración (documento inédito recuperado en Japón), la tercera parte busca hacer luz sobre esta anómala experiencia profesional, que no se limitó solo al caso Bursa sino que le implicó en otras dos importantes restauraciones de aquellos años.La Relación sobre el Mausoleo de Bursa abre un nuevo capítulo sobre la actividad de Taut en Turquía y permite reelaborar las críticas empezando por los aspectos inéditos de sus pensamientos sobre las principales problemáticas de la restauración.La cuarta y ultima parte contiene la traducción italiana de documentos: una carta del año 1916, conservada en Ankara, escrita por Taut a un destinatario desconocido, después del viaje a Istambul, en ocasión del Concurso para la Casa de la Amistad Turco-Alelmana con anexo al texto Impresiones de viaje desde Costantinopoli; el artículo-entrevista La casa Turca, Sinan, Ankara, publicado en el número de febrero de 1938 de la revista Her Ay; la Relación sobre el restauro de la Yeþil Türbe de Bursa, escrita en 1938. / This thesis is formed by four parts. First one gives up an introductory overview. It aims to depict a general frame of Bruno Taut's both short and busy professional experience in Turkey. In detail it tries to show how transversal approach to modernity claimed by Taut quite fit the specific cultural context of young Turkish Republic. Thanks to this nearness Taut gained a privileged role of Expert alongside the cultural debate under definition in the country. This role was effective both for the diffusion of an architectonic language proposing a sinthesis between modernity and tradition and for different issues such as studies about traditional architecture and consideration about monumental heritage's preservation. This first part moreover displays a sort of descriptive catalog on realized works and published texts between 1936 and 1938.Second part aims to frame most important aspects linked with Taut's debut as head of Architecture Department in the Istanbul Fine Arts Academy and of the Culture Ministry Architectural Office. Informations from different scholars, evidences untill now ignored, Taut's turkish booknote's entries and an unpublished official document compose critic machinery that allows to focus the complexity of bureaucratic iter standed behind Taut's assignment definition. Especially the official document displays precious evidences about first works Office was kept busy with under Taut's tenure: projects for Istanbul University's Medical Clinics and Chemistry Insitute.The whole third part deals with an unknown Taut's activity side: his role as foreigner Expert alongside the Culture Ministry program for historical monuments preservation. Thanks to an article about the restoration of the Green Tomb in Bursa (one of the most important restoration works in the thirties) refering to Taut's involvement, to diary's entries and to the original Report Taut drawn up about that restoration (unpublished document recovered in Japan), this part analizes this professional experience not only focusing on Bursa case study but also taking into consideration other two restoration episodes (Ottoman Market in Ankara and a series of monuments in Edirne). The Report for Bursa's Tomb opens a new chapter on Taut's activity in Turkey and allows to redefine its critical assest moving from unusual statements Taut dealt with regarding Restoration's fundamental issues.Fourth and last part is formed by some documentary fonts. It collects italian language translation of three documents: a letter, kept in Ankara, Taut wrote in 1916 to an unknown person after the trip in Istanbul on the eve of the competition for the German-Turkish Friendship House and the text Trip's impressions from Costantinople, the interview Turkish house, Sinan, Ankara pubblished in Her Ay magazine on february 1938, the Report on Green Tomb Restoration in Bursa written in 1938.

Diss.--Fachbereich Geschichtswissenschaften--Berlin--Freie Universität, 1990.

Thesis advisor: Joshua E. Greene / We construct taut foliations in every closed 3-manifold obtained by r-framed Dehn surgery along a positive 3-braid knot K in S^3, where r < 2g(K)-1 and g(K) denotes the Seifert genus of K. This confirms a prediction of the L--space conjecture. For instance, we produce taut foliations in every non-L-space obtained by surgery along the pretzel knot P(-2,3,7), and indeed along every pretzel knot P(-2,3,q), for q a positive odd integer. This is the first construction of taut foliations for every non-L-space obtained by surgery along an infinite family of hyperbolic L-space knots. We adapt our techniques to construct taut foliations in every closed 3-manifold obtained along r-framed Dehn surgery along a positive 1-bridge braid, and indeed, along any positive braid knot, in S^3, where r < g(K)-1. These are the only examples of theorems producing taut foliations in surgeries along hyperbolic knots where the interval of surgery slopes is in terms of g(K). / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Mathematics.

Offshore wind in the United States is a rapidly growing industry. The development of both fixed bottom and floating platforms is important for the success of the industry. While monopiles are common substructures in Europe, the Atlantic Coast has a much greater risk for hurricanes. It is necessary to understand how extreme weather events will impact the structures. Meanwhile, floating offshore wind will be key for offshore wind development along the Pacific Coast, Hawaii, and Gulf of Maine. Before these projects can come to fruition, the cost of development must first decrease. A taut mooring system with multiline anchors may be able to reduce costs, specifically when deployed in deep water locations. This thesis considers these concerns for both the fixed bottom and floating wind developments. A parametric study is completed using OpenFAST for a variety of mooring systems. A taut multiline mooring system is designed for water depths ranging from 850 to 2000 meters. Further 850-meter designs explore how changing line properties impact the mooring line and multiline loading. Using these mooring designs, preliminary suction anchors are designed, focusing on the potential savings of decreasing the number of anchor installations from 3 single line anchors per turbine to 1 multiline anchor per turbine. Anchors are designed for a range of soil conditions to observe their impacts on anchor dimensions. For monopile design, four Atlantic Coast wind developments are chosen for design of monopiles at each site, using 50-year and 500-year storm conditions in the design process. These monopiles are designed using primarily hand calculations, with the assistance of OpenFAST to create a hub thrust power curve. The loads are then used to design monopile for a constant diameter and thickness from the transition piece to the mudline. The constant diameter monopiles are compared to a design that was complete for fatigue loading. In general, the fatigue loaded monopiles were required to be much larger, providing capacities larger than the monopiles designed for extreme storm conditions.

Dans cette thèse, on étudie les C2-feuilletages de codimension 1, dans les 3-variétés compactes connexes et orientables. Il est bien connu que l’on peut construire explicitement sur de telles variétés un feuilletage qui possède des composantes de Reeb. Vient alors le problème crucial d’existence des feuilletages tendus (toujours ouvert).Rappelons qu’un feuilletage tendu n’admet pas de composante de Reeb, mais que la réciproque est fausse.La première partie de ce travail, consiste à comprendre la différence entre un feuilletage non-tendu sans composante de Reeb et un feuilletage tendu. On verra que l’orientation transverse des feuilles toriques joue un rôle crucial, en donnant une condition nécessaire et suffisante sur cette orientation transverse pour qu’un feuilletage soit tendu. Pour cela on étudiera de près les procédés géométriques de tourbillonement et de spiralement, et on montrera qu’ils apparaissent toujours au voisinage d’une feuille torique.La seconde partie de ce travail se concentre sur le problème d’existence de feuilletages tendu. Rappelons que depuis les travaux de D. Gabai [1983], on sait que si une 3-variété admet une homologie non-triviale, alors elle admet un feuilletage tendu. Mais le problème d’existence est toujours ouvert parmi les sphères d’homologies, et on s’intéresse ici à celles qui sont fibrées de Seifert. On montre que toutes les sphères d’homologie entière fibrées de Seifert sauf S3 et la sphère d’homologie de Poincaré admettent un feuilletage tendu. Par contre, parmi les sphères d’homologie rationnelle non-entière, fibrées de Seifert, il existe une infinité de telles variétés qui admettent un feuilletage tendu, et une infinité qui n’en admettent pas. / In this thesis, we study codimension 1, C2-foliations, in compact, connected and orientable 3-manifolds. It is well known that we can explicitly construct on such manifolds a foliation admitting Reeb components. Then comes the crucial problem of existence of taut foliation (still opened).Recall that a taut foliation does not admit a Reeb component, but the converse is false. The first step of this work focuses on the difference between a non-taut and Reebless foliation, and a taut foliation. We will understand that the transverse orientation of the torus leaves plays a key-role, by giving a necessary and sufficient condition on the transverse orientation, for a foliation to be taut. For this, we will study the geometric processes of turbulization and spiraling with generalizations, and we see that they always appear in a neighborhood of a torus leaf.The second step of this work is concentrated on the problem of existence of taut foliations. Recall that since the work of D. Gabai [1983], we know that if a 3-manifold has non-trivial homology, then it admits a taut foliation. This problem is still opened among homology spheres and we focus here on Seifert fibered ones. We show that all Seifert fibered integral homology spheres (but S3 and Poincar &#769;e homology sphere) admit a taut foliation. Nevertheless, among Seifert fibered rational (and non-integral) homology spheres, there exist infinitely many which admit a taut foliation and infinitely many which do not admit one.

Atualmente, problemas de interação fluido-estrutura representam um grande desafio em diferentes áreas de engenharia e ciências aplicadas. Dentro das aplicações de engenharia civil, a ação do vento sobre estruturas tem grande relevância principalmente na avaliação de instabilidades elásticas de estruturas muito flexíveis, como pontes e estruturas de membrana. Este trabalho introduz os conceitos principais das estruturas de membrana e da ação do vento em estruturas. A ação do vento em estruturas de membrana será apresentada em capítulo à parte, através de aplicações computacionais para problemas de fluidodinâmica. A ação do vento em estruturas é tratada de forma consistente com as prescrições da norma técnica da Associação Brasileira de Normas Técnicas (ABNT) NBR 6123 Forças devidas ao Vento em Edificações, a qual está vigente desde Junho de 1988. Ainda, foi apresentado breve resumo sobre análise dinâmica do vento através de modelos reduzidos em túneis de vento. Devido às estruturas de membrana possuírem formas incomuns e comportamento estrutural diferenciado com relação às estruturas convencionais, as forças devido à ação do vento nestas estruturas não fazem parte do escopo da NBR 6123. Utilizando-se dos conceitos básicos e benchmarks da norma supracitada, a análise fluido-dinâmica das aplicações será tratada computacionalmente. As leis físicas e equações gerais para solução deste tipo de problema são apresentadas em concordância com o software utilizado. Neste trabalho a ação do vento em estruturas de membrana foi solucionada com acoplamento parcial em algumas aplicações tridimensionais, fazendo-se uso do software Ansys versão 11. Aqui entende-se por acoplamento parcial a tratativa do vento e da estrutura em domínios separados. Em primeira análise, foram obtidas as pressões de vento sobre uma malha de elementos infinitamente rígidos e indeslocáveis com a forma geométrica da membrana. As pressões foram então aplicadas sobre a estrutura, obtendo-se deslocamentos e tensões estáticas. Atualizando-se o domínio do vento para a nova geometria, novos processamentos foram realizados sucessivamente até que a variação de tensões ou das pressões na estrutura fosse desprezível. / Currently, problems of fluid-structure interaction represent a major challenge in different areas of engineering and applied sciences. Within the civil engineering applications, the action of wind on structures has great importance particularly in the evaluation of elastic instabilities of very flexible structures such as bridges and tension membrane structures. This work introduces the main concepts of tension membrane structures and wind acting on structures. The fluid-dynamic analysis are presented in a separate chapter, focused on computational applications. The wind acting on structures is treated consistently with the prescriptions of the national code ABNT (Associação Brasileira de Normas Técnics Brazilian Technical Standards Association) NBR 6123 - Wind Forces on Buildings, issued on June 1988. Still, a brief summary was presented on the dynamic analysis of wind using wind tunnels. As tension membrane structures having unusual shapes and different structural behavior compared to conventional structures, the forces due to wind action on membranes are not part of the scope of NBR 6123. Using the basic concepts and benchmarks available, the fluid-dynamics for the applications are treated computationally. The general physical laws and equations for solving this problem are presented in accordance with the software. The wind acting on membrane structures was solved with partial coupling in some three-dimensional applications, using Ansys v.11 software. Here, partial coupling means solving wind problem and structure problem separately. In the first analysis, the wind problem is solved obtaining pressures over a rigid mesh with the geometric shape of the membrane structure. These pressures are then applied on the membrane, resulting on static displacements and stresses. Updating the domains to the new geometry, other analysis are run until the change over the structural tensions is negligible.

This thesis deals with the development of novel haptic array system that can render distributed pressure pattern. The haptic devices are force feedback interfaces, which are widely seen from consumer products to tele-surgical systems, such as vibration feedback in game console, mobile phones, virtual reality applications, and daVinci robots in minimally invasive surgery. Telemedicine and computer-enabled medical training system are modern medical infrastructures where the former provides health care services to people especially in rural and remote places while the latter is meant for training the next generation of doctors and medical students. In telemedicine, a patient at a remote location consults the physician at a distant place through the telecommunication media whereas in computer enabled medical training system, physician and medical students interact with the virtual patient. The experience of physical presence of the remote patient in telemedicine and immersive interaction with virtual patient on the computer-enabled training system can be attained through haptic devices. In this work we focus on palpation simulation in telemedicine and medical training systems. Palpation is a primary diagnostic method which involves multi-finger, multi-contact interaction between the patient and physician. During palpation, a distributed pressure pattern rather than point load is perceived by the physician. The commercially available haptic devices are single and five point devices, which lack the face validity in rendering distributed pressure pattern; there are only a few works reported in literatures that deal with palpation simulation. There is a strong need of a haptic device which provide distributed force pattern with multipoint feedback which can be applied for palpation simulation in telemedicine and medical training purposes. The haptic device should be a multipoint device to simulate palpation process, an array device to render distributed force pattern, light weight to move from one place to another and finally it has to cover hand portion of physician. We are proposing a novel under-actuated haptic array device, called taut cable haptic array system (TCHAS), which in general is a m x n system, consist of m+n actuators to obtain m.nhaptels, that are multiple end effectors. A prototype of 3 x 3 TCHAS is developed during this work and detailed study on its characterisation is explored. The performance of device is validated with elaborate user study and it establishes that the device has promising capability in rendering distributed spatio-temporal pressure pattern.