Knowledges in Architecture
Choose your interests from a vast range of topics
IMN-05-lowcost WWTP
IMN-05-lowcost WWTP
Raparthy Rahul
TUTORIAL FOR RISA EDUCATIONAL
TUTORIAL FOR RISA EDUCATIONAL
IMN-06-Advanced Wastwewater Treatment Technologies
IMN-06-Advanced Wastwewater Treatment Technologies
BIological WWT part 2
BIological WWT part 2
Force Response
Force Response
The Subtle internal meanings
In terms of my interests that was an important piece for me to write, because it was really trying to engage with those questions of loss and also drawing on psychoanalytic tools of enquiry. I suppose now my own method or way of thinking doesn't abandon those types of questions, but I'm more interested in how the artwork itself does that. That the artwork itself is a kind of theoretical proposition, and you can think those sorts of questions without necessarily drawing on that kind of apparatus any more than in a socio-historical or formalist way. In this show what's been important for me is that I've been working on Hesse for a long time, and these objects have always been there, have always been incredibly intriguing, but you don't actually know what they are. In most art history you think you know what the object of your enquiry is, but what are these things? A lot of them are between preparatory stuff, and finished work - very much in limbo. Some of it might be debris of the studio or spare parts. To me they throw down the gauntlet, and say, 'let's get back to first principles', how do you even describe these things? So in a way the impulse behind the exhibition is to lay out these works to say - these are precarious works. This is because of the materials that they use and that's very important - part of their visceral effect - that-s why they-re bodily, why they-re precarious. But their conceptual status is as precarious. What we make of them and how small things like this can have a big visceral effect, to me, says a lot about what art is and what art does to us. Why is it that these small things have that kind of effect? That's why I wanted to do this exhibition, and it's my way of writing a book about Hesse - through these really raw experimental works, not simply to fetishise them or say 'here are a whole lot of new Hesses', but on the contrary, to think about what the object of art is. Here we have an artist taking real risks with the object of art. They've always been called 'Test Pieces' and I find that problematic. This is much more the language of industry. It's much more minimalist - test pieces, prototypes, all that kind of language - when they are so organic and textural and so on. But in the end maybe if they test anything out, they test our capacity to see them as art objects. That is a big shift in my own way of thinking, not just about Hesse's work but a range of contemporary artist's work. I've written a lot recently about Gabriel Orozco's working tables, for example. I see this work through the lens of contemporary artists, and the reason that I really wanted this show at the Fruitmarket, is that it is a public space that shows contemporary art. Rather than have it in a big museum, where it is going to look like we are adding to oeuvre of the canonical artist - we wanted that confrontation with the contemporary.
VIVEK PANT
Buildings in Landscape and planning
CoEP SY Btech Planning
Pratiksha Gavit
Great Pyramid
It is one of the seven wonders of the world, but the precious objects the was built of to shelter for all eternity - the mummified remains of King Cheops or Khufu - have never been found, and are presumed to have been stolen by tomb robbers. Now, 4,500 years after it was completed, this semi-mythical structure may be about to reveal its greatest secret: the true resting place of the pharaoh. Using architectural analysis and ground-penetrating radar, two amateur French Egyptologists claim to have discovered a previously unknown corridor inside the pyramid. They believe it leads directly to Khufu's burial chamber, a room which - if it exists - is unlikely ever to have been violated, and probably still contains the king's remains. But Gilles Dormion, an architect, and Jean-Yves Verd,hurt, a retired property agent, have so far been refused permission by the Egyptian Supreme Council of Antiquities to follow up their findings and, they hope, prove the room's existence. "To do so, one would simply have to pass a fibre optic cable down through existing holes in the stone, to see if there are portcullis blocks in the corridor below," said Mr. Verd,hurt. "Then it will be necessary to enter the front part of the corridor and penetrate the room, taking all precautions to ensure that it is not contaminated." The portcullis blocks were large granite slabs that the ancient Egyptians lowered into the corridor leading to the king's funeral chamber, via a system of cords descending from above, to seal it after his burial. Until these procedures have been carried out, the two are at pains to stress that the room has not been discovered. However, they have been working in the pyramids for 20 years, and their radar analyses in another pyramid, at Meidum, led in 2000 to the discovery of two previously undetected rooms. One respected Egyptologist, Jean-Pierre Corteggiani, of the French Institute of Oriental Archaeology in Cairo, was impressed by their work from the start. What first struck him, he said, was that the georadar images were collected and interpreted by a non-Egyptologist, Jean-Pierre Baron, of Safege, a French company that specialises in georadar. "This specialist works for a company, one of whose main projects is to lay out the future TGV [express train] route from Paris to Strasbourg," said Mr. Corteggiani. "If he says it is safe to lay the rails here, because there is no cavity under the ground here, he'd better be right. If not, the death toll will be very high."
Suporno chau
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Sahil Yadav
Structural engineering
CA- GOURAV PATEL SVITS
Jyoti Solanki
Political Economy Theory
CoEP SY Btech Planning
Compass surveying
In the previous pdf we talked about chain surveying here we will go through compass surveying. It is similar to the chain surveying but is less tedious and can be proved greater useful then the previous one. It is an easy method and can be learnt from this pdf
MANTHAN PARMAR