The application of Han Dynasty cultural elements to modern product design

Chinese Han Culture, as Chinese nation's "core culture", is the cultural symbol of Chinese nation, and played an important role in the history of Chinese cultural development, even in the history of world cultural development. Designing in the Han Dynasty, while inheriting Chinese traditional culture, but also having its unique style, are appreciated and respected by the people nowadays. In a modern society where the design is becoming more diversified, the innovative design based on traditional culture and art has its unique charm and vitality. This paper presented our recent research on the application of Han Dynasty cultural elements to modern product design, reflected the local design connotation of Han Dynasty cultural elements

Residential photovoltaic module and array requirements study

Design requirements for photovoltaic modules and arrays used in residential applications were identified. Building codes and referenced standards were reviewed for their applicability to residential photovoltaic array installations. Four installation types were identified - integral (replaces roofing), direct (mounted on top of roofing), stand-off (mounted away from roofing), and rack (for flat or low slope roofs, or ground mounted). Installation costs were developed for these mounting types as a function of panel/module size. Studies were performed to identify optimum module shapes and sizes and operating voltage cost drivers. It is concluded that there are no perceived major obstacles to the use of photovoltaic modules in residential arrays. However, there is no applicable building code category for residential photovoltaic modules and arrays and additional work with standards writing organizations is needed to develop residential module and array requirements

Propuesta de la estética en la preservación histórica: defensa, significado e interpretación de la estética

[EN] Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.Highlights:Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.[ES] La estética es una consideración fundamental en la preservación histórica. Sin embargo, el propósito de la estética para fines de preservación histórica parece estar a la zaga de las oportunidades. Totalmente subjetiva, la estética plantea desafíos en la comunidad de la preservación mundial para moderar, acomodar, y usar la estética en los programas patrimoniales. Los desafíos giran en torno a la evaluación del propósito estético en tres dominios. Estos dominios incluyen la disposición de la comunidad hacia una estética acomodaticia (defensa), los criterios y estrategias para evaluar el valor estético de los recursos históricos (significación) y los estándares para tratar los recursos históricos en los proyectos de preservación (interpretación). Por lo tanto, este estudio evalúa las tendencias de la estética en el pensamiento y la práctica de la preservación histórica a través de tres plataformas: la defensa de la estética, la estética del significado y la estética de la interpretación. El estudio completó el análisis del contenido de la literatura sobre la estética en general y la estética en la preservación histórica en particular. Además, debido a la perspectiva del estudio, los trabajos de los programas de preservación internacionales y nacionales proporcionaron información relevante para la defensa, la significación y la interpretación de la estética que se ha perfeccionado mediante métodos de clasificación, comparación y ejemplificación. Entre otros, estos trabajos incluyen los del Consejo Internacional de Monumentos y Sitios (ICOMOS) y el Programa de Preservación Histórica Nacional de los Estados Unidos del Servicio de Parques Nacionales. El estudio culminó con conclusiones generales y específicas de cada plataforma. En primer lugar, cómo las tres plataformas propuestas (defensa, significación e interpretación) mantienen relaciones estructurales y en serie, constituyen un marco relevante y factible para evaluar el propósito estético. En segundo lugar, cómo la evaluación de la finalidad estética sigue una perspectiva internacional amplia, de modo que las conclusiones del estudio son acordes al alcance selectivo de la información utilizada en los programas de preservación internacionales y de cada país. En tercer lugar, cómo la contribución a la finalidad estética en cada una de los tres dominios puede medirse solo en términos generales y, en ocasiones, subjetivos.Elwazani, S. (2021). Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics. Virtual Archaeology Review. 12(24):66-76. https://doi.org/10.4995/var.2021.13812OJS66761224Australia ICOMOS. (2013). The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance. Retrieved May 30, 2020, from https://australia.icomos.org/publications/burra-charter-practice-notes/#bcBarenboim, D. (2017). Reclaiming Tangible Heritage: Cultural Aesthetics, Materiality, and Ethnic Belonging in the Maya Diaspora. The Journal of Latin American and Caribbean 23(1): 113-130. https://doi.org/10.1111/jlca.12284Brady, E. (2006). Aesthetics in Practice: Valuing the Natural World." Environmental Values 15(3), 277-291. https://doi.org/10.3197/096327106778226202Crippen, M. (2019). Aesthetics and action: situations, emotional perception and the Kuleshov effect. Synthese. https://doi.org/10.1007/s11229-019-02110-2Ebdrup, T. R. (2017). The aesthetics steps: differentiated approaches to spatial aesthetics. Artifact: Journal of Design Practice, 3(3), 6.1-6.12(1). https://doi.org/10.14434/artifact.v3i3.3119Falasca-Zamponi, S. (1997). Fascist Spectacle: The Aesthetics of Power in Mussolini's Italy. University of California Press. https://doi.org/10.1525/9780520926158Halperin, C. T., & Garrido, J. L. (2019). Architectural Aesthetics, Orientations, and Reuse at the Terminal Classic Maya Site of Ucanal, Petén, Guatemala. Journal of Field Archaeology 45(1), 46-66. https://doi.org/10.1080/00934690.2019.1676033ICOMOS New Zealand. (2010). Charter for the Conservation of Places of Cultural Heritage Value. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/ICOMOS_NZ_Charter_2010_FINAL_11_Oct_2010.pdfICOMOS. (1931). The Athens Charter for the Restoration of Historic Monuments. Retrieved May 30, 2020, from https://www.icomos.org/en/resources/charters-and-texts/179-articles-en-francais/ressources/charters-and-standards/167-the-athens-charter-for-the-restoration-of-historic-monumentsICOMOS. (1964). International Charter for the Conservation and Restoration of Monuments and Sites, the Venice Charter. Retrieved May 30, 2020, from http://www.icomos.org/charters/venice_e.pdfICOMOS. (1987). Charter for the Conservation of Historic Towns and Urban Areas: The Washington Charter. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/towns_e.pdfICOMOS. (1993). Appleton Charter for the Protection and Enhancement of the Built Environment. Retrieved May 29, 2020, from https://www.icomos.org/en/resources/charters-and-textsICOMOS. (1996). The Declaration of San Antonio. Retrieved May 30, 2020, from https://www.icomos.org/en/resources/charters-and-texts/179-articles-en-francais/ressources/charters-and-standards/188-the-declaration-of-san-antonioICOMOS. (1999). Charter on the Built Vernacular Heritage. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/vernacular_e.pdfICOMOS. (1999). International Cultural Tourism Charter. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/INTERNATIONAL_CULTURAL_TOURISM_CHARTER.pdfICOMOS. (1999). Principles for the Preservation of Historic Timber Structures. Retrieved May 31, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/wood_e.pdfICOMOS. (2003). Principles for the Preservation and Conservation-Restoration of Wall Paintings. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/wallpaintings_e.pdfICOMOS. (2005). Xi'an Declaration on the Conservation of the Setting of Heritage Structures, Sites and Areas. Retrieved May 31, 2020, from 2005. https://www.icomos.org/images/DOCUMENTS/Charters/xian-declaration.pdfICOMOS. (2008). Charter on the Interpretation and Presentation of Cultural Heritage Sites. Retrieved May 30, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/interpretation_e.pdfICOMOS. (2008). Québec Declaration on the Preservation of the Spirit of Place. Retrieved May 31, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/GA16_Quebec_Declaration_Final_EN.pdfICOMOS. (2011). The Paris Declaration on Heritage as a Driver of Development. Retrieved May 31, 2020, from https://www.icomos.org/images/DOCUMENTS/Charters/GA2011_Declaration_de_Paris_EN_20120109.pdfICOMOS. (2011). The Valletta Principles for the Safeguarding and Management of Historic Cities, Towns and Urban Areas. Retrieved May 31, 2020, from https://www.icomos.org/Paris2011/GA2011_CIVVIH_text_EN_FR_final_20120110.pdfLamarque, P. (2016). Reflections on the Ethics and Aesthetics of Restoration and Conservation, the British Journal of Aesthetics, 56(3), 281-299. https://doi.org/10.1093/aesthj/ayw041Munro, T., & Scruton R. (n.d.). Aesthetics. In Encyclopedia Britannica. Retrieved May 31, 2020, from https://www.britannica.com/topic/aestheticsNPS TPS (n.d.). Preservation as a Treatment. Retrieved May 31, 2020, from https://www.nps.gov/tps/standards/four-treatments/treatment-preservation.htmNPS TPS (n.d.). Rehabilitation as a Treatment. Retrieved May 31, 2020, from https://www.nps.gov/tps/standards/four-treatments/treatment-rehabilitation.htmNPS TPS (n.d.). Walkthrough Historic Buildings: Identifying the Visual Character of Historic Buildings. Retrieved May 31, 2020, from https://www.nps.gov/tps/education/walkthrough/index.htmNPS NRHP (1980). Akron Rural Cemetery Buildings. Retrieved September 28, 2020, from https://catalog.archives.gov/id/71991545NPS NRHP (1995) Bulletin 15, How to Apply the National Register Criteria for Evaluation. Retrieved May 31, 2020, from https://www.nps.gov/subjects/nationalregister/publications.htmNPS NRHP (2005). New York MPS Elmwood Park. Retrieved September 28, 2020, from https://catalog.archives.gov/id/75314079NPS TPS (2017). Guidelines for the Treatment of Historic Properties. Retrieved May 31, 2020, from https://www.nps.gov/tps/standards/four-treatments.htmPage, M. (2017). Beyond Pretty Buildings. Chronicle of Higher Education. 63(19).Plato, L., & Meskin, A. (2014). Aesthetic Value. In AC Michalos. (ed.), Encyclopedia of Quality of Life and Well-Being Research. 76-78. Springer. https://aaron-meskin.org/publications/ https://doi.org/10.1007/978-94-007-0753-5_3349Saito, Y. (2019). 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The Third Teacher: An analysis of aesthetic and intentionality of space in the classroom

The Third Teacher—a concept central to the Reggio Emilia approach to education, states the physical environment plays a vital role in learning. Early education theorists, such as Loris Malaguzzi and Maria Montessori, emphasize the idea of a prepared classroom environment; however, modern day classrooms are seemingly arranged without much intention. Because of this, current classroom spaces are not in alignment with research from past theorists, resulting in compromised student achievement. This thesis answers the question, “How can educators purposefully and practically utilize the classroom space to maximize student learning?” on the basis of lighting, seating, organization of materials, color scheme, and decor in order for educators to align the details of their classroom with past and present research

THE NEW CARISSA SHIPWRECK: AESTHETIC IMPACT ON COASTAL RECREATION

This paper uses a combination of techniques, including a stated-preference survey, random utility model, visitor count study, and benefits transfer, to estimate the aesthetic impact of the New Carissa shipwreck on coastal recreation. To our knowledge, this is the first study ever conducted on the recreation impacts of a shipwreck.Resource /Energy Economics and Policy,

Are Our Racial Concepts Necessarily Essentialist Due to Our Cognitive Nature?

Mallon and Kelly claim that hybrid constructionism predicts, at least, that (1) racial representations are stable over time and (2) that racial representations should vary more in mixed-race cultures than in cultures where there is less racial mixing. I argue that hybrid constructionism’s predictions do not obtain and thus hybrid constructionism requires further evidence. I argue that the historical record is inconsistent with hybrid constructionism, and I suggest that humans may not be innately disposed to categorize people by race even though we are likely disposed to categorize people into in and out groups. So, in this paper, I show that there is an evidence set that is inconsistent with hybrid constructionism

Contemplative reflections

The collection of artworks encapsulated in the series of paintings, Contemplative Reflections, was completed for the M.F.A. thesis in the Fine Arts Studio program at the Rochester Institute of Technology. The artworks were influenced by similar concerns voiced by many of the romantic thinkers. Two essential components of this document are an investigation of theoretical consciousness, and the application of contemporary visual expression. Derived from romantic ideologies, the Hudson River school and the tonalist movement are often referred to in this document. Artists like Asher B. Durand, Thomas Cole and Ralph Albert Blakelock are acknowledged for their representation and admiration of nature. Impasto and applied variations of depth and texture enhance the romanticism and tonalist warmth of each image. Contemporary artists Hamilton Aguiar and Luisa Mesa are also referenced for their techniques, specifically layering and resin application. Each painting from the thesis collection was glazed with a variant layer of two-part epoxy resin, which heightened each painting\u27s complexity. The resin\u27s sheen magnified the visual reference to streambeds and water. The vague transition between abstract areas and representational imagery invites the viewer to consider the texture and multiple layers. It is my hope that when combined they would reveal a unified image. On the Thomas Merton Institute website, a Franciscan wrote, Contemplative living: living in relationship with oneself, God, others and nature free of the illusion of separateness

Identification of Aesthetic Values for Visualization Media of Flood Disaster Modeling

Many flood modelings use geovisualization techniques but are very complicated and can only be understood by researchers or practitioners. There is a need for modelings that are informative and can be understood by ordinary people for the purpose of disaster mitigation. This research analyzed a flood modeling geovisualization sample to find out the extent to which aesthetic values are used in that modeling. For breaking down the modeling, an analytical approach was used as well as physioplastic, ideoplastic, and judgment analyses. Then, the modeling was evaluated through a questionnaire that was distributed using Google Forms to 40 respondents with a background as visual communication design students. The questionnaire was presented using closed questions and a visual analogue scale. The aesthetic parameters used for measuring were: lighting, color, two-dimensional field, three-dimensional field, time/motion, and sound. The evaluation results showed that the flood modeling geovisualization sample did not use aesthetics effectively. Modeling representations need to be simplified into visualizations using a well-planned aesthetic concept to make them more informative. Hopefully, the result of this research will make flood modeling more impactful and easier to understand by ordinary people through the application of aesthetic values such as those addressed in the questionnaire