Research Methods for Visual Comfort Study

Research method in visual comfort area developed from a general to a more specific framework: from a consideration of window and lighting of office buildings in general to the specific daylight assessment of an experimental office. The investigation is divided into 4 parts: the survey-questionnaire, the field measurement, the subjective assessment under controlled daylight experiment and the advanced lighting calculation (computer simulation). This paper describes each method of data collection, the equipment used, and limitations

Representing Korean Buddhist art and architecture - a 3D animated documentary installation

This practice-led research 'One Mind' - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes

The Future of the Bamiyan Buddha Statues

This Open Access book explores heritage conservation ethics of post conflict and provides an important historical record of the possible reconstruction of the Bamiyan Buddha statues, which was inscribed in the UNESCO World Heritage List in Danger in 2003 as “Cultural Landscape and Archaeological Remains of the Bamiyan Valley”. With the condition that most surface of the original fragments of the Buddha statues were lost due to acts of deliberate destruction, this publication explores a reference point for conservation practitioners and policy makers around the world as they consider how to respond to on-going acts of destruction of cultural heritage. Whilst there has been an emerging debate to the ethics and nature of heritage reconstruction, this volume provides a plethora of ideas and approaches concerning the future treatment of the Bamiyan Buddha statues. It also addresses a number of fundamental questions on potential heritage reconstruction: how it will be done; who will decide; and what it should be done for. Moreover when it comes to the inscribed World Heritage properties, how can reconstructed heritage using non-original materials be considered to retain authenticity? With a view to serving as a precedent for potential decisions taken elsewhere in the world for cultural properties impacted by acts of violence and destruction, this volume introduces academic researches, experiences and observations of heritage conservation theory and practice of heritage reconstruction. It also addresses the issue not merely from the point of a material conservation philosophy but within the context of holistic strategies for the protection of human rights and promotion of peace building

Rohingya Women in Bangladesh: Health Challenges among Marginalizing Refugees

My research interest intends to distinguish, portray, and investigate minority Rohingya women's health situation and Bangladesh's health policy towards them after their huge departure from Myanmar to Bangladesh on 25 August 2017, from an indigenous perspective. The neighborhood reconciliation of Rohingyas in Bangladesh is certainly not a feasible choice, considering the difficulties and the frail state limit of Bangladesh. Thinking about Rohingyas' local coordination, the state and society will bomb/explode because of the tremendous Rohingya populace's additional load. Since 2012, more than 159 000 individuals, the majority of whom are Rohingya, have fled from Myanmar in ineffectively built boats for ventures enduring a little in neighboring countries, causing many deaths. As immigrants, they experience various freedom issues every day, and the degree to which human rights approaches towards general health programs isn't well recorded. I outline the historical phenomenon leading to this intricate crisis in Rohingya women's Health and human rights. The Rohingya minority people, especially the women, young girls, and infants, are suffering from various health issues such as child wellbeing, malnutrition, waterborne diseases, and the absence of medical facilities. In December 2014, a UN determined request to conclude the emergency. Observing various wellbeing hazards and expanding the infection epidemic's opportunity, all government, private sector, and worldwide community partners must work together to help the displaced people in their desperate condition improve their health status. This deliberate research aimed to achieve fundamental human rights and essential medical facilities for the indigenous people and build up an ideological common liberties system to educate current arrangement practice and programming corresponding to the necessities of the medical facility of Rohingya refugee women in Bangladesh

Doug und Mike Starn

Doug and Mike Starn: Evolution from Photography to Public Art investigates the pioneering installations and public art by Doug and Mike Starn, establishes their position within the complete oeuvre and examines the confluence of media they have worked in, while situating the artists and their work within the contemporary art historic context. Intrinsic characteristics of the Starn brothers’ work are the principles of interconnectedness, continuity, duality and change, a continuous evolution combined with a stunning ability to reinvent their work, redefining entire art genres in the process. Identical twins Doug and Mike Starn, born in 1961 and included in the 1987 Whitney Biennial at the age of 26, work collaboratively. The primary medium of photography characterizes their early work, evolving in the 1990s to include artist books, large-scale video projections, and installations. Incidentally, their first permanent public art commission is tied to the reconstruction of New York’s infrastructure following the tragedy of September 11, 2001. The goal is to delineate context, process, and significance of the artists’ foray into public art. An analysis and interpretation of artistic production, context, partnerships, process, scale and reception will reveal the transition from stellar gallery production to installation art and exceptional public art. Highlights of the pair’s stellar career include the completion of two important public art projects in New York City in 2008 and 2010, one permanent and one temporary: the permanent public art environment See it split, see it change on the concourse of South Ferry Subway Station at the tip of Manhattan and the temporary, monumental Big Bambú installation on the Metropolitan Museum’s roof garden. These outstanding works were preceded by years of artistic inquiry and development in the genre of photography, whose path the study explores.Das Œuvre von Doug und Mike Starn spannt den Bogen von der Fotografie zur Kunst am Bau und zur Kunst im öffentlichen Raum. Zwischen diesen Polen bewegt sich die Entwicklung der Künstlerzwillinge, die sich in ihrer Zusammenarbeit mit den Themen Licht, Kontinuität und Vergänglichkeit beschäftigen. Als junge Künstler entwickelten sie groß-formatige, mit Klebeband zusammengesetzte Foto-Collagen, die bereits 1987 zur Beteiligung am Whitney Biennial führten. Zu den Höhepunkten ihres künstlerischen Schaffens gehören zwei wichtige Projekte im öffentlichen Raum mit Standort New York. See it split, see it change (2008) wurde für die South Ferry Transitstation geschaffen und die monumentale, temporäre Installation Big Bambú (2010) war auf dem Dach des Metropolitan Museum of Art installiert. Ersteres Werk ist die umfangreichste Glasinstallation der New Yorker öffentlichen Verkehrsbetriebe, letzteres die größte Außenausstellung in der Geschichte des Metropolitan Museum. Den bahnbrechenden Arbeiten der Starns gingen zwei Jahrzehnte künstlerischer Entwicklung voraus, deren Zusammenhang mit dem späteren Werk in dieser Studie aufgezeigt wird. Sie steht im Brennpunkt technischer und politischer Umwälzungen, die durch fortschreitende Digitalisierung und den 11. September geprägt sind

Historians of Asia on Political Violence

In the general opinion, Asia as a whole tends to be represented (and more often than not, to represent itself) as devoid of violence: look at Indian “non-violence”, Chinese Taoist “non-action”, Confucian “harmony”, Buddhist “love for peace” or Japanese “Zen philosophy”… This may fill the shelves of “Oriental wisdom” sections in our bookshops, but most historians do not buy into this kind of “feel good” projections and are acutely aware that any society whatsoever, wherever it is located, teems with violence, and that violence is part and parcel of any kind of polity. Furthermore, the political violence which is the topic of this volume is not just about war, it can take on very diverse forms, including, as will be shown by some of the articles presented here, iconic vandalism, distorted modes of interpretation, warped forms of ideological discourse, collective amnesia and negationism. The present volume is the second of the “Myriades d’Asies” series inaugurated with India-China: Intersecting Universalities. Just as the preceding one, it is a collection of articles resulting from an international conference organised by the Chair of Chinese Intellectual History in June 2019. As a reflection of the Collège de France spirit of public service intent on making knowledge available to all for free, all the volumes of the series are published online and in open access. Our hope is that these articles, written by eminent historians of Asia and from very different viewpoints which cut across vast expanses of time and space, will lead readers and researchers alike to reflect further on the multiple faces of political violence, as well as their infinite complexities, so as to avoid giving in to ideological and judgmental binaries that are the common junk food for non-thought. This seems to be increasingly essential today since the 21st century is supposed to be the century of Asia