Arhitektuur ja meditsiin

Eesti Arst 2013; 92(2):111–11

AHHAA Teaduskeskuse poolhumanoidroboti Oskar kaasajastamine ja ühildamine ROS tarkvararaamistikuga

AHHAA Teaduskeskusel on kaks kaugjuhitavat robotit Oskar, mis on mõlemad amortiseerunud. Töö eesmärgiks on Oskari arhitektuuri kaasajastamine uue versiooni loomiseks ja robotile ROS-i toe tagamine. Töö tulemuste saavutamiseks kavandati uus arhitektuur ja arendati sellele ROS-i draiver. Töö tulemusena loodi Oskar 3 arhitektuur ja implementeeriti ROS-i draiver koos MoveIt toega. Töö täitis oma eesmärgid ja selle baasilt on võimalik luua nõuetele vastav robot

Ülevaade Soome palkehituse ajaloost

This article takes a look at the history of Finnish log construction and log architecture. Logs have been used as a building material in Finland for as long as the country has been inhabited. The modern corner-notching technique arrived in Finland in the late Iron Age (600−800 AD) from the east, leading to a building type that survived until the 20th century.During the era of church builders (1620−1810), log construction achieved its highest form: the churches built during this period represent Finnish log architecture of the highest quality. Church builders had an excellent command of log construction techniques and knew logs as a building material extremely well, which allowed them to use the forms of the buildings and the decorative elements for the architectonic expression characteristic of logs.Church architecture adapted to other Western style trends in the 19th century. Although outstanding churches were still being built at the time, their technical developments did not lead to further developments in log construction techniques.The architecture of the Finnish artists’ (Akseli Gallen-Kallela et al) villas built in the late 19th century relied on the expressive power of logs, corner joints and handicraft. The walls were stylistically rough-hewn and there was no weatherboarding. The corner notches played a central architectural role and decorative elements were borrowed from Finnish log construction heritage. Artists’ villas have a unique position in Finnish architecture: for the first time, logs consciously emerged as a main architectural element. Contemporary industrial log construction began to develop in the 1950s. Product quality has improved considerably since then as a result of development work, and the prefabricated log has become a generally accepted building material. However, these logs no longer have the essence of a natural material and they have therefore lost their power of expression. The emphasis of industrial log construction and architecture is predominantly on manufacturing as economically as possible using existing production technology. In the 2000s industrial log construction finally started losing its romantic and historical burden and finding its own architectural expression.Contemporary hand-crafted log construction can be regarded as a continuation of the vernacular log construction tradition. Training in hand-crafted log construction has been organised since the late 1970s. The level of training has been highly uneven and the lack of a connection between such training and construction education has been one of its problems. The future of log construction is associated with product quality and energy efficiency. Development work and opening up new cooperation channels is important for the future of log construction as a craft

Die St. Michaeliskirche in Wiek – eine Wehrkirche?

Kaur Alttoa: St. Michael’s Church in Läänemaa – A Fortified Church?Keywords: St. Michael’s Church, Läänemaa, sacral architecture inEstonia, fortified church, 13. century, middle agesSummary:It has been traditionally claimed that St. Michael’s Church in Läänemaa was built, along with its vaults, in the late 13th century, and that it was a fortified church – the attic above the vaults could be used as a hiding place in case of emergency. Research during the last few years has revealed that the story of the church’s construction includes two longer periods. The original church had a wooden ceiling. The vaults were not added until the Late Middle Ages. A similar support system was also used in the Keila and Jõhvi churches in Northern Estonia. Based thereon, it can be assumed that the reconstruction of St. Michael’s Church occurred around 1500. It has also become clear that it was not a fortified church.CV:Kaur Alttoa is a long-time scholar and teacher of art history at the University of Tartu as well as one of the foremost specialists of the history of medieval architecture in the Baltic region. His objects of interest have included both medieval fortresses and sacral buildings. Among his major contributions stands out the restoration and study of the St. John’s Church in Tartu, which was also published as a monograph in 2011

Die Kapitelle der Ordensburg Fellin (Viljandi) – Dinge aus zweiter Hand aus Alt-Pernau (Vana-Pärnu)?

The rediscovery of the Viljandi Castle, which was totally destroyed during the Great Northern War, occurred between 1878 and 1879, when extensive excavations were conducted under the direction and guidance of Theodor Schiemann (1847–1921). The real sensation revealed by the excavations at the time was the discovery of numerous carved construction details. Most of them were column capitals or bases. These have been attributed to the main castle, which was a convent building typical of the Teutonic Order. This type of castle was developed in Prussia between ca 1280 and 1300, and its “classic” form spread between 1300 and 1330, during approximately the same half century as the Viljandi convent building was built.Some of the Viljandi column capitals have figural decorations and oak leaves are most common. There is also a large capital with naturalistic grape leaves, which comes from a cloister and was completed in the late 13th century. Apparently, the convent building was being constructed at that time.However, most of the capitals are much more archaic. Some of the motifs are typical of the Romanesque style. But the most common are the so-called “bud capitals” typical of the Early Gothic style. Basically such decorations became popular in Old Livonia in the 1250s and 1260s. In any case, it is clear that a large number of the capitals were carved when the convent-type castles had yet to develop.In the past, I have alluded to the possibility that there was a large richly decorated structure in Viljandi which was demolished to build the convent building. However, this is extremely unlikely. Although an archaeological study has not been made of the entire area of Viljandi’s main castle, it is hard to identify a place where such a large-scale building could have existed.Therefore, the possibility should be considered that some of the caitals were brought from elsewhere. We should also turn our attention to the fact that there are numerous capitals and bases for paired columns. Heretofore, it has been assumed that they had been used to decorate the windows of the chapel and capital hall in the northern wing of the main castle. Actually they originate from a structure which had an open gallery or cloister. However, this would mean that there was a very richly decorated structure in 13th century Old Livonia that was demolished less than 50 years after it was built, and the ruins were dispersed. There were very few such structures in Old Livonia at the time. However, one such case does exist, and it is not far from Viljandi – namely the Old Pärnu Cathedral.The main church of the Oesel–Wiek bishopric in Old Pärnu was completed in the early 1250s. Based on written records, we know that there was a capital hall, refectory and dormitory for the cathedral chapter house. This spatial plan also alludes to the existence of a cloister. The Old Pärnu Cathedral was destroyed by the Lithuanians in 1263. Later, the ruins of the cathedral were reconstructed into a parish church. However, this means that the cloister was no longer need. And it is possible that some of the carved decorations were transported to Viljandi, where the construction of a large-scale castle was under way during the last decades of the 13th century

On the Origins of Churches and Churchyards of Southern Estonia: The Evidence of Early Grave Finds

Data about the earliest history of medieval churches of southernEstonia are fragmentary, being limited to the first mentions ofthe parish, priest or congregation, or to mostly scanty historicalinformation about the architecture. Some information can also beprovided by archaeological grave finds, which often date back furtherthan the first data about the churches.The article presents a brief survey of the finds from the churchyardsof southern Estonia, the area of medieval diocese of Tartu, frombefore ca. 1450 AD. The finds, mostly jewellery and fragments ofcremated bones, show that churches were often built on top of oldcemeteries from the Final Iron Age, whereby the pre-Christianjewellery items, mostly brooches, rings and bracelets, date mainlyfrom the 11th to the early 13th centuries. If the cases in which thearchaeological information is limited or non-existent are excluded,60% of the rural churches of southern Estonia (9 out of 15) were builton pre-Christian cemeteries. The percentage may even be higher,since archaeological data for more than half of the churchyards iseither missing or insufficient for drawing any conclusions. In thecases where major temporal gaps exist between the Final Iron Agefinds and the first written or architectural data about the church,the cemetery probably functioned continuously as a village cemeteryin the Christian period.The pre-Christian origins of the cemeteries in the churchyards indicatethat the local communities were actively involved in choosing thelocations for the churches at the time of Christianization. Place continuityalso shows that, despite the violent nature of Christianization,the natives of southern Estonia did not oppose having Christiansanctuaries built on pre-Christian cemeteries, and evidently, thecontinuous use of the former burial site was considered important

Urban Design for Mussolini, Stalin, Salazar, Hitler and Franco During the Interwar Period

Urban design played a central role for the European dictatorships during the 20th century, it served to legitimate the regime, to produce agreement, to demonstrate power, efficiency and speed, it communicated the social, as well as design projects, of the dictatorial regimes domestically and internationally, it tied old experts, as well as new, to the regime. Dictatorial urban design also played an important role after the fall of the dictatorships: It became the object of structural and verbal handling strategies: of demolition, of transformation, of reconstruction, of forgetting, of suppressing, of re-interpretation and of glorification. The topic area is, therefore, both historical and relevant to the present day. The discussion of the topic area is, like it or not, always embedded in the present state of societal engagement with dictatorships. In order to even be able to discuss all of these aspects, different conceptual decisions are necessary. In retrospect, these may seem to many as self-evident, although they are anything but. Our thesis is that there are three methodological imperatives, especially, which allow an expanded approach to the topic area “urban design and dictatorship”. First and above all, the tunnel view, focused on individual dictatorships and neglecting the international dimension, must be overcome. Second, the differences in urban design over the course of a dictatorship, through an appropriate periodisation, should be emphasised. Third, we must strive for an open, flexible, but complex concept of urban design. The main focus lies on the urban design of the most influential dictatorships of the first half of the 20th century: Soviet Union, Fascist Italy and Nazi Germany, including the urban design of the autarky periods in Portugal and Spain. After all, urban design is not just a product of specific historic circumstances. It is a form that continues to have long-term effects, which demonstrates its usefulness and adaptability throughout this process. The urban design products undoubtedly still recall the dictatorial rule under which they were created. However, they are more than a memory space. They are also a living space of the present. They can and should be discussed with respect to their spatial and functional utility for today and tomorrow. Such a perspective is a given for the citizens of a city, but also for city marketing, having marvellous consequences. Only when we do not exclude this dimension a priori, even in academic discussions, can we do justice to the products of dictatorships. And finally, the view of the urban design of dictatorships can and must contribute to the questioning of simplified and naive conceptions of dictatorships. With urban design in mind, we can observe how dictatorships work and how they were able to prevail. In Europe, these questions are of the highest actuality

Scaling Up a Software Product: The Journey of Pipedrive

Tüüpilistel alustavatel tarkvaratoodet arendavatel iduettevõtetel on lapik võimustruktuur ja väike hulk meeskondi või ainult üks meeskond. Sellistes ettevõtetes tehakse tööd tihedalt koos ja arendatakse monoliitset tarkvarasüsteemi kasutades agiilseid meetodeid. Iduettevõtte kasvades kasvab keerukus ka ettevõtte tarkvarasüsteemis ja ettevõtte korralduses tasemeni, kus lapik võimustruktuur ja monoliitne tarkvara arhitektuur saavad tarkvara tootearenduse pudelikaeladeks. Sellesse etappi jõudnud ettevõtted seisavad silmitsi väljakutsetega kuidas restruktureerida ettevõtte korraldus ja tarkvara arhitektuur selliselt, et lihtsustuks tarkvara arendus, hooldus ja kasutamine ning kuidas jagada ettevõte alamüksusteks, kus suhtluses esinevad kaod oleks aktsepteeritavad. Käesolev töö analüüsib iduettevõttena alustanud ettevõtte väljakutseid eespool kirjeldatud arenguetapis ettevõtte Pipedrive näitel.Käesolev töö kirjeldab ettevõtte Pipedrive üleminekut monoliitselt tarkvara arhitektuurilt mikroteenustel põhinevale arhitektuurile ja kindlate vastutusvaldkondadega meeskondadelt üleminekut meeskondadele, mis luuakse dünaamiliselt tegelemaks ajaliselt piiratud ja eesmärgipäraste ülesannetega.Typical early-stage software product startups have a flat structure, consisting of one or a handful of teams, working closely together to develop a monolithic software system using agile methods. As the startup grows, the complexity of the software system and of the organization eventually reaches a point where a flat organizational structure and a monolithic software architecture become a bottleneck in the development of the product. Post-startup companies that reach this point face the challenge of re-structuring the organization and their software architecture in order to simplify the development, maintenance, and operation of the software system, while breaking down the organization into sub-structures with manageable communication overhead. This thesis analyzes the challenges faced by post-startup companies during this phase via a case study at Pipedrive.The thesis reflects on the Pipedrive's journey from a monolithic architecture to a microservices architecture, and from a static structure consisting of teams with fixed areas of responsibility to a dynamic structure consisting of dynamic teams with time-bounded missions