Sonography for hip joint effusion in adults with hip pain

OBJECTIVE: To study the prevalence of ultrasonic hip joint effusion and its relation with clinical, radiological and laboratory (ESR) findings in adults with hip pain. METHODS: Patients (n = 224) aged 50 years or older with hip pain, referred by the general practitioner for radiological investigation, underwent a standardised examination. The distance between the ventral capsule and the femoral neck, an increase in which represents joint effusion, was measured sonographically. Joint effusion was defined in three different ways: "effusion" according to Koski's definition, "major effusion", and "asymmetrical effusion" based on only individual side differences. RESULTS: "Effusion" was present in 80 (38%), "major effusion" in 20 (9%), and "asymmetrical effusion" in 47 (22%) patients. Pain in the groin or medial thigh, pain aggravated by lying on the side, decreased extension/internal rotation/abduction/flexion, painful external rotation, and pain on palpation in the groin showed a significant relation (adjusted for age and radiological osteoarthritis of the hip) with ultrasonic hip joint effusion. "Major effusion" showed a significant relation with an increased ESR. When patients with bilateral pain and increased ESR were excluded, a side difference in the range of motion of extension of the hip was shown to be a good predictor for "asymmetrical effusion" (positive predictive value: 71%, negative predictive value: 80%). CONCLUSION: This study showed a relatively high prevalence of ultrasonic joint effusion in adults with hip pain in general practice. Furthermore the results indicate a relation between joint effusion and clinical signs

Maniërisme en de verwatering van een begrip

Book review - Frans Sturkenboom, De gestiek van de architectuur. Een leerboek hedendaags manierisme, ArtEZ Press 2017, Nl, p. 240, isbn 978-94-91444-34-0.In het onlangs verschenen De gestiek van de architectuur stelt de auteur Frans Sturkenboom dat wij op dit moment een maniëristisch momentum beleven. Door de verscheidenheid aan voorbeelden dreigt maniërisme een containerbegrip te worden en dat is jammer

Thinking Perspectives: The Layered Meaning of Heinrich Tessenow’s Drawings (1901 – 1926)

An architectural perspective drawing gives a naturalistic spatial representation of an architectural project, which is usually represented in orthographic drawings, such as floorplans, sections, and elevations. However, that same perspective drawing can also express theoretical architectural concepts and ideas in a non-verbal, but highly communicative way. To investigate that particular quality, this dissertation takes a systematic look at the historical case of the perspective drawings made by the German architect Heinrich Tessenow (1876-1950), focusing on the period between 1901 and 1926. Tessenow, one of the key figures in early twentieth-century German architecture, was mostly interested in the Kleinwohnung (small workers’ and lower-middle-class house) and the Kleinstadt (small town) Initially, Tessenow’s perspectives appeared in various well-read architectural journals, such as Bautechnische Zeitschrift and Deutsche Bauhütte. These journals not only offered the drawings (and their maker) a publishing platform but also actively invited various writers to respond to them, thus contributing to a lively public discourse on architecture. As a consequence, perspective drawings played a major role in Tessenow’s first three publications, Zimmermannsarbeiten (1907), Der Wohnhausbau (1909) and Hausbau und dergleichen (1916). In all three books, perspective drawings were much more than illustrations or building visualisations to his texts: they actively contributed to Tessenow’s architectural thinking and his emerging visual theory of architecture. This dissertation wants to address some basic questions that relate to this: what is the meaning of these perspectives in Tessenow’s visual theory of architecture and what role did they play in the development of his thinking on the Kleinwohnung? To answer these questions, a great number of perspective drawings are collected from various sources. Quite deliberately, these drawings are detached from their immediate context, regarding the projects they depict, the media in which they appeared and their chronological order. This collection of detached drawings is then subdivided into three main thematic categories that summarize Tessenow’s oeuvre in these years and all relate to the Kleinwohnung: Haus (house); Raum (room or space) and Sache (thing or object). To relate Tessenow’s perspective drawings to his architectural thinking, three epistemic architectural notions are distilled from writings by both Tessenow and some of his contemporaries. These notions are Empfindung (sensibility), Abstraktion (abstraction) and Gewöhnlichkeit (ordinariness) and their epistemic character follows from the fact that they not only define Tessenow’s architectural thinking but relate to a broader German architectural culture. By intersecting these notions with the drawings arranged in the categories of Haus, Raum and Sache, it becomes possible to select more than 20 sets of related drawings that are then subjected to a comparative iconographic architectural analysis, in which the typological organization of building, space or object; and the formal composition of its appearance are linked to aspects such as its immediate setting, spatial delineations and material expression. The method of juxtaposing perspective drawings with a similar subject and subsequently comparing these drawings makes it possible to reveal general patterns and qualities related to the depicted subject beyond the individual case. Together, these analyses form the basis of a series of speculative reconstructions of Tessenow’s inquiries into several relevant topics related to the Kleinwohnung. Besides the historical significance of Tessenow’s case, the analyses presented in this dissertation also demonstrate the significance of perspective drawing. They make clear that this kind of drawing was, and is, able to bring together different scales, elements and atmospheres in one image, which is immediately understandable to both architects and to all the others involved in architecture and building. They also show how perspective drawing can contribute to architectural thinking and thus forms an important theoretical tool that continues to be relevant in the present day. <br/

Chairs &amp; sets

Chairs seem to fascinate many architects and designers. They are amongst the most essential pieces of furniture, and directly correspond to the human body. In addition, chairs are also objects with a long and interesting tradition. A great number of architects and designers have explored the material, tectonic or sculptural possibilities of these pieces of furniture.OLD Interio

Maniërisme en de verwatering van een begrip

Book review - Frans Sturkenboom, De gestiek van de architectuur. Een leerboek hedendaags manierisme, ArtEZ Press 2017, Nl, p. 240, isbn 978-94-91444-34-0.In het onlangs verschenen De gestiek van de architectuur stelt de auteur Frans Sturkenboom dat wij op dit moment een maniëristisch momentum beleven. Door de verscheidenheid aan voorbeelden dreigt maniërisme een containerbegrip te worden en dat is jammer.OLD Interio

Rooms and Things: Heinrich Tessenow’s Interior Perspectives

Through the comparison of four interior perspectives that Heinrich Tessenow created between 1903 and 1913, this essay develops four different notions to understand the work of Tessenow. These drawings of living rooms can be seen to move from a density of hatches and scribbles, evoking Stimmung, to the Abstraktion of plain outlines on a white surface. As such, his drawings seem to focus more and more on Sachlichkeit, until finally, there is a shift towards an evocation of anonymous traditions of making things, expressed as a timeless essence through their Gewöhnlichkeit. Aan de hand van een vergelijking van vier interieurperspectieven die Heinrich Tessenow tussen 1903 en 1913 maakte, ontwikkelt dit artikel vier verschillende begrippen om het werk van Tessenow te begrijpen. Deze tekeningen van woonkamers verschuiven van dichte arceringen en krabbels, daarbij een Stimmung oproepend, naar de Abstraktion van simpele contouren op een witte achtergrond. Zodoende richten zijn tekeningen zich steeds meer op Sachlichkeit, tot er ten slotte een verschuiving plaatsvindt naar het oproepen van anonieme tradities bij het maken van dingen, die met hun Gewöhnlichkeit een tijdloze essentie uitdrukken.OASE #105 Practices of drawing / Tekenpraktijken ISBN 978-94-6208-554-1Methods & Matte

Bigness of het probleem van veel

Boek review: Rem Koolhaas / Elements of Architecture. Met het onlangs verschenen Elements of Architecture hebben Rem Koolhaas en zijn team een boek gemaakt dat qua afmetingen en gewicht niet onderdoet voor een keramisch metselblok. Koolhaas betoogt dat de vloer, trap, en alle andere ‘elementen’ die in het boek voorkomen, in de zeer nabije toekomst, of eigenlijk nu al, actief gaan bijdragen aan de grote verandering in onze samenleving.OLD Methods & Analysi

Thinking Perspectives: The Layered Meaning of Heinrich Tessenow’s Drawings (1901 – 1926)

An architectural perspective drawing gives a naturalistic spatial representation of an architectural project, which is usually represented in orthographic drawings, such as floorplans, sections, and elevations. However, that same perspective drawing can also express theoretical architectural concepts and ideas in a non-verbal, but highly communicative way. To investigate that particular quality, this dissertation takes a systematic look at the historical case of the perspective drawings made by the German architect Heinrich Tessenow (1876-1950), focusing on the period between 1901 and 1926. Tessenow, one of the key figures in early twentieth-century German architecture, was mostly interested in the Kleinwohnung (small workers’ and lower-middle-class house) and the Kleinstadt (small town) Initially, Tessenow’s perspectives appeared in various well-read architectural journals, such as Bautechnische Zeitschrift and Deutsche Bauhütte. These journals not only offered the drawings (and their maker) a publishing platform but also actively invited various writers to respond to them, thus contributing to a lively public discourse on architecture. As a consequence, perspective drawings played a major role in Tessenow’s first three publications, Zimmermannsarbeiten (1907), Der Wohnhausbau (1909) and Hausbau und dergleichen (1916). In all three books, perspective drawings were much more than illustrations or building visualisations to his texts: they actively contributed to Tessenow’s architectural thinking and his emerging visual theory of architecture. This dissertation wants to address some basic questions that relate to this: what is the meaning of these perspectives in Tessenow’s visual theory of architecture and what role did they play in the development of his thinking on the Kleinwohnung? To answer these questions, a great number of perspective drawings are collected from various sources. Quite deliberately, these drawings are detached from their immediate context, regarding the projects they depict, the media in which they appeared and their chronological order. This collection of detached drawings is then subdivided into three main thematic categories that summarize Tessenow’s oeuvre in these years and all relate to the Kleinwohnung: Haus (house); Raum (room or space) and Sache (thing or object). To relate Tessenow’s perspective drawings to his architectural thinking, three epistemic architectural notions are distilled from writings by both Tessenow and some of his contemporaries. These notions are Empfindung (sensibility), Abstraktion (abstraction) and Gewöhnlichkeit (ordinariness) and their epistemic character follows from the fact that they not only define Tessenow’s architectural thinking but relate to a broader German architectural culture. By intersecting these notions with the drawings arranged in the categories of Haus, Raum and Sache, it becomes possible to select more than 20 sets of related drawings that are then subjected to a comparative iconographic architectural analysis, in which the typological organization of building, space or object; and the formal composition of its appearance are linked to aspects such as its immediate setting, spatial delineations and material expression. The method of juxtaposing perspective drawings with a similar subject and subsequently comparing these drawings makes it possible to reveal general patterns and qualities related to the depicted subject beyond the individual case. Together, these analyses form the basis of a series of speculative reconstructions of Tessenow’s inquiries into several relevant topics related to the Kleinwohnung. Besides the historical significance of Tessenow’s case, the analyses presented in this dissertation also demonstrate the significance of perspective drawing. They make clear that this kind of drawing was, and is, able to bring together different scales, elements and atmospheres in one image, which is immediately understandable to both architects and to all the others involved in architecture and building. They also show how perspective drawing can contribute to architectural thinking and thus forms an important theoretical tool that continues to be relevant in the present day. Methods & Matte

‘Im welchem Style sollen wir wohnen?’

OLD Interio

The Delft Fundamentals: integration of disciplines, projects and analysis

As part of the renewal in 2013/2014 of the bachelor education curriculum in the Faculty of Architecture and the Built Environment, Delft University of Technology, a new study programme was prepared on the Fundamentals (in Dutch: Grondslagen) of spatial design. The teaching approach, visually presented by some examples and explained in this paper, consists of three closely related elements: (a) lectures and readings on basic concepts of architectural, urban and landscape architectural design, (b) a canon of 160 projects illustrating these concepts and (c) a typomorphological project analysis exercise. This new, integrated programme was the follow-up of three former, separate study programmes, Basic Concepts of Architectural Design, Basic Concepts of Urban Design, and History of Architecture, Urbanism and Art. The faculty had serious doubts about the educational quality of those study programmes, consisting of 11 small courses of only one or two EC. The curriculum renewal brought a fresh look at study contents, teaching approach and assessment strategies, based on the didactic principles of integrated learning.</p