Journal articles on the topic 'Presence-aware architecture'

Convolutional neural networks (CNNs) are used in numerous real-world applications such as vision-based autonomous driving and video content analysis. To run CNN inference on various target devices, hardware-aware neural architecture search (NAS) is crucial. A key requirement of efficient hardware-aware NAS is the fast evaluation of inference latencies in order to rank different architectures. While building a latency predictor for each target device has been commonly used in state of the art, this is a very time-consuming process, lacking scalability in the presence of extremely diverse devices. In this work, we address the scalability challenge by exploiting latency monotonicity --- the architecture latency rankings on different devices are often correlated. When strong latency monotonicity exists, we can re-use architectures searched for one proxy device on new target devices, without losing optimality. In the absence of strong latency monotonicity, we propose an efficient proxy adaptation technique to significantly boost the latency monotonicity. Finally, we validate our approach and conduct experiments with devices of different platforms on multiple mainstream search spaces, including MobileNet-V2, MobileNet-V3, NAS-Bench-201, ProxylessNAS and FBNet. Our results highlight that, by using just one proxy device, we can find almost the same Pareto-optimal architectures as the existing per-device NAS, while avoiding the prohibitive cost of building a latency predictor for each device.

The Internet of vehicles (IoV) is a newly emerged wave that converges Internet of things (IoT) into vehicular networks to benefit from ubiquitous Internet connectivity. Despite various research efforts, vehicular networks are still striving to achieve higher data rate, seamless connectivity, scalability, security, and improved quality of service, which are the key enablers for IoV. It becomes even more critical to investigate novel design architectures to accomplish efficient and reliable data forwarding when it comes to handling the emergency communication infrastructure in the presence of natural epidemics. The article proposes a heterogeneous network architecture incorporating multiple wireless interfaces (e.g., wireless access in vehicular environment (WAVE), long-range wireless fidelity (WiFi), and fourth generation/long-term evolution (4G/LTE)) installed on the on-board units, exploiting the radio over fiber approach to establish a context-aware network connectivity. This heterogeneous network architecture attempts to meet the requirements of pervasive connectivity for vehicular ad hoc networks (VANETs) to make them scalable and adaptable for IoV supporting a range of emergency services. The architecture employs the Best Interface Selection (BIS) algorithm to always ensure reliable communication through the best available wireless interface to support seamless connectivity required for efficient data forwarding in vehicle to infrastructure (V2I) communication successfully avoiding the single point of failure. Moreover, the simulation results clearly argue about the suitability of the proposed architecture in IoV environment coping with different types of applications against individual wireless technologies.

Flash-based storage is replacing disk for an increasing number of data center applications, providing orders of magnitude higher throughput and lower average latency. However, applications also require predictable storage latency. Existing Flash devices fail to provide low tail read latency in the presence of write operations. We propose two novel techniques to address SSD read tail latency, including Redundant Array of Independent LUNs (RAIL) which avoids serialization of reads behind user writes as well as latency-aware hot-cold separation (HC) which improves write throughput while maintaining low tail latency. RAIL leverages the internal parallelism of modern Flash devices and allocates data and parity pages to avoid reads getting stuck behind writes. We implement RAIL in the Linux Kernel as part of the LightNVM Flash translation layer and show that it can reduce read tail latency by 7× at the 99.99th percentile, while reducing relative bandwidth by only 33%.

Architecture and light are to that extent dependent on each other which body and spirits are.One for living and the other for physical presence in this world needs the other and while light is flown on the body of the space both two perceptible worlds become “ existed “.Since long ago, bright and shimmering materials which remind something living in the mind of individual were respectable and adorable. Being aware of the process of exploitation of sunlight is of importance as much as the process of materials formation or different fundamental forms of construction in order to design. Almost in all religions, light is the symbol of Devine wisdom and the Essene of all beneficence and purities and mobility from darkness to light, was considered as the main objective. Islamic Mosques which are ornamented with light are perfectly able to transmit this divine and moral sense. In such spaces which are lighten up with a shimmering light and by observance of the imprecise shadows of substances and masses, individual starts to complete the pictures in his mind and by such an activity gets in to an ecstasy and as a result a feeling of getting close to the source of existence and reality wakens up inner inside him. The present survey by depending on descriptive-analytic methods, studies light in Islamic and traditional architecture. This paper by case study of Sheikh Lotfollah Mosque, aims to find out whether the presence of light and specifically natural light in architecture might have further meaning rather than brightness, and whether accessing an accurate pattern of application of light is possible or there is basically no compulsion in it ?

Recent trends in real-time applications have raised the demand for high-throughput embedded platforms with integrated CPU-GPU based Systems-On-Chip (SoCs). The enhanced performance of such SoCs, however, comes at the cost of increased power consumption, resulting in significant heat dissipation and high on-chip temperatures. The prolonged occurrences of high on-chip temperature can cause accelerated in-circuit ageing, which severely degrades the long-term performance and reliability of the chip. Violation of thermal constraints leads to on-board dynamic thermal management kicking-in, which may result in timing unpredictability for real-time tasks due to transient performance degradation. Recent work in adaptive software design have explored this issue from a control theoretic stand-point, striving for smooth thermal envelopes by tuning the core frequency. Existing techniques do not handle thermal violations for periodic real-time task sets in the presence of dynamic events like change of task periodicity, more so in the context of heterogeneous SoCs with integrated CPU-GPUs. This work presents an OpenCL runtime extension for thermal-aware scheduling of periodic, real-time tasks on heterogeneous multi-core platforms. Our framework mitigates dynamic thermal violations by adaptively tuning task mapping parameters, with the eventual control objective of satisfying both platform-level thermal constraints and task-level deadline constraints. We consider multiple platform-level control actions like task migration, frequency tuning and idle slot insertion as the task mapping parameters. To the best of our knowledge, this is the first work that considers such a variety of task mapping control actions in the context of heterogeneous embedded platforms. We evaluate the proposed framework on an Odroid-XU4 board using OpenCL benchmarks and demonstrate its effectiveness in reducing thermal violations.

This article is a reflection from a moment during the tour of my performance work for young audiences – Found. I explore how the meaningfulness shared in the moments dancing together captures much broader narratives about the transformative connections of Being-in-Place: emplacement. I respond to Sarah Pink’s call to explore bodily experiences through emplacement. Therefore, I use emplacement as a lens to theorize experiences during the practical performance work of Found, beyond the visual aesthetic of seeing live dance. This articulating and valuing the significance of where Self begins, or ends or is continuous in environment shares somatic inquiry with colleagues in architecture, social sciences and geography. I suggest ramifications on how dance offers corporeal dialogue that can empower children to take part in, and become aware of, their own presence in the co-created reality of Place.

Vehicle platooning is a promising technology that allows to improve the traffic efficiency and passengers safety. Platoons that use cooperative adaptive cruise control, however, require a reliable radio link between platoon members to ensure a required distance between the cars within the platoon, thus maintaining platoon safety. Nowadays, the communication can be realized with the use of 802.11p or cellular vehicle-to-vehicle (C-V2V), but none of this technology is able to provide a reliable link especially in the presence of high traffic or urban scenarios. Therefore, in this paper, we propose a dynamic spectrum management mechanism in V2V communications for platooning purposes. A management system architecture is proposed that comprises the use of context-aware databases, sensing nodes, and spectrum allocation entity. The proposed robust system design aims to keep only the minimum necessary information transmitted over the conventional intelligent transportation system (ITS) channel, while moving the remaining data (nonsafety, service-aided, or infotainment) to an alternative channel that is selected from the available pool of spectrum white spaces. The initial analysis indicates that the proposed system may significantly improve the performance of wireless communications for the purpose of vehicle platooning.

Increasing temperatures of the processing elements (PEs) on VLSI may threaten the reliability and performance of a hard real-time system. This paper presents a temperature-aware algorithm to reconfigure two-dimensional VLSI arrays in the presence of faulty PEs. Based on dynamic programming, the proposed algorithm constructs each logical column with the lowest temperature for a cool target array on a given processor array. In addition, the lower bound of the temperatures of the cool target array has been established. Simulation results show that the temperatures of target array are reduced without loss of harvest in comparison to the state-of-the-art. Moreover, the produced peak temperature of cool target array is pretty close to the lower bound.

Power consumption and reliability of memory components are two of the most important hurdles in realizing exascale systems. Dynamic random access memory (DRAM) scaling projections predict significant performance and power penalty due to the conventional use of pessimistic refresh periods catering for worst-case cell retention times. Recent approaches relax those pessimistic refresh rates only on ``strong'' cells, or build on application-specific error resilience for data placement. However, these approaches cannot reveal the full potential of a relaxed refresh paradigm shift, since they neglect additional application resilience properties related to the inherent functioning of DRAM. In this article, we elevate Refresh-by-Access as a first-class property of application resilience. We develop a complete, non-intrusive system stack, armed with low-cost Data-Access Aware Refresh (DARE) methods, to facilitate aggressive refresh relaxation and ensure non-disruptive operation on commodity servers. Essentially, our proposed access-aware scheduling of application tasks intelligently amplifies the impact of the implicit refresh of memory accesses, extending the period during which hardware refresh remains disabled, while limiting the number of potential errors, hence their impact on an application's output quality. The stack, implemented on an off-the-shelf server and running a full-fledged Linux OS, captures for the first time the intricate time-dependent system and data interactions in the presence of hardware errors, in contrast to previous architectural simulations approaches of limited detail. Results demonstrate that by applying DARE, it is possible to completely disable hardware refresh, with minor quality loss that ranges from 2% to 18%.

Shared spaces are gaining presence in cities, where a variety of players and mobility types (pedestrians, bicycles, motorcycles, and cars) move without specifically delimited areas. This makes the traffic they comprise challenging for automated systems. The information traditionally considered (e.g., streets, and obstacle positions and speeds) is not enough to build suitable models of the environment. The required explanatory and anticipation capabilities need additional information to improve them. Social aspects (e.g., goal of the displacement, companion, or available time) should be considered, as they have a strong influence on how people move and interact with the environment. This paper presents the Social-Aware Driver Assistance System (SADAS) approach to integrate this information into traffic systems. It relies on a domain-specific modelling language for social contexts and their changes. Specifications compliant with it describe social and system information, their links, and how to process them. Traffic social properties are the formalization within the language of relevant knowledge extracted from literature to interpret information. A multi-agent system architecture manages these specifications and additional processing resources. A SADAS can be connected to other parts of traffic systems by means of subscription-notification mechanisms. The case study to illustrate the approach applies social knowledge to predict people’s movements. It considers a distributed system for obstacle detection and tracking, and the intelligent management of traffic signals.

Connected cars and vehicle-to-everything (V2X) communication scenarios are attracting more researchers. There will be numerous possibilities offered by V2X in the future. For instance, in the case of vehicles that move in a column, they could react to the braking of those in front of it through the rapid information exchanges, and most chain collisions could be avoided. V2X will be desiderated for routes optimizations, travel time reductions, and accident rate decrease in cases such as communication with infrastructures, traffic information exchanges, functioning of traffic lights, possible situations of danger, and the presence of construction sites or traffic jams. Furthermore, there could be massive conversations between smartphones and vehicles performing real-time dialogues. It is relatively reasonable to expect a connection system in which a pedestrian can report its position to all surrounding vehicles. Regarding this, it is compelling to perceive the positive effects of the driver being aware of the presence of pedestrians when vehicles are moving on the roads. This paper introduces the concepts for the development of a solution based on V2X communications aimed at vehicle and pedestrian safety. A potential system architecture for the development of a real system, concerning the safety of vehicles and pedestrians, is suggested to draft some guidelines that could be followed in new applications.

Spectral-spatial classification of hyperspectral images has been the subject of many studies in recent years. When there are only a few labeled pixels for training and a skewed class label distribution, this task becomes very challenging because of the increased risk of overfitting when training a classifier. In this paper, we show that in this setting, a convolutional neural network with a single hidden layer can achieve state-of-the-art performance when three tricks are used: a spectral-locality-aware regularization term and smoothing- and label-based data augmentation. The shallow network architecture prevents overfitting in the presence of many features and few training samples. The locality-aware regularization forces neighboring wavelengths to have similar contributions to the features generated during training. The new data augmentation procedure favors the selection of pixels in smaller classes, which is beneficial for skewed class label distributions. The accuracy of the proposed method is assessed on five publicly available hyperspectral images, where it achieves state-of-the-art results. As other spectral-spatial classification methods, we use the entire image (labeled and unlabeled pixels) to infer the class of its unlabeled pixels. To investigate the positive bias induced by the use of the entire image, we propose a new learning setting where unlabeled pixels are not used for building the classifier. Results show the beneficial effect of the proposed tricks also in this setting and substantiate the advantages of using labeled and unlabeled pixels from the image for hyperspectral image classification.

Neural networks with deep architectures have demonstrated significant performance improvements in computer vision, speech recognition, and natural language processing. The challenges in information retrieval (IR), however, are different from these other application areas. A common form of IR involves ranking of documents---or short passages---in response to keyword-based queries. Effective IR systems must deal with query-document vocabulary mismatch problem, by modeling relationships between different query and document terms and how they indicate relevance. Models should also consider lexical matches when the query contains rare terms---such as a person's name or a product model number---not seen during training, and to avoid retrieving semantically related but irrelevant results. In many real-life IR tasks, the retrieval involves extremely large collections---such as the document index of a commercial Web search engine---containing billions of documents. Efficient IR methods should take advantage of specialized IR data structures, such as inverted index, to efficiently retrieve from large collections. Given an information need, the IR system also mediates how much exposure an information artifact receives by deciding whether it should be displayed, and where it should be positioned, among other results. Exposure-aware IR systems may optimize for additional objectives, besides relevance, such as parity of exposure for retrieved items and content publishers. In this thesis, we present novel neural architectures and methods motivated by the specific needs and challenges of IR tasks. We ground our contributions with a detailed survey of the growing body of neural IR literature [Mitra and Craswell, 2018]. Our key contribution towards improving the effectiveness of deep ranking models is developing the Duet principle [Mitra et al., 2017] which emphasizes the importance of incorporating evidence based on both patterns of exact term matches and similarities between learned latent representations of query and document. To efficiently retrieve from large collections, we develop a framework to incorporate query term independence [Mitra et al., 2019] into any arbitrary deep model that enables large-scale precomputation and the use of inverted index for fast retrieval. In the context of stochastic ranking, we further develop optimization strategies for exposure-based objectives [Diaz et al., 2020]. Finally, this dissertation also summarizes our contributions towards benchmarking neural IR models in the presence of large training datasets [Craswell et al., 2019] and explores the application of neural methods to other IR tasks, such as query auto-completion.

Automated grading systems using deep convolution neural networks (DCNNs) have proven their capability and potential to distinguish between different breast cancer grades using digitized histopathological images. In digital breast pathology, it is vital to measure how confident a DCNN is in grading using a machine-confidence metric, especially with the presence of major computer vision challenging problems such as the high visual variability of the images. Such a quantitative metric can be employed not only to improve the robustness of automated systems, but also to assist medical professionals in identifying complex cases. In this paper, we propose Entropy-based Elastic Ensemble of DCNN models (3E-Net) for grading invasive breast carcinoma microscopy images which provides an initial stage of explainability (using an uncertainty-aware mechanism adopting entropy). Our proposed model has been designed in a way to (1) exclude images that are less sensitive and highly uncertain to our ensemble model and (2) dynamically grade the non-excluded images using the certain models in the ensemble architecture. We evaluated two variations of 3E-Net on an invasive breast carcinoma dataset and we achieved grading accuracy of 96.15% and 99.50%.

With the increasing popularity and social influence of information retrieval (IR) systems, various studies have raised concerns on the presence of bias in IR and the social responsibilities of IR systems. Techniques for addressing these issues can be classified into pre-processing , in-processing and post-processing. Pre-processing reduces bias in the data that is fed into machine learning models. In-processing encodes fairness constraints as a part of the objective function or learning process. Post-processing operates as a top layer over the trained model to reduce the presentation bias exposed to users. This dissertation explored ways to bring the pre-processing and post-processing approaches, together with the fairness-aware evaluation metrics, into a unified framework as an attempt to break the vicious cycle of bias and improve fairness in IR. We first investigated the existing bias presented in search engine results. Specifically, we focused on the top-k fairness ranking in terms of statistical parity fairness and disparate impact fairness definitions. With Google search and a general purposed text cluster as a lens, we explored several topical diversity fairness ranking strategies to understand the relationship between relevance and fairness in search results. Our experimental results showed that different fairness ranking strategies resulted in distinct utility scores and performed differently with distinct datasets. Second, to further investigate the relationship of data and fairness algorithms, we developed a statistical framework that was able to facilitate various analysis and decision making. Our framework could effectively and efficiently estimate the domain of data and solution space. We derived theoretical expressions to identify the fairness and relevance bounds for data of different distributions, and applied them to both synthetic datasets and real world datasets. We presented a series of use cases to demonstrate how our framework was applied to associate data and provide insights to fairness optimization problems. Third, we proposed an evaluation metric FAIR for the ranking results that encoded fairness, diversity, novelty and relevance. This metric offered a new perspective of evaluating fairness-aware ranking results. Based on this metric, we developed an effective ranking algorithm that jointly optimized for fairness and utility. Our experiments showed that our new metric was able to highlight results that achieved good user utility and fair information exposure at the same time. We showed how FAIR metric related to existing metrics through correlation analysis and case studies, and demonstrated the effectiveness of our FAIR-based algorithm.

Facial emotion recognition (FER) is an important and developing topic of research in the field of pattern recognition. The effective application of facial emotion analysis is gaining popularity in surveillance footage, expression analysis, activity recognition, home automation, computer games, stress treatment, patient observation, depression, psychoanalysis, and robotics. Robot interfaces, emotion-aware smart agent systems, and efficient human–computer interaction all benefit greatly from facial expression recognition. This has garnered attention as a key prospect in recent years. However, due to shortcomings in the presence of occlusions, fluctuations in lighting, and changes in physical appearance, research on emotion recognition has to be improved. This paper proposes a new architecture design of a convolutional neural network (CNN) for the FER system and contains five convolution layers, one fully connected layer with rectified linear unit activation function, and a SoftMax layer. Additionally, the feature map enhancement is applied to accomplish a higher detection rate and higher precision. Lastly, an application is developed that mitigates the effects of the aforementioned problems and can identify the basic expressions of human emotions, such as joy, grief, surprise, fear, contempt, anger, etc. Results indicate that the proposed CNN achieves 92.66% accuracy with mixed datasets, while the accuracy for the cross dataset is 94.94%.

Virtual reality is a powerful tool for teaching 3D digital technologies in building engineering, as it facilitates the spatial perception of three-dimensional space. Spatial orientation skill is necessary for understanding 3D space. With VR, users navigate through virtually designed buildings and must be constantly aware of their position relative to other elements of the environment (orientation during navigation). In the present study, 25 building engineering students performed navigation tasks in a desktop-VR environment workshop. Performance of students using the desktop-VR was compared to a previous workshop in which navigation tasks were carried out using head-mounted displays. The Perspective Taking/Spatial Orientation Test measured spatial orientation skill. A questionnaire on user experience in the virtual environment was also administered. The gain in spatial orientation skill was 12.62%, similar to that obtained with head-mounted displays (14.23%). The desktop VR environment is an alternative to the HMD-VR environment for planning strategies to improve spatial orientation. Results from the user-experience questionnaire showed that the desktop VR environment strategy was well perceived by students in terms of interaction, 3D visualization, navigation, and sense of presence. Unlike in the HDM VR environment, student in the desktop VR environment did not report feelings of fatigue or dizziness.

Memory errors are still a serious threat affecting millions of devices worldwide. Recently, bounty programs have reached a new record, paying up to USD 2.5 million for one single vulnerability in Android and up to USD 2 million for Apple’s operating system. In almost all cases, it is common to exploit memory errors in one or more stages to fully compromise those devices. In this paper, we review and discuss the importance of memory error vulnerabilities, and more specifically stack buffer overflows to provide a full view of how memory errors are exploited. We identify the root causes that make those attacks possible on modern x86-64 architecture in the presence of modern protection techniques. We have analyzed how unsafe library functions are prone to buffer overflows, revealing that although there are secure versions of those functions, they are not actually preventing buffer overflows from happening. Using secure functions does not result in software free from vulnerabilities and it requires developers to be security-aware. To overcome this problem, we discuss the three main security protection techniques present in all modern operating system; the non-eXecutable bit (NX), the Stack Smashing Protector (SSP) and the Address Space Layout Randomization (ASLR). After discussing their effectiveness, we conclude that although they provide a strong level of protection against classical exploitation techniques, modern attacks can bypass them.

Tag localization is crucial for many context-aware and automation applications in smart homes, retail stores, or warehouses. While custom localization technologies (e.g RFID) have the potential to support low-cost battery-free tag tracking, the cost and complexity of commissioning a space with beacons or readers has stifled adoption. In this paper, we explore how WiFi backscatter localization can be realized using the existing WiFi infrastructure already deployed for data applications. We present a new approach that leverages existing WiFi infrastructure to enable extremely low-power and accurate tag localization relative to a single scanning device. First, we adopt an ultra-low power tag design in which the tag blindly modulates ongoing WiFi packets using On-Off Keying (OOK). Then, we utilize the underlying physical properties of multipath propagation to detect the passive wireless reflection from the tag in the presence of rich multipath propagations. Finally, we localize the tag from a single receiver by forming a triangle between the tag reflection and the LoS path between the two WiFi transceivers. We implement TagFi using a customized backscatter tag and off-the-shelf WiFi chipsets. Our empirical results in a cluttered office building demonstrate that TagFi achieves a median localization accuracy of 0.2m up to 8 meters range.

Federated Learning (FL) enables distributed training of machine learning models while keeping personal data on user devices private. While we witness increasing applications of FL in the area of mobile sensing, such as human activity recognition (HAR), FL has not been studied in the context of a multi-device environment (MDE), wherein each user owns multiple data-producing devices. With the proliferation of mobile and wearable devices, MDEs are increasingly becoming popular in ubicomp settings, therefore necessitating the study of FL in them. FL in MDEs is characterized by being not independent and identically distributed (non-IID) across clients, complicated by the presence of both user and device heterogeneities. Further, ensuring efficient utilization of system resources on FL clients in a MDE remains an important challenge. In this paper, we propose FLAME, a user-centered FL training approach to counter statistical and system heterogeneity in MDEs, and bring consistency in inference performance across devices. FLAME features (i) user-centered FL training utilizing the time alignment across devices from the same user; (ii) accuracy- and efficiency-aware device selection; and (iii) model personalization to devices. We also present an FL evaluation testbed with realistic energy drain and network bandwidth profiles, and a novel class-based data partitioning scheme to extend existing HAR datasets to a federated setup. Our experiment results on three multi-device HAR datasets show that FLAME outperforms various baselines by 4.3-25.8% higher F1 score, 1.02-2.86x greater energy efficiency, and up to 2.06x speedup in convergence to target accuracy through fair distribution of the FL workload.

The world does not stand still. We are daily confronted with the achievements of modern science: we are able to communicate with a person from another continent via the Internet, we easily bypass any distance thanks to different modes of transport. And yet there are things that cannot be automated, improved, accelerated yet. A person still needs to sleep, have some physical activity during the day and, of course, eat. The whole day of a person can easily obey the rhythm: breakfast, lunch, dinner, and, of course, snacks, afternoon tea, brunch, late dinner. And it's getting harder and harder to give up food, as store shelves are bursting with goods that are ready to lie there for years until we buy them. This is because most of the foods we consume contain various dietary supplements in their composition. The main purpose of which is to make them tastier, stored longer, etc. Undoubtedly, the nutrition of all population groups can be affected by food additives, but in this article we will consider young people: 2nd and 3rd year students. Of course, studying, writing course projects, a large number of practical and other classes deprive you of the opportunity, or rather the strength and desire, to eat right. Therefore, this age group is of particular interest. To what extent are students aware of the presence of food additives in their food? How many of the survey respondents monitor their diet? And in general: are dietary supplements as harmful as they say in the media? In this article, we will analyze the survey data of students, as well as understand what dietary supplements are and how they affect the body.

Presence of haze in images obscures underlying information, which is undesirable in applications requiring accurate environment information. To recover such an image, a dehazing algorithm should localize and recover affected regions while ensuring consistency between recovered and its neighboring regions. However owing to fixed receptive field of convolutional kernels and non uniform haze distribution, assuring consistency between regions is difficult. In this paper, we utilize an encoder-decoder based network architecture to perform the task of dehazing and integrate an spatially aware channel attention mechanism to enhance features of interest beyond the receptive field of traditional conventional kernels. To ensure performance consistency across diverse range of haze densities, we utilize greedy localized data augmentation mechanism. Synthetic datasets are typically used to ensure a large amount of paired training samples, however the methodology to generate such samples introduces a gap between them and real images while accounting for only uniform haze distribution and overlooking more realistic scenario of non-uniform haze distribution resulting in inferior dehazing performance when evaluated on real datasets. Despite this, the abundance of paired samples within synthetic datasets cannot be ignored. Thus to ensure performance consistency across diverse datasets, we train the proposed network within an adversarial prior-guided framework that relies on a generated image along with its low and high frequency components to determine if properties of dehazed images matches those of ground truth. We preform extensive experiments to validate the dehazing and domain invariance performance of proposed framework across diverse domains and report state-of-the-art (SoTA) results. The source code with pretrained models will be available at https://github.com/PS06/DIDH.

The development of powered electronic technology has made many aware of the design and control of ship power systems (SPSs), and has made medium voltage DC (MVDC) architecture the main research direction in the future. The negative impedance characteristic of constant power load (CPL) generated by the coupling of powered electronic converters will seriously affect the stability of the systems if these converters are not properly controlled. The conventional linear control method can only guarantee the small-signal stability of the system near its equilibrium point. When the operating point changes in a large range, linear control methods will be ineffective. More importantly, research for the large-signal stability of the multi-converter system with CPLs is still rarely involved. In this paper, a sliding-mode-based duty ratio controller (SMDC) is proposed for voltage regulation and current sharing of the multiple parallelly-connected DC–DC converters system loaded by CPLs. By controlling the output voltage of each converter with SMDC, large-signal stability of the coupled bus voltage is ensured. Meanwhile, proportional current sharing between the parallel converters is achieved by droop control integrated in the reference value of converter voltage. Simulation studies were conducted in MATLAB/Simulink, where two typical operating conditions, including the variation of load power and bus voltage, were designed to verify the effectiveness of the proposed method. Moreover, a traditional PID controller was used as a comparison to reflect the superiority of the former. Simulation results showed that the proposed method is able to guarantee large-signal stability of the system in the presence of large-scale variations in load power and bus voltage. The output current of the parallel converters can also be distributed in desired proportions according to the droop coefficient.

During the last few years, there is a growing interest on the usage of Wi-Fi signals for human activity detection. A large number of Wi-Fi based sensing systems have been developed, including respiration detection, gesture classification, identity recognition, etc. However, the usability and robustness of such systems are still limited, due to the complexity of practical environments. Various pioneering approaches have been proposed to solve this problem, among which the model-based approach is attracting more and more attention, due to the advantage that it does not require a huge dataset for model training. Existing models are usually developed for Line-of-Sight (LoS) scenarios, and can not be applied to facilitating the design of wireless sensing systems in Non-Line-of-Sight (NLoS) scenarios (e.g., through-wall sensing). To fill this gap, we propose a through-wall wireless sensing model, aiming to characterize the propagation laws and sensing mechanisms of Wi-Fi signals in through-wall scenarios. Specifically, based on the insight that Wi-Fi signals will be refracted while there is a wall between the transceivers, we develop a refraction-aware Fresnel model, and prove theoretically that the original Fresnel model can be seen as a special case of the proposed model. We find that the presence of a wall will change the distribution of Fresnel zones, which we called the "squeeze effect" of Fresnel zones. Moreover, our theoretical analysis indicates that the "squeeze effect" can help improve the sensing capability (i.e., spatial resolution) of Wi-Fi signals. To validate the proposed model, we implement a through-wall respiration sensing system with a pair of transceivers. Extensive experiments in typical through-wall environments show that the respiration detection error is lower than 0.5 bpm, while the subject's vertical distance to the connection line of the transceivers is less than 200 cm. To the best of our knowledge, this is the first theoretical model that reveals the Wi-Fi based wireless sensing mechanism in through-wall scenarios.

Background: Social media texts are often highly unstructured in accordance with the presence of hashtags, emojis and URLs occurring in abundance. Thus, a sentiment or emotion analysis on these kinds of texts becomes very difficult. The difficulty increases even more when such texts are in local languages like Arabic. Methods: This work utilizes novel deep learning architectures in the form of character-level Convolutional Neural Network (CNN) module and the word-level Recurrent Neural Network (RNN) module to produce a hybrid architecture that makes use of the character level analysis and the word level analysis to obtain state-of-the-art results on a totally new Arabic Emotions dataset. Results: The proposed method works the best among the traditional bag-of-words and Term Frequency and Inverse Document Frequency methods for emotion analysis. It also outperforms the state-of-the-art deep learning methods which are known to perform very well in an English corpus. Conclusion: The proposed deep end-to-end architecture utilizes the character level information from a text through the Character CNN Module and the word level information from a text through the Word-Level RNN Module.

This paper presents the T-RexNet approach to detect small moving objects in videos by using a deep neural network. T-RexNet combines the advantages of Single-Shot-Detectors with a specific feature-extraction network, thus overcoming the known shortcomings of Single-Shot-Detectors in detecting small objects. The deep convolutional neural network includes two parallel paths: the first path processes both the original picture, in gray-scale format, and differences between consecutive frames; in the second path, differences between a set of three consecutive frames is only handled. As compared with generic object detectors, the method limits the depth of the convolutional network to make it less sensible to high-level features and easier to train on small objects. The simple, Hardware-efficient architecture attains its highest accuracy in the presence of videos with static framing. Deploying our architecture on the NVIDIA Jetson Nano edge-device shows its suitability to embedded systems. To prove the effectiveness and general applicability of the approach, real-world tests assessed the method performances in different scenarios, namely, aerial surveillance with the WPAFB 2009 dataset, civilian surveillance using the Chinese University of Hong Kong (CUHK) Square dataset, and fast tennis-ball tracking, involving a custom dataset. Experimental results prove that T-RexNet is a valid, general solution to detect small moving objects, which outperforms in this task generic existing object-detection approaches. The method also compares favourably with application-specific approaches in terms of the accuracy vs. speed trade-off.

The recent spread of Deep Learning (DL) in medical imaging is pushing researchers to explore its suitability for lesion segmentation in Dynamic Contrast-Enhanced Magnetic-Resonance Imaging (DCE-MRI), a complementary imaging procedure increasingly used in breast-cancer analysis. Despite some promising proposed solutions, we argue that a “naive” use of DL may have limited effectiveness as the presence of a contrast agent results in the acquisition of multimodal 4D images requiring thorough processing before training a DL model. We thus propose a pipelined approach where each stage is intended to deal with or to leverage a peculiar characteristic of breast DCE-MRI data: the use of a breast-masking pre-processing to remove non-breast tissues; the use of Three-Time-Points (3TP) slices to effectively highlight contrast agent time course; the application of a motion-correction technique to deal with patient involuntary movements; the leverage of a modified U-Net architecture tailored on the problem; and the introduction of a new “Eras/Epochs” training strategy to handle the unbalanced dataset while performing a strong data augmentation. We compared our pipelined solution against some literature works. The results show that our approach outperforms the competitors by a large margin (+9.13% over our previous solution) while also showing a higher generalization ability.

Recent Trends and Future of Fog and Edge Computing, Services, and Enabling Technologies Cloud computing has been established as the most popular as well as suitable computing infrastructure providing on-demand, scalable and pay-as-you-go computing resources and services for the state-of-the-art ICT applications which generate a massive amount of data. Though Cloud is certainly the most fitting solution for most of the applications with respect to processing capability and storage, it may not be so for the real-time applications. The main problem with Cloud is the latency as the Cloud data centres typically are very far from the data sources as well as the data consumers. This latency is ok with the application domains such as enterprise or web applications, but not for the modern Internet of Things (IoT)-based pervasive and ubiquitous application domains such as autonomous vehicle, smart and pervasive healthcare, real-time traffic monitoring, unmanned aerial vehicles, smart building, smart city, smart manufacturing, cognitive IoT, and so on. The prerequisite for these types of application is that the latency between the data generation and consumption should be minimal. For that, the generated data need to be processed locally, instead of sending to the Cloud. This approach is known as Edge computing where the data processing is done at the network edge in the edge devices such as set-top boxes, access points, routers, switches, base stations etc. which are typically located at the edge of the network. These devices are increasingly being incorporated with significant computing and storage capacity to cater to the need for local Big Data processing. The enabling of Edge computing can be attributed to the Emerging network technologies, such as 4G and cognitive radios, high-speed wireless networks, and energy-efficient sophisticated sensors. Different Edge computing architectures are proposed (e.g., Fog computing, mobile edge computing (MEC), cloudlets, etc.). All of these enable the IoT and sensor data to be processed closer to the data sources. But, among them, Fog computing, a Cisco initiative, has attracted the most attention of people from both academia and corporate and has been emerged as a new computing-infrastructural paradigm in recent years. Though Fog computing has been proposed as a different computing architecture than Cloud, it is not meant to replace the Cloud. Rather, Fog computing extends the Cloud services to network edges for providing computation, networking, and storage services between end devices and data centres. Ideally, Fog nodes (edge devices) are supposed to pre-process the data, serve the need of the associated applications preliminarily, and forward the data to the Cloud if the data are needed to be stored and analysed further. Fog computing enhances the benefits from smart devices operational not only in network perimeter but also under cloud servers. Fog-enabled services can be deployed anywhere in the network, and with these services provisioning and management, huge potential can be visualized to enhance intelligence within computing networks to realize context-awareness, high response time, and network traffic offloading. Several possibilities of Fog computing are already established. For example, sustainable smart cities, smart grid, smart logistics, environment monitoring, video surveillance, etc. To design and implementation of Fog computing systems, various challenges concerning system design and implementation, computing and communication, system architecture and integration, application-based implementations, fault tolerance, designing efficient algorithms and protocols, availability and reliability, security and privacy, energy-efficiency and sustainability, etc. are needed to be addressed. Also, to make Fog compatible with Cloud several factors such as Fog and Cloud system integration, service collaboration between Fog and Cloud, workload balance between Fog and Cloud, and so on need to be taken care of. It is our great privilege to present before you Volume 20, Issue 2 of the Scalable Computing: Practice and Experience. We had received 20 Research Papers and out of which 14 Papers are selected for Publication. The aim of this special issue is to highlight Recent Trends and Future of Fog and Edge Computing, Services and Enabling technologies. The special issue will present new dimensions of research to researchers and industry professionals with regard to Fog Computing, Cloud Computing and Edge Computing. Sujata Dash et al. contributed a paper titled “Edge and Fog Computing in Healthcare- A Review” in which an in-depth review of fog and mist computing in the area of health care informatics is analysed, classified and discussed. The review presented in this paper is primarily focussed on three main aspects: The requirements of IoT based healthcare model and the description of services provided by fog computing to address then. The architecture of an IoT based health care system embedding fog computing layer and implementation of fog computing layer services along with performance and advantages. In addition to this, the researchers have highlighted the trade-off when allocating computational task to the level of network and also elaborated various challenges and security issues of fog and edge computing related to healthcare applications. Parminder Singh et al. in the paper titled “Triangulation Resource Provisioning for Web Applications in Cloud Computing: A Profit-Aware” proposed a novel triangulation resource provisioning (TRP) technique with a profit-aware surplus VM selection policy to ensure fair resource utilization in hourly billing cycle while giving the quality of service to end-users. The proposed technique use time series workload forecasting, CPU utilization and response time in the analysis phase. The proposed technique is tested using CloudSim simulator and R language is used to implement prediction model on ClarkNet weblog. The proposed approach is compared with two baseline approaches i.e. Cost-aware (LRM) and (ARMA). The response time, CPU utilization and predicted request are applied in the analysis and planning phase for scaling decisions. The profit-aware surplus VM selection policy used in the execution phase for select the appropriate VM for scale-down. The result shows that the proposed model for web applications provides fair utilization of resources with minimum cost, thus provides maximum profit to application provider and QoE to the end users. Akshi kumar and Abhilasha Sharma in the paper titled “Ontology driven Social Big Data Analytics for Fog enabled Sentic-Social Governance” utilized a semantic knowledge model for investigating public opinion towards adaption of fog enabled services for governance and comprehending the significance of two s-components (sentic and social) in aforesaid structure that specifically visualize fog enabled Sentic-Social Governance. The results using conventional TF-IDF (Term Frequency-Inverse Document Frequency) feature extraction are empirically compared with ontology driven TF-IDF feature extraction to find the best opinion mining model with optimal accuracy. The results concluded that implementation of ontology driven opinion mining for feature extraction in polarity classification outperforms the traditional TF-IDF method validated over baseline supervised learning algorithms with an average of 7.3% improvement in accuracy and approximately 38% reduction in features has been reported. Avinash Kaur and Pooja Gupta in the paper titled “Hybrid Balanced Task Clustering Algorithm for Scientific workflows in Cloud Computing” proposed novel hybrid balanced task clustering algorithm using the parameter of impact factor of workflows along with the structure of workflow and using this technique, tasks can be considered for clustering either vertically or horizontally based on value of impact factor. The testing of the algorithm proposed is done on Workflowsim- an extension of CloudSim and DAG model of workflow was executed. The Algorithm was tested on variables- Execution time of workflow and Performance Gain and compared with four clustering methods: Horizontal Runtime Balancing (HRB), Horizontal Clustering (HC), Horizontal Distance Balancing (HDB) and Horizontal Impact Factor Balancing (HIFB) and results stated that proposed algorithm is almost 5-10% better in makespan time of workflow depending on the workflow used. Pijush Kanti Dutta Pramanik et al. in the paper titled “Green and Sustainable High-Performance Computing with Smartphone Crowd Computing: Benefits, Enablers and Challenges” presented a comprehensive statistical survey of the various commercial CPUs, GPUs, SoCs for smartphones confirming the capability of the SCC as an alternative to HPC. An exhaustive survey is presented on the present and optimistic future of the continuous improvement and research on different aspects of smartphone battery and other alternative power sources which will allow users to use their smartphones for SCC without worrying about the battery running out. Dhanapal and P. Nithyanandam in the paper titled “The Slow HTTP Distributed Denial of Service (DDOS) Attack Detection in Cloud” proposed a novel method to detect slow HTTP DDoS attacks in cloud to overcome the issue of consuming all available server resources and making it unavailable to the real users. The proposed method is implemented using OpenStack cloud platform with slowHTTPTest tool. The results stated that proposed technique detects the attack in efficient manner. Mandeep Kaur and Rajni Mohana in the paper titled “Static Load Balancing Technique for Geographically partitioned Public Cloud” proposed a novel approach focused upon load balancing in the partitioned public cloud by combining centralized and decentralized approaches, assuming the presence of fog layer. A load balancer entity is used for decentralized load balancing at partitions and a controller entity is used for centralized level to balance the overall load at various partitions. Results are compared with First Come First Serve (FCFS) and Shortest Job First (SJF) algorithms. In this work, the researchers compared the Waiting Time, Finish Time and Actual Run Time of tasks using these algorithms. To reduce the number of unhandled jobs, a new load state is introduced which checks load beyond conventional load states. Major objective of this approach is to reduce the need of runtime virtual machine migration and to reduce the wastage of resources, which may be occurring due to predefined values of threshold. Mukta and Neeraj Gupta in the paper titled “Analytical Available Bandwidth Estimation in Wireless Ad-Hoc Networks considering Mobility in 3-Dimensional Space” proposes an analytical approach named Analytical Available Bandwidth Estimation Including Mobility (AABWM) to estimate ABW on a link. The major contributions of the proposed work are: i) it uses mathematical models based on renewal theory to calculate the collision probability of data packets which makes the process simple and accurate, ii) consideration of mobility under 3-D space to predict the link failure and provides an accurate admission control. To test the proposed technique, the researcher used NS-2 simulator to compare the proposed technique i.e. AABWM with AODV, ABE, IAB and IBEM on throughput, Packet loss ratio and Data delivery. Results stated that AABWM performs better as compared to other approaches. R.Sridharan and S. Domnic in the paper titled “Placement Strategy for Intercommunicating Tasks of an Elastic Request in Fog-Cloud Environment” proposed a novel heuristic IcAPER,(Inter-communication Aware Placement for Elastic Requests) algorithm. The proposed algorithm uses the network neighborhood machine for placement, once current resource is fully utilized by the application. The performance IcAPER algorithm is compared with First Come First Serve (FCFS), Random and First Fit Decreasing (FFD) algorithms for the parameters (a) resource utilization (b) resource fragmentation and (c) Number of requests having intercommunicating tasks placed on to same PM using CloudSim simulator. Simulation results shows IcAPER maps 34% more tasks on to the same PM and also increase the resource utilization by 13% while decreasing the resource fragmentation by 37.8% when compared to other algorithms. Velliangiri S. et al. in the paper titled “Trust factor based key distribution protocol in Hybrid Cloud Environment” proposed a novel security protocol comprising of two stages: first stage, Group Creation using the trust factor and develop key distribution security protocol. It performs the communication process among the virtual machine communication nodes. Creating several groups based on the cluster and trust factors methods. The second stage, the ECC (Elliptic Curve Cryptography) based distribution security protocol is developed. The performance of the Trust Factor Based Key Distribution protocol is compared with the existing ECC and Diffie Hellman key exchange technique. The results state that the proposed security protocol has more secure communication and better resource utilization than the ECC and Diffie Hellman key exchange technique in the Hybrid cloud. Vivek kumar prasad et al. in the paper titled “Influence of Monitoring: Fog and Edge Computing” discussed various techniques involved for monitoring for edge and fog computing and its advantages in addition to a case study based on Healthcare monitoring system. Avinash Kaur et al. elaborated a comprehensive view of existing data placement schemes proposed in literature for cloud computing. Further, it classified data placement schemes based on their assess capabilities and objectives and in addition to this comparison of data placement schemes. Parminder Singh et al. presented a comprehensive review of Auto-Scaling techniques of web applications in cloud computing. The complete taxonomy of the reviewed articles is done on varied parameters like auto-scaling, approach, resources, monitoring tool, experiment, workload and metric, etc. Simar Preet Singh et al. in the paper titled “Dynamic Task Scheduling using Balanced VM Allocation Policy for Fog Computing Platform” proposed a novel scheme to improve the user contentment by improving the cost to operation length ratio, reducing the customer churn, and boosting the operational revenue. The proposed scheme is learnt to reduce the queue size by effectively allocating the resources, which resulted in the form of quicker completion of user workflows. The proposed method results are evaluated against the state-of-the-art scene with non-power aware based task scheduling mechanism. The results were analyzed using parameters-- energy, SLA infringement and workflow execution delay. The performance of the proposed schema was analyzed in various experiments particularly designed to analyze various aspects for workflow processing on given fog resources. The LRR (35.85 kWh) model has been found most efficient on the basis of average energy consumption in comparison to the LR (34.86 kWh), THR (41.97 kWh), MAD (45.73 kWh) and IQR (47.87 kWh). The LRR model has been also observed as the leader when compared on the basis of number of VM migrations. The LRR (2520 VMs) has been observed as best contender on the basis of mean of number of VM migrations in comparison with LR (2555 VMs), THR (4769 VMs), MAD (5138 VMs) and IQR (5352 VMs).

Abstract To proactively offer social media users a safe online experience, there is a need for systems that can detect harmful posts and promptly alert platform moderators. In order to guarantee the enforcement of a consistent policy, moderators are provided with detailed guidelines. In contrast, most state-of-the-art models learn what abuse is from labeled examples and as a result base their predictions on spurious cues, such as the presence of group identifiers, which can be unreliable. In this work we introduce the concept of policy-aware abuse detection, abandoning the unrealistic expectation that systems can reliably learn which phenomena constitute abuse from inspecting the data alone. We propose a machine-friendly representation of the policy that moderators wish to enforce, by breaking it down into a collection of intents and slots. We collect and annotate a dataset of 3,535 English posts with such slots, and show how architectures for intent classification and slot filling can be used for abuse detection, while providing a rationale for model decisions.1

Purpose Internet of Things’ (IoT’s) first wave started with tracking services for better inventory management mainly using radio frequency identification (RFID) technology. Later on, monitoring services became one of the major interests, including sensing technologies, and then more actuation for remote control-type of IoT applications such as smart homes, smart cities and Industry 4.0. In this paper, the authors focus on the RFID technology impairment. They propose to take advantage of the mature IoT technologies that offer native service discovery such as blutooth or LTE D2D ProSe or Wifi Direct. Using the automatic service discovery in the new framework will make heterogeneous readers aware of the presence of other readers and this will be used by the proposed distributed algorithm to better control the multiple RFID reader interference problem. The author clearly considers emerging Industry 4.0 use case, where RFID technology is of major interest for both identification and tracking. To enhance the RFID tag reading performance, collisions in the RFID frequency should be minimized with reader-to-reader coordination protocols. In this paper, the author proposes a simple distributed reader anti-collision protocol named DiSim that makes use of proximity services of IoT network and is compliant with the current RFID standards. The author evaluates the efficiency of the proposal via simulation. Design/methodology/approach In this paper, the author proposes a simple distributed reader anti-collision protocol named DiSim that makes use of proximity services of IoT network and is compliant with the current RFID standards. The author evaluates the efficiency of the proposal via simulation to study its behavior in very dense and heterogeneous RFID environments. Specifically, the author explores the coexistence of powerful static readers and small mobile readers, comparing the proposal with a standard ETSI CSMA method. The proposal reduces significantly the number of access attempts, which are resource-expensive for the readers. The results show that the objectives of DiSim are met, producing low reader collision probability and, however, having lower average readings per reader per time. Findings DiSim is evaluated with the ETSI standard LBT protocol for multi-reader environments in several environments with varied levels of reader and tag densities, having both static powerful RFID readers and heterogeneous randomly moving mobile RFID readers. It effectively reduces the number of backoffs or contentions for the RFID channel. This has high reading success rate due to the avoided collisions; however, the readers are put to wait, and DiSim has less average readings per reader per time. As an additional side evaluation, the ETSI standard LBT mechanism was found to present a good performance for low-density mid-coverage scenarios, however, with high variability on the evaluation results. Research limitations/implications To show more results, the author needs to do real experimentation in a warehouse, such as Amazon warehouse, where he expects to have more and more robots, start shelves, automatic item finding on the shelve, etc. Practical implications Future work considers experimentation in a real warehouse equipped with heterogeneous RFID readers and real-time analysis of RFID reading efficiency also combined with indoor localization and navigation for warehouse mobile robots. Social implications More automatization is expected in the future; this work makes the use of RFID technology more efficient and opens more possibilities for services deployment in different domains such as the industry which was considered not only in this paper but also in smart cites and smart homes. Originality/value Compared to the literature, the proposal offers the advantage to not be dependent on a centralized server controlling the RFID readers. It also offers the possibility for an existing RFID architecture to add new readers from a different manufacturer, as the readers using the approach will have the possibility to discover the capabilities of the new interaction other RFID readers. This solution takes advantage of the available proximity service that will be more and more offered by the IoT technologies.

Context: Dynamic software product lines (DSPLs) have considerably increased their adoption for variability management for self-adaptive systems. The most widely used models for managing the variability of DSPLs are the MAPE-K control loop and context-aware feature models (CFMs). Aim: In this paper, we review and synthesize evidence of using variability constraint approaches, methodologies, and challenges for DSPL. Method: We conducted a systematic mapping, including three research questions. This study included 84 papers published from 2010 to 2021. Results: The main results show that open-dynamic variability shows a presence in 57.1% of the selected papers, and on the other hand, closed-dynamic variability appears in 38.1%. The most commonly used methodology for managing a DSPL environment is based on proprietary architectures (60.7%), where the use of CFMs predominates. For open-dynamic variability approaches, the MAPE-K control loop is mainly used. The main challenges in DSPL management are based on techniques (28.6%) and open variation (21.4%). Conclusions: Open-dynamic variability has prevailed over the years as the primary approach to managing variability in DSPL, where its primary methodology is the MAPE-K control loop. Response RQ3 requires further review.

Although the issue of urban waterfront is not entirely new, it still represents a very vivid topic. Urban waterfronts have for long been standing in the forefront of many architects and organizations, who are aware of their value and the potential a watercourse carries within the urban interior. A watercourse is an interconnecting element between the urban development and the surrounding countryside and urban waterfronts are the intermediaries of communication. It is exactly in their area where the city - a purely human product with an inner structure and order defined by humans - meets the element of water, which is a purely natural component.What influences the urban structure most is, however, the presence of water in its very basic form i.e. in the form of a river. Its significance and effect on the public space and the inner relations within the body of the settlement vary with the size and the width of the flow, character of the waterfront, architectural layout of the riverbanks and its current utilization. Urban river works as a communication element which meets with the natural features. It seems to be unnatural to define a waterfront space like mono-functional site. This space denies the very essence of the waterfront and the city’s inhabitants appear as unattractive. In this case the very attractive element of water is unable to urban residents to attract together. In general, the quality of the public space is determined by the degree of its utilization by a wider group of inhabitants. It is the inhabitants themselves who imprints the concept of a public space to empty urban spaces.The present form of urban waterfronts is a result of the historical development, attitude and mental state of the society. The architectural appearance of not only the waterfront but also all public spaces is a reflection of the current social values. It gives evidence about the character of the society, the present economic system, the state and thinking of the contemporary era.

Constant demand for new naval and commercial vessels has created special conditions for the Government-owned Soviet shipbuilding industry, which practically has not been affected by the world shipbuilding crisis. On the other hand, such chronic diseases of the centralized economy as lack of incentive, material shortage and poor workmanship cause specific problems for ship construction. Being technically and financially unable to rapidly improve the overall technology level and performance of the entire industry, the Soviets concentrate their efforts on certain important areas and have achieved significant results, especially in welding and cutting titanium and aluminum alloys, modular production methods, standardization, etc. All productivity improvement efforts are supported by an army of highly educated engineers and scientists at shipyards, in multiple scientific, research and design institutions. Discussion Edwin J. Petersen, Todd Pacific Shipyards Three years ago I addressed the Ship Production Symposium as chairman of the Ship Production Committee and outlined some major factors which had contributed to the U.S. shipbuilding industry's remarkable achievements in building and maintaining the world's largest naval and merchant fleets during the five-year period starting just before World War II. The factors were as follows:There was a national commitment to get the job done. The shipbuilding industry was recognized as a needed national resource. There was a dependable workload. Standardization was extensively and effectively utilized. Shipbuilding work was effectively organized. Although these lessons appear to have been lost by our Government since World War II, the paper indicates that the Soviet Union has picked up these principles and has applied them very well to its current shipbuilding program. The paper also gives testimony to the observation that the Soviet Government recognizes the strategic and economic importance of a strong merchant fleet as well as a powerful naval fleet. In reviewing the paper, I found great similarity between the Soviet shipbuilding productivity improvement efforts and our own efforts or goals under the National Shipbuilding Research Program in the following areas:welding technology, flexible automation (robotics), application of group technology, standardization, facilities development, and education and training. In some areas, the Soviet Union appears to be well ahead of the United States in improving the shipbuilding process. Most noteworthy among these is the stable long-and medium-range planning that is possible by virtue of the use and adherence to the "Table of Vessel Classes." It will be obvious to most who hear and read these comments what a vast and significant improvement in shipbuilding costs and schedules could be achieved with a relatively dependable 15year master ship procurement plan for the U.S. naval and merchant fleets. Another area where the Soviet Union appears to lead the United States is in the integration of ship component suppliers into the shipbuilding process. This has been recognized as a vital step by the National Shipbuilding Research Program, but so far we have not made significant progress. A necessary prerequisite for this "supplier integration" is extensive standardization of ship components, yet another area in which the Soviets have achieved significantly greater progress than we have. Additional areas of Soviet advantage are the presence of a multilevel research and development infrastructure well supported by highly educated scientists, engineering and technical personnel; and better integration of formally educated engineering and technical personnel into the ship production process. In his conclusion, the author lists a number of problems facing the Soviet economy that adversely affect shipbuilding productivity. Perhaps behind this listing we can delve out some potential U.S. shipbuilding advantages. First, production systems in U.S. shipyards (with the possible exception of naval shipyards) are probably more flexible and adjustable to meet new circumstances as a consequence of not being constrained by a burdensome centralized bureaucracy, as is the case with Soviet shipyards. Next, such initiatives as the Ship Production Committee's "Human Resources Innovation" projects stand a better chance of achieving product-oriented "production team" relationship among labor, management, and technical personnel than the more rigid Soviet system, especially in view of the ability of U.S. shipyard management to offer meaningful financial incentives without the kind of bureaucratic constraints imposed in the Soviet system. Finally, the current U.S. Navy/shipbuilding industry cooperative effort to develop a common engineering database should lead to a highly integrated and disciplined ship design, construction, operation, and maintenance system for naval ships (and subsequently for commercial ships) that will ultimately restore the U.S. shipbuilding process to a leadership position in the world marketplace (additional references [16] and [17]).On that tentatively positive note, it seems fitting to close this discussion with a question: Is the author aware of any similar Soviet effort to develop an integrated computer-aided design, production and logistics support system? The author is to be congratulated on an excellent, comprehensive insight into the Soviet shipbuilding process and productivity improvement efforts that should give us all adequate cause not to be complacent in our own efforts. Peter M. Palermo, Naval Sea Systems Command The author presents an interesting paper that unfortunately leaves this reader with a number of unanswered questions. The paper is a paradox. It depicts a system consisting of a highly educated work force, advanced fabrication processes including the use of standardized hull modules, sophisticated materials and welding processes, and yet in the author's words they suffer from "low productivity, poor product quality, . . . and the rigid production systems which resists the introduction of new ideas." Is it possible that incentive, motivation, and morale play an equally significant role in achieving quality and producibility advances? Can the author discuss underlying reasons for quality problems in particular—or can we assume that the learning curves of Figs. 5 and Fig. 6 are representative of quality improvement curves? It has been my general impression that quality will improve with application of high-tech fabrication procedures, enclosed fabrication ways, availability of highly educated welding engineers on the building ways, and that productivity would improve with the implementation of modular or zone outfitting techniques coupled with the quality improvements. Can the author give his impressions of the impact of these innovations in the U.S. shipbuilding industry vis-a-vis the Soviet industry? Many of the welding processes cited in the paper are also familiar to the free world, with certain notable exceptions concerning application in Navy shipbuilding. For example, (1) electroslag welding is generally confined to single-pass welding of heavy plates; application to thinner plates—l1/4 in. and less when certified—would permit its use in more applications than heretofore. (2) Electron beam welding is generally restricted to high-technology machinery parts; vacuum chamber size restricts its use for larger components (thus it must be assumed that the Soviets have solved the vacuum chamber problem or have much larger chambers). (3) Likewise, laser welding has had limited use in U.S. shipbuilding. An interesting theme that runs throughout the paper, but is not explicitly addressed, is the quality of Soviet ship fitting. The use of high-tech welding processes and the mention of "remote controlled tooling for welding and X-ray testing the butt, and for following painting" imply significant ship fitting capabilities for fitting and positioning. This is particularly true if modules are built in one facility, outfitted and assembled elsewhere depending on the type of ship required. Any comments concerning Soviet ship fitting capabilities would be appreciated. The discussion on modular construction seems to indicate that the Soviets have a "standard hull module" that is used for different types of vessels, and if the use of these hull modules permit increasing hull length without changes to the fore and aft ends, it can be assumed that they are based on a standard structural design. That being the case, the midship structure will be overdesigned for many applications and optimally designed for very few. Recognizing that the initial additional cost for such a piece of hull structure is relatively minimal, it cannot be forgotten that the lifecycle costs for transporting unnecessary hull weight around can have significant fuel cost impacts. If I perceived the modular construction approach correctly, then I am truly intrigued concerning the methods for handling the distributive systems. In particular, during conversion when the ship is lengthened, how are the electrical, fluid, communications, and other distributive systems broken down, reassembled and tested? "Quick connect couplings" for these type systems at the module breaks is one particular area where economies can be achieved when zone construction methods become the order of the day in U.S. Navy ships. The author's comments in this regard would be most welcome. The design process as presented is somewhat different than U.S. Navy practice. In U.S. practice, Preliminary and Contract design are developed by the Navy. Detail design, the development of the working drawings, is conducted by the lead shipbuilder. While the detail design drawings can be used by follow shipbuilders, flexibility is permitted to facilitate unique shipbuilding or outfitting procedures. Even the contract drawings supplied by the Navy can be modified— upon Navy approval—to permit application of unique shipbuilder capabilities. The large number of college-trained personnel entering the Soviet shipbuilding and allied fields annually is mind-boggling. According to the author's estimation, a minimum of about 6500 college graduates—5000 of which have M.S. degrees—enter these fields each year. It would be most interesting to see a breakdown of these figures—in particular, how many naval architects and welding engineers are included in these figures? These are disciplines with relatively few personnel entering the Navy design and shipbuilding field today. For example, in 1985 in all U.S. colleges and universities, there were only 928 graduates (B.S., M.S. and Ph.D.) in marine, naval architecture and ocean engineering and only 1872 graduates in materials and metallurgy. The number of these graduates that entered the U.S. shipbuilding field is unknown. Again, the author is to be congratulated for providing a very thought-provoking paper. Frank J. Long, Win/Win Strategies This paper serves not only as a chronicle of some of the productivity improvement efforts in Soviet shipbuilding but also as an important reminder of the fruits of those efforts. While most Americans have an appreciation of the strengths of the Russian Navy, this paper serves to bring into clearer focus the Russians' entire maritime might in its naval, commercial, and fishing fleets. Indeed, no other nation on earth has a greater maritime capability. It is generally acknowledged that the Soviet Navy is the largest in the world. When considering the fact that the commercial and fishing fleets are, in many military respects, arms of the naval fleet, we can more fully appreciate how awesome Soviet maritime power truly is. The expansion of its maritime capabilities is simply another but highly significant aspect of Soviet worldwide ambitions. The development and updating of "Setka Typov Su dov" (Table of Vessel Classes), which the author describes is a classic example of the Soviet planning process. As the author states, "A mighty fishing and commercial fleet was built in accordance with a 'Setka' which was originally developed in the 1960's. And an even more impressive example is the rapid expansion of the Soviet Navy." In my opinion it is not mere coincidence that the Russians embarked on this course in the 1960's. That was the beginning of the coldest of cold war periods—Francis Gary Power's U-2 plane was downed by the Russians on May 1, 1960; the mid-May 1960 Four Power Geneva Summit was a bust; the Berlin Wall was erected in 1961 and, in 1962, we had the Cuban Missile Crisis. The United States maritime embargo capability in that crisis undoubtedly influenced the Soviet's planning process. It is a natural and normal function of a state-controlled economy with its state-controlled industries to act to bring about the controlled productivity improvement developments in exactly the key areas discussed in the author's paper. As the author states, "All innovations at Soviet shipyards have originated at two main sources:domestic development andadaptation of new ideas introduced by leading foreign yards, or most likely a combination of both. Soviet shipbuilders are very fast learners; moreover, their own experience is quite substantial." The Ship Production Committee of SNAME has organized its panels to conduct research in many of these same areas for productivity improvement purposes. For example, addressing the areas of technology and equipment are Panels SP-1 and 3, Shipbuilding Facilities and Environmental Effects, and Panel SP-7, Shipbuilding Welding. Shipbuilding methods are the province of SP-2; outfitting and production aids and engineering and scientific support are the province of SP-4, Design Production Integration. As I read through the descriptions of the processes that led to the productivity improvements, I was hoping to learn more about the organizational structure of Soviet shipyards, the managerial hierarchy and how work is organized by function or by craft in the shipyard. (I would assume that for all intents and purposes, all Russian yards are organized in the same way.) American shipyard management is wedded to the notion that American shipbuilding suffers immeasurably from a productivity standpoint because of limitations on management's ability to assign workers across craft lines. It is unlikely that this limitation exists in Soviet shipyards. If it does not, how is the unfettered right of assignment optimized? What are the tangible, measurable results? I believe it would have been helpful, also, for the author to have dedicated some of the paper to one of the most important factors in improvement in the labor-intensive shipbuilding industry—the shipyard worker. There are several references to worker problems—absenteeism, labor shortage, poor workmanship, and labor discipline. The reader is left with the impression that the Russians believe that either those are unsolvable problems or have a priority ranking significantly inferior to the organizational, technical, and design efforts discussed. As a case in point, the author devotes a complete section to engineering education and professional training but makes no mention of education or training programs for blue-collar workers. It would seem that a paper on productivity improvement efforts in Soviet shipbuilding would address this most important element. My guess is that the Russians have considerable such efforts underway and it would be beneficial for us to learn of them.

AbstractAutomatic recognition of surgical phases is an important component for developing an intra-operative context-aware system. Prior work in this area focuses on recognizing short-term tool usage patterns within surgical phases. However, the difference between intra- and inter-phase tool usage patterns has not been investigated for automatic phase recognition. We developed a Recurrent Neural Network (RNN), in particular a state-preserving Long Short Term Memory (LSTM) architecture to utilize the long-term evolution of tool usage within complete surgical procedures. For fully automatic tool presence detection from surgical video frames, a Convolutional Neural Network (CNN) based architecture namely ZIBNet is employed. Our proposed approach outperformed EndoNet by 8.1% on overall precision for phase detection tasks and 12.5% on meanAP for tool recognition tasks.

Shared caches in multi-core processors introduce serious difficulties in providing guarantees on the real-time properties of embedded software due to the interaction and the resulting contention in the shared caches. Prior work has studied the schedulability analysis of global scheduling for real-time multi-core systems with shared caches. This paper considers another common scheduling paradigm: partitioned scheduling in the presence of shared cache interference. To achieve this, we propose CITTA, a cache-interference aware task partitioning algorithm. We first analyze the shared cache interference between two programs for set-associative instruction and data caches. Then, an integer programming formulation is constructed to calculate the upper bound on cache interference exhibited by a task, which is required by CITTA. We conduct schedulability analysis of CITTA and formally prove its correctness. A set of experiments is performed to evaluate the schedulability performance of CITTA against global EDF scheduling and other greedy partition approaches such as First-fit and Worst-fit over randomly generated tasksets and realistic workloads in embedded systems. Our empirical evaluations show that CITTA outperforms global EDF scheduling and greedy partition approaches in terms of task sets deemed schedulable.

AbstractWith increase in the use of contactless deliveries during the times such as COVID-19 pandemic, the emphasis was to minimize the human presence to reduce the spread of virus. In this regard, drones are one promising alternative to be used as delivery agents. However, security and Quality of Service (QoS) are major concerns while making use of drones for deliveries. In order to secure the drone communication system, we propose, CovaDel: a blockchain-based scheme to secure data transactions for the drone delivery use case that works in a phased manner. The proposed scheme make use of decoupled blockchain architecture to overcome the limited resources capabilities of drones to perform blockchain-based computations. Further, to ensure the QoS adherence, we also propose a QoS-aware communication approach that handles collisions and congestion on the basis of firefly algorithm’s attractiveness parameter (light intensity) received by the drones. Results obtained using a simulated environment verify the efficacy of the proposed scheme on the basis of gas consumed, transaction time, average network throughput, and delay.

Recently, deep trackers based on the siamese networking are enjoying increasing popularity in the tracking community. Generally, those trackers learn a high-level semantic embedding space for feature representation but lose low-level fine-grained details. Meanwhile, the learned high-level semantic features are not updated during online tracking, which results in tracking drift in presence of target appearance variation and similar distractors. In this paper, we present a novel end-to-end trainable Convolutional Neural Network (CNN) based on the siamese network for distractor-aware tracking. It enhances target appearance representation in both the offline training stage and online tracking stage. In the offline training stage, this network learns both the low-level fine-grained details and high-level coarse-grained semantics simultaneously in a multi-task learning framework. The low-level features with better resolution are complementary to semantic features and able to distinguish the foreground target from background distractors. In the online stage, the learned low-level features are fed into a correlation filter layer and updated in an interpolated manner to encode target appearance variation adaptively. The learned high-level features are fed into a cross-correlation layer without online update. Therefore, the proposed tracker benefits from both the adaptability of the fine-grained correlation filter and the generalization capability of the semantic embedding. Extensive experiments are conducted on the public OTB100 and UAV123 benchmark datasets. Our tracker achieves state-of-the-art performance while running with a real-time frame-rate.

The quality of speech degrades while communicating over Voice over Internet Protocol (VoIP) applications, for example, Google Meet, Microsoft Skype, Apple FaceTime, due to different types of background noise present in the surroundings. It reduces human perceived Quality of Experience (QoE). Along this line, this paper proposes a novel speech quality prediction metric that can meet human’s desired QoE level. Our motivation is driven by the lack of evidence showing speech quality metrics that can distinguish different noise degradations before predicting the quality of speech. The quality of speech in noisy environments is improved by speech enhancement algorithms, and for measuring and monitoring the quality of speech, objective speech quality metrics are used. With the integration of these components, a novel no-reference context-aware speech quality prediction metric, “CAQoE”, is proposed in this paper, which initially identifies the context or noise type or degradation type of the input noisy speech signal and then predicts context-specific speech quality for that input speech signal. It will have of great importance in deciding the speech enhancement algorithms if the types of degradations causing poor speech quality are known along with the quality metric. Results demonstrate that the proposed CAQoE metric outperforms in different contexts as compared to the metric where contexts are not identified before predicting the quality of speech, even in the presence of limited size speech corpus having different contexts available from the NOIZEUS speech database.

AbstractIn this work, we propose an attention-based deep convolutional neural network (CNN) model as an assistive computer-aided tool to classify common types of macular diseases: age-related macular degeneration, diabetic macular edema, diabetic retinopathy, choroidal neovascularization, macular hole, and central serous retinopathy from normal macular conditions with the help of scans from optical coherence tomography (OCT) imaging. Our proposed architecture unifies refined deep pre-trained models using transfer learning with limited training data and a deformation-aware attention mechanism encoding crucial morphological variations appearing in the deformation of retinal layers, detachments from the subsequent layers, presence of fluid-filled regions, geographic atrophy, scars, cysts, drusen, to achieve superior macular imaging classification performance. The proposed attention module facilitates the base network to automatically focus on the salient features arising due to the macular structural abnormalities while suppressing the irrelevant (or no cues) regions. The superiority of our proposed method lies in the fact that it does not require any pre-processing steps such as retinal flattening, denoising, and selection of a region of interest making it fully automatic and end-to-end trainable. Additionally, it requires a reduced number of network model parameters while achieving higher diagnostic performance. Extensive experimental results, analysis on four datasets along with the ablation studies show that the proposed architecture achieves state-of-the-art performance.

Neuronal soma segmentation is a crucial step for the quantitative analysis of neuronal morphology. Automated neuronal soma segmentation methods have opened up the opportunity to improve the time-consuming manual labeling required during the neuronal soma morphology reconstruction for large-scale images. However, the presence of touching neuronal somata and variable soma shapes in images brings challenges for automated algorithms. This study proposes a neuronal soma segmentation method combining 3D U-shaped fully convolutional neural networks with multi-task learning. Compared to existing methods, this technique applies multi-task learning to predict the soma boundary to split touching somata, and adopts U-shaped architecture convolutional neural network which is effective for a limited dataset. The contour-aware multi-task learning framework is applied to the proposed method to predict the masks of neuronal somata and boundaries simultaneously. In addition, a spatial attention module is embedded into the multi-task model to improve neuronal soma segmentation results. The Nissl-stained dataset captured by the micro-optical sectioning tomography system is used to validate the proposed method. Following comparison to four existing segmentation models, the proposed method outperforms the others notably in both localization and segmentation. The novel method has potential for high-throughput neuronal soma segmentation in large-scale optical imaging data for neuron morphology quantitative analysis.

More and more wild animals find refuge in cities, due to the growth of urbanized areas, the devastation of natural habitats and the intensive transformation of agricultural spaces. The presence of wildlife increases conflicts but is also generating interesting considerations on the relationship between man and nature, based on empathy and the comprehension of animal. New co-evolution paths within cities, anthropic habitat par excellence, imply a different way of relating to the "wild" or "feral" to produce generative alliances and new shared habitat. The landscape project must come out of the comfort zone of a design conceived exclusively for human consumption and well-being: spaces of interspecies co-operation (productive symbiosis), generating responses of mutual adaptation to environmental and climatic changes; new places of co-habitat for both humans and animals; immersive spaces, for empathic and emotional cognition capable to sensitizing became aware of the interconnections between all living species and their common habitat.

Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and government-sponsored slum clearance in the UK (Power 190; Baker). Brutalism’s promise to accommodate an astonishing number of civilians within a minimal area through high-rise configurations and elevated walkways was alluring to architects and city planners (High Rise Dreams). Concrete was the material of choice due to its affordability, durability, and versatility; it also allowed buildings to be erected quickly (Allen and Iano 622).The Brutalist style was used for cultural centres, such as the Perth Concert Hall in Western Australia, educational institutions such as the Yale School of Architecture, and government buildings such as the Secretariat Building in Chandigarh, India. However, as pioneering Brutalist architect Alison Smithson explained, the style achieved full expression by “thinking on a much bigger scale somehow than if you only got [sic] one house to do” (Smithson and Smithson, Conversation 40). Brutalism, therefore, lent itself to the design of large residential complexes. It was consequently used worldwide for public housing developments, that is, residences built by a government authority with the aim of providing affordable housing. Notable examples include the Western City Gate in Belgrade, Serbia, and Habitat 67 in Montreal, Canada.Brutalist architecture polarised opinion and continues to do so to this day. On the one hand, protected cultural heritage status has been awarded to some Brutalist buildings (Carter; Glancey) and the style remains extremely influential, for example in the recent award-winning work of architect Zaha Hadid (Niesewand). On the other hand, the public housing projects associated with Brutalism are widely perceived as failures (The Great British Housing Disaster). Many Brutalist objects currently at risk of demolition are social housing estates, such as the Smithsons’ Robin Hood Gardens in London, UK. Whether the blame for the demise of such housing developments lies with architects, inhabitants, or local government has been widely debated. In the UK and USA, local authorities had relocated families of predominantly lower socio-economic status into the newly completed developments, but were unable or unwilling to finance subsequent maintenance and security costs (Hanley 115; R. Carroll; The Pruitt-Igoe Myth). Consequently, the residents became fearful of criminal activity in staircases and corridors that lacked “defensible space” (Newman 9), which undermined a vision of “streets in the sky” (Moran 615).In spite of its later problems, Brutalism’s architects had intended to develop a style that expressed 1950s contemporary living in an authentic manner. To them, this meant exposing building materials in their “raw” state and creating an aesthetic for an age of science, machine mass production, and consumerism (Stadler 264; 267; Smithson and Smithson, But Today 44). Corporeal sensations did not feature in this “machine” aesthetic (Dalrymple). Exceptionally, acclaimed Brutalist architect Ernö Goldfinger discussed how “visual sensation,” “sound and touch with smell,” and “the physical touch of the walls of a narrow passage” contributed to “sensations of space” within architecture (Goldfinger 48). However, the effects of residing within Brutalist objects may not have quite conformed to predictions, since Goldfinger moved out of his Brutalist construction, Balfron Tower, after two months, to live in a terraced house (Hanley 112).An abstract perspective that favours theorisation over subjective experiences characterises discourse on Brutalist social housing developments to this day (Singh). There are limited data on the everyday lived experience of residents of Brutalist social housing estates, both then and now (for exceptions, see Hanley; The Pruitt-Igoe Myth; Cooper et al.).Yet, our bodily interaction with the objects around us shapes our lived experience. On a broader physical scale, this includes the structures within which we live and work. The importance of the interaction between architecture and embodied being is increasingly recognised. Today, architecture is described in corporeal terms—for example, as a “skin” that surrounds and protects its human inhabitants (Manan and Smith 37; Armstrong 77). Biological processes are also inspiring new architectural approaches, such as synthetic building materials with life-like biochemical properties (Armstrong 79), and structures that exhibit emergent behaviour in response to human presence, like a living system (Biloria 76).In this article, we employ an autoethnographic perspective to explore the corporeal effects of Brutalist buildings, thereby revealing a new dimension to the anthropological significance of these controversial structures. We trace how they shape the physicality of the bodies interacting within them. Our approach is one step towards considering the historically under-appreciated subjective, corporeal experience elicited in interaction with Brutalist objects.Method: An Autoethnographic ApproachAutoethnography is a form of self-narrative research that connects the researcher’s personal experience to wider cultural understandings (Ellis 31; Johnson). It can be analytical (Anderson 374) or emotionally evocative (Denzin 426).We investigated two Brutalist residential estates in London, UK:(i) The Barbican Estate: This was devised to redevelop London’s severely bombed post-WWII Cripplegate area, combining private residences for middle class professionals with an assortment of amenities including a concert hall, library, conservatory, and school. It was designed by architects Chamberlin, Powell, and Bon. Opened in 1982, the Estate polarised opinion on its aesthetic qualities but has enjoyed success with residents and visitors. The development now comprises extremely expensive housing (Brophy). It was Grade II-listed in 2001 (Glancey), indicating a status of architectural preservation that restricts alterations to significant buildings.(ii) Trellick Tower: This was built to replace dilapidated 19th-century housing in the North Kensington area. It was designed by Hungarian-born architect Ernő Goldfinger to be a social housing development and was completed in 1972. During the 1980s and 1990s, it became known as the “Tower of Terror” due to its high level of crime (Hanley 113). Nevertheless, Trellick Tower was granted Grade II listed status in 1998 (Carter), and subsequent improvements have increased its desirability as a residence (R. Carroll).We explored the grounds, communal spaces, and one dwelling within each structure, independently recording our corporeal impressions and sensations in detailed notes, which formed the basis of longhand journals written afterwards. Our analysis was developed through co-constructed autoethnographic reflection (emerald and Carpenter 748).For reasons of space, one full journal entry is presented for each Brutalist structure, with an excerpt from each remaining journal presented in the subsequent analysis. To identify quotations from our journals, we use the codes R- and N- to refer to RB’s and NC’s journals, respectively; we use -B and -T to refer to the Barbican Estate and Trellick Tower, respectively.The Barbican Estate: Autoethnographic JournalAn intricate concrete world emerges almost without warning from the throng of glass office blocks and commercial buildings that make up the City of London's Square Mile. The Barbican Estate comprises a multitude of low-rise buildings, a glass conservatory, and three enormous high-rise towers. Each modular building component is finished in the same coarse concrete with burnished brick underfoot, whilst the entire structure is elevated above ground level by enormous concrete stilts. Plants hang from residential balconies over glimmering pools in a manner evocative of concrete Hanging Gardens of Babylon.Figure 1. Barbican Estate Figure 2. Cromwell Tower from below, Barbican Estate. Figure 3: The stairwell, Cromwell Tower, Barbican Estate. Figure 4. Lift button pods, Cromwell Tower, Barbican Estate.R’s journalMy first footsteps upon the Barbican Estate are elevated two storeys above the street below, and already an eerie calm settles on me. The noise of traffic and the bustle of pedestrians have seemingly been left far behind, and a path of polished brown brick has replaced the paving slabs of the city's pavement. I am made more aware of the sound of my shoes upon the ground as I take each step through the serenity.Running my hands along the walkway's concrete sides as we proceed further into the estate I feel its coarseness, and look up to imagine the same sensation touching the uppermost balcony of the towers. As we travel, the cold nature and relentless employ of concrete takes over and quickly becomes the norm.Our route takes us through the Barbican's central Arts building and into the Conservatory, a space full of plant-life and water features. The noise of rushing water comes as a shock, and I'm reminded just how hauntingly peaceful the atmosphere of the outside estate has been. As we leave the conservatory, the hush returns and we follow another walkway, this time allowing a balcony-like view over the edge of the estate. I'm quickly absorbed by a sensation I can liken only to peering down at the ground from a concrete cloud as we observe the pedestrians and traffic below.Turning back, we follow the walkways and begin our approach to Cromwell Tower, a jagged structure scraping the sky ahead of us and growing menacingly larger with every step. The estate has up till now seemed devoid of wind, but even so a cold begins to prickle my neck and I increase my speed toward the door.A high-ceilinged foyer greets us as we enter and continue to the lifts. As we push the button and wait, I am suddenly aware that carpet has replaced bricks beneath my feet. A homely sensation spreads, my breathing slows, and for a brief moment I begin to relax.We travel at heart-racing speed upwards to the 32nd floor to observe the view from the Tower's fire escape stairwell. A brief glance over the stair's railing as we enter reveals over 30 storeys of stair casing in a hard-edged, triangular configuration. My mind reels, I take a second glance and fail once again to achieve focus on the speck of ground at the bottom far below. After appreciating the eastward view from the adjacent window that encompasses almost the entirety of Central London, we make our way to a 23rd floor apartment.Entering the dwelling, we explore from room to room before reaching the balcony of the apartment's main living space. Looking sheepishly from the ledge, nothing short of a genuine concrete fortress stretches out beneath us in all directions. The spirit and commotion of London as I know it seems yet more distant as we gaze at the now miniaturized buildings. An impression of self-satisfied confidence dawns on me. The fortress where we stand offers security, elevation, sanctuary and I'm furnished with the power to view London's chaos at such a distance that it's almost silent.As we leave the apartment, I am shadowed by the same inherent air of tranquillity, pressing yet another futuristic lift access button, plummeting silently back towards the ground, and padding across the foyer's soft carpet to pursue our exit route through the estate's sky-suspended walkways, back to the bustle of regular London civilization.Trellick Tower: Autoethnographic JournalThe concrete majesty of Trellick Tower is visible from Westbourne Park, the nearest Tube station. The Tower dominates the skyline, soaring above its neighbouring estate, cafes, and shops. As one nears the Tower, the south face becomes visible, revealing the suspended corridors that join the service tower to the main body of flats. Light of all shades and colours pours from its tightly stacked dwellings, which stretch up into the sky. Figure 5. Trellick Tower, South face. Figure 6. Balcony in a 27th-floor flat, Trellick Tower.N’s journalOutside the tower, I sense danger and experience a heightened sense of awareness. A thorny frame of metal poles holds up the tower’s facade, each pole poised as if to slip down and impale me as I enter the building.At first, the tower is too big for comprehension; the scale is unnatural, gigantic. I feel small and quite squashable in comparison. Swathes of unmarked concrete surround the tower, walls that are just too high to see over. Who or what are they hiding? I feel uncertain about what is around me.It takes some time to reach the 27th floor, even though the lift only stops on every 3rd floor. I feel the forces of acceleration exert their pressure on me as we rise. The lift is very quiet.Looking through the windows on the 27th-floor walkway that connects the lift tower to the main building, I realise how high up I am. I can see fog. The city moves and modulates beneath me. It is so far away, and I can’t reach it. I’m suspended, isolated, cut off in the air, as if floating in space.The buildings underneath appear tiny in comparison to me, but I know I’m tiny compared to this building. It’s a dichotomy, an internal tension, and feels quite unreal.The sound of the wind in the corridors is a constant whine.In the flat, the large kitchen window above the sink opens directly onto the narrow, low-ceilinged corridor, on the other side of which, through a second window, I again see London far beneath. People pass by here to reach their front doors, moving so close to the kitchen window that you could touch them while you’re washing up, if it weren’t for the glass. Eye contact is possible with a neighbour, or a stranger. I am close to that which I’m normally separated from, but at the same time I’m far from what I could normally access.On the balcony, I have a strong sensation of vertigo. We are so high up that we cannot be seen by the city and we cannot see others. I feel physically cut off from the world and realise that I’m dependent on the lift or endlessly spiralling stairs to reach it again.Materials: sharp edges, rough concrete, is abrasive to my skin, not warm or welcoming. Sharp little stones are embedded in some places. I mind not to brush close against them.Behind the tower is a mysterious dark maze of sharp turns that I can’t see around, and dark, narrow walkways that confine me to straight movements on sloping ramps.“Relentless Employ of Concrete:” Body versus Stone and HeightThe “relentless employ of concrete” (R-B) in the Barbican Estate and Trellick Tower determined our physical interactions with these Brutalist objects. Our attention was first directed towards texture: rough, abrasive, sharp, frictive. Raw concrete’s potential to damage skin, should one fall or brush too hard against it, made our bodies vulnerable. Simultaneously, the ubiquitous grey colour and the constant cold anaesthetised our senses.As we continued to explore, the constant presence of concrete, metal gratings, wire, and reinforced glass affected our real and imagined corporeal potentialities. Bodies are powerless against these materials, such that, in these buildings, you can only go where you are allowed to go by design, and there are no other options.Conversely, the strength of concrete also has a corporeal manifestation through a sense of increased physical security. To R, standing within the “concrete fortress” of the Barbican Estate, the object offered “security, elevation, sanctuary,” and even “power” (R-B).The heights of the Barbican’s towers (123 metres) and Trellick Tower (93 metres) were physically overwhelming when first encountered. We both felt that these menacing, jagged towers dominated our bodies.Excerpt from R’s journal (Trellick Tower)Gaining access to the apartment, we begin to explore from room to room. As we proceed through to the main living area we spot the balcony and I am suddenly aware that, in a short space of time, I had abandoned the knowledge that some 26 floors lay below me. My balance is again shaken and I dig my heels into the laminate flooring, as if to achieve some imaginary extra purchase.What are the consequences of extreme height on the body? Certainly, there is the possibility of a lethal fall and those with vertigo or who fear heights would feel uncomfortable. We discovered that height also affects physical instantiation in many other ways, both empowering and destabilising.Distance from ground-level bustle contributed to a profound silence and sense of calm. Areas of intermediate height, such as elevated communal walkways, enhanced our sensory abilities by granting the advantage of observation from above.Extreme heights, however, limited our ability to sense the outside world, placing objects beyond our range of visual focus, and setting up a “bizarre segregation” (R-T) between our physical presence and that of the rest of the world. Height also limited potentialities of movement: no longer self-sufficient, we depended on a working lift to regain access to the ground and the rest of the city. In the lift itself, our bodies passively endured a cycle of opposing forces as we plummeted up or down numerous storeys in mere seconds.At both locations, N noticed how extreme height altered her relative body size: for example, “London looks really small. I have become huge compared to the tiny city” (N-B). As such, the building’s lift could be likened to a cake or potion from Lewis Carroll’s Alice in Wonderland. This illustrates how the heuristics that we use to discern visual perspective and object size, which are determined by the environment in which we live (Segall et al.), can be undermined by the unusual scales and distances found in Brutalist structures.Excerpt from N’s journal (Barbican Estate)Warning: These buildings give you AFTER-EFFECTS. On the way home, the size of other buildings seems tiny, perspectives feel strange; all the scales seem to have been re-scaled. I had to become re-used to the sensation of travelling on public trains, after travelling in the tower lifts.We both experienced perceptual after-effects from the disproportional perspectives of Brutalist spaces. Brutalist structures thus have the power to affect physical sensations even when the body is no longer in direct interaction with them!“Challenge to Privacy:” Intersubjective Ideals in Brutalist DesignAs embodied beings, our corporeal manifestations are the primary transducers of our interactions with other people, who in turn contribute to our own body schema construction (Joas). Architects of Brutalist habitats aimed to create residential utopias, but we found that the impact of their designs on intersubjective corporeality were often incoherent and contradictory. Brutalist structures positioned us at two extremes in relation to the bodies of others, forcing either an uncomfortable intersection of personal space or, conversely, excessive separation.The confined spaces of the lifts, and ubiquitous narrow, low-ceilinged corridors produced uncomfortable overlaps in the personal space of the individuals present. We were fascinated by the design of the flat in Trellick Tower, where the large kitchen window opened out directly onto the narrow 27th-floor corridor, as described in N’s journal. This enforced a physical “challenge to privacy” (R-T), although the original aim may have been to promote a sense of community in the “streets in the sky” (Moran 615). The inter-slotting of hundreds of flats in Trellick Tower led to “a multitude of different cooking aromas from neighbouring flats” (R-T) and hence a direct sensing of the closeness of other people’s corporeal activities, such as eating.By contrast, enormous heights and scales constantly placed other people out of sight, out of hearing, and out of reach. Sharp-angled walkways and blind alleys rendered other bodies invisible even when they were near. In the Barbican Estate, huge concrete columns, behind which one could hide, instilled a sense of unease.We also considered the intersubjective interaction between the Brutalist architect-designer and the inhabitant. The elements of futuristic design—such as the “spaceship”-like pods for lift buttons in Cromwell Tower (N-B)—reconstruct the inhabitant’s physicality as alien relative to the Brutalist building, and by extension, to the city that commissioned it.ReflectionsThe strength of the autoethnographic approach is also its limitation (Chang 54); it is an individual’s subjective perspective, and as such we cannot experience or represent the full range of corporeal effects of Brutalist designs. Corporeal experience is informed by myriad factors, including age, body size, and ability or disability. Since we only visited these structures, rather than lived in them, we could have experienced heightened sensations that would become normalised through familiarity over time. Class dynamics, including previous residences and, importantly, the amount of choice that one has over where one lives, would also affect this experience. For a full perspective, further data on the everyday lived experiences of residents from a range of different backgrounds are necessary.R’s reflectionDespite researching Brutalist architecture for years, I was unprepared for the true corporeal experience of exploring these buildings. Reading back through my journals, I'm struck by an evident conflict between stylistic admiration and physical uneasiness. I feel I have gained a sympathetic perspective on the notion of residing in the structures day-to-day.Nevertheless, analysing Brutalist objects through a corporeal perspective helped to further our understanding of the experience of living within them in a way that abstract thought could never have done. Our reflections also emphasise the tension between the physical and the psychological, whereby corporeal struggle intertwines with an abstract, aesthetic admiration of the Brutalist objects.N’s reflectionIt was a wonderful experience to explore these extraordinary buildings with an inward focus on my own physical sensations and an outward focus on my body’s interaction with others. On re-reading my journals, I was surprised by the negativity that pervaded my descriptions. How does physical discomfort and alienation translate into cognitive pleasure, or delight?ConclusionBrutalist objects shape corporeality in fundamental and sometimes contradictory ways. The range of visual and somatosensory experiences is narrowed by the ubiquitous use of raw concrete and metal. Materials that damage skin combine with lethal heights to emphasise corporeal vulnerability. The body’s movements and sensations of the external world are alternately limited or extended by extreme heights and scales, which also dominate the human frame and undermine normal heuristics of perception. Simultaneously, the structures endow a sense of physical stability, security, and even power. By positioning multiple corporealities in extremes of overlap or segregation, Brutalist objects constitute a unique challenge to both physical privacy and intersubjective potentiality.Recognising these effects on embodied being enhances our current understanding of the impact of Brutalist residences on corporeal sensation. This can inform the future design of residential estates. Our autoethnographic findings are also in line with the suggestion that Brutalist structures can be “appreciated as challenging, enlivening environments” exactly because they demand “physical and perceptual exertion” (Sroat). 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I have decided to launch a campaign against the skyscraper, that hideous, mediocre form of architecture…. Today we only have an empty version of it, only competing in height.— Rem Koolhaas, “Kool Enough for Beijing?”Figure 1: The CCTV Headquarters—A Courtyard in the Air. Cher Coad, 2020.Introduction: An Anomaly within an Anomaly Construction of Beijing’s China Central Television Headquarters (henceforth CCTV Headquarters) began in 2004 and the building was officially completed in 2012. It is a project by the Office for Metropolitan Architecture (OMA) headed by Rem Koolhaas (1944-), who has been called “the coolest, hippest, and most cutting-edge architect on the planet”(“Rem Koolhaas Biography”). The CCTV Headquarters is a distinctive feature of downtown Beijing and is heavily associated in the Western world with 21st-century China. It is often used as the backdrop for reports from the China correspondent for the Australian Broadcasting Corporation (ABC), Bill Birtles. The construction of the CCTV Headquarters, however, was very much an international enterprise. Koolhaas himself is Dutch, and the building was one of the first projects the OMA did outside of America after 9/11. As Koolhaas describes it: we had incredible emphasis on New York for five years, and America for five years, and what we decided to do after September 11 when we realized that, you know, things were going to be different in America: [was] to also orient ourselves eastwards [Koolhaas goes on to describe two projects: the Hermitage Museum, St. Petersburg, Russia and the CCTV Headquarters]. (Rem Koolhaas Interview) Problematically, Koolhaas claims that the building we created for CCTV could never have been conceived by the Chinese and could never have been built by Europeans. It is a hybrid by definition. It was also a partnership, not a foreign imposition…. There was a huge Chinese component from the very beginning. We tried to do a building that conveys that it has emerged from the local situation. (Fraioli 117) Our article reinterprets this reading. We suggest that the OMA’s “incredible emphasis” on America—home of the world’s first skyscraper: the Home Insurance Building built in 1885 in Chicago, Illinois—pivotally spills over into its engagement with China. The emergence of the CCTV Headquarters “from the local situation”, such as it is, is more in spite of Koolhaas’s stated “hybrid” approach than because of it, for what’s missing from his analysis of the CCTV Headquarters’ provenance is the siheyuan or classical Chinese courtyard house. We will argue that the CCTV Headquarters is an anomaly within an anomaly in contemporary Beijing’s urban landscape, to the extent that it turns the typologies of both the (vertical, American) skyscraper and the (horizontal, Chinese) siheyuan on a 90 degree angle. The important point to make here, however, is that these two anomalous elements of the building are not of the same order. While the anomalous re-configuration of the skyscraper typology is clearly part of Koolhaas’s architectural manifesto, it is against his architectural intentionality that the CCTV Headquarters sustains the typology of the siheyuan. This bespeaks the persistent and perhaps functional presence of traditional Chinese architecture and urbanism in the building. Koolhaas’s building contains both starkly evident and more secretive anomalies. Ironically then, there is a certain truth in Koolhaas’s words, beneath the critique we made of it above as an example of American-dominated, homogenising globalisation. And the significance of the CCTV Headquarters’ hybridity as both skyscraper and siheyuan can be elaborated through Daniel M. Abramson’s thesis that a consideration of unbuilt architecture has the potential to re-open architecture to its historical conditions. Roberto Schwarz argues that “forms are the abstract of specific social relationships” (53). Drawing on Schwarz’s work and Abramson’s, we conclude that the historical presence—as secretive anomaly—of the siheyuan in the CCTV Headquarters suggests that the building’s formal debt to the siheyuan (more so than to the American skyscraper) may continue to unsettle the “specific social relationship” of Chinese to Western society (Schwarz 53). The site of this unsettlement, we suggest, is data. The CCTV Headquarters might well be the most data-rich site in all of China—it is, after all, a monumental television station. Suggestively, this wealth of airborne data is literally enclosed within the aerial “courtyard”, with its classical Chinese form, of the CCTV Headquarters. This could hardly be irrelevant in the context of the geo-politics of globalised data. The “form of data”, to coin a phrase, radiates through all the social consequences of data flow and usage, and here the form of data is entwined with a form always already saturated with social consequence. The secretive architectural anomaly of Koolhaas’s building is thus a heterotopic space within the broader Western engagement with China, so much of which relates to flows and captures of data. The Ubiquitous Siheyuan or Classical Chinese Courtyard House According to Ying Liu and Adenrele Awotona, “the courtyard house, a residential compound with buildings surrounding a courtyard on four (or sometimes three) sides, has been representative of housing patterns for over one thousand years in China” (248). Liu and Awotona state that “courtyard house patterns could be found in many parts of China, but the most typical forms are those located in the Old City in Beijing, the capital of China for over eight hundred years” (252). In their reading, the siheyuan is a peculiarly elastic architectural typology, whose influence is present as much in the Forbidden City as in the humble family home (252). Prima facie then, it is not surprising that it has also secreted itself within the architectural form of Koolhaas’s creation. It is important to note, however, that while the “most typical forms” of the siheyuan are indeed still to be found in Beijing, the courtyard house is an increasingly uncommon sight in the Chinese capital. An article in the China Daily from 2004 refers to the “few remaining siheyuan” (“Kool Enough for Beijing?”). That said, all is not lost for the siheyuan. Liu and Awotona discuss how the classical form of the courtyard house has been modified to more effectively house current residents in the older parts of Beijing while protecting “the horizontal planning feature of traditional Beijing” (254). “Basic design principles” (255) of the siheyuan have supported “a transition from the traditional single-household courtyard housing form to a contemporary multi-household courtyard housing form” (254). In this process, approaches of “urban renewal [involving] demolition” and “preservation, renovation and rebuilding” have been taken (255). Donia Zhang extends the work of Liu and Awotona in the elaboration of her thesis that “Chinese-Americans interested in building Chinese-style courtyard houses in America are keen to learn about their architectural heritage” (47). Zhang’s article concludes with an illustration that shows how the siheyuan may be merged with the typical American suburban dwelling (66). The final thing to emphasise about the siheyuan is what Liu and Awotona describe as its “special introverted quality” (249). The form is saturated with social consequence by virtue of its philosophical undergirding. The coincidence of philosophies of Daoism (including feng-shui) and Confucianism in the architecture and spatiality of the classical Chinese courtyard house makes it an exceedingly odd anomaly of passivity and power (250-51). The courtyard itself has a highly charged role in the management of family, social and cultural life, which, we suggest, survives its transposition into novel architectural environments. Figure 2: The CCTV Headquarters—Looking Up at “The Overhang”. Cher Coad, 2020. The CCTV Headquarters: A New Type of Skyscraper? Rem Koolhaas is not the only architect to interrogate the standard skyscraper typology. In his essay from 1999, “The Architecture of the Future”, Norman Foster argues that “the world’s increasing ecological crisis” (278) is in part a function of “unchecked urban sprawl” (279). A new type of skyscraper, he suggests, might at least ameliorate the sprawl of our cities: the Millennium Tower that we have proposed in Tokyo takes a traditional horizontal city quarter—housing, shops, restaurants, cinemas, museums, sporting facilities, green spaces and public transport networks—and turns it on its side to create a super-tall building with a multiplicity of uses … . It would create a virtually self-sufficient, fully self-sustaining community in the sky. (279) Koolhaas follows suit, arguing that “the actual point of the skyscraper—to increase worker density—has been lost. Skyscrapers are now only momentary points of high density spaced so far apart that they don’t actually increase density at all” (“Kool Enough for Beijing?”). Foster’s solution to urban sprawl is to make the horizontal (an urban segment) vertical; Koolhaas’s is to make the vertical horizontal: “we’ve [OMA] come up with two types: a very low-rise series of buildings, or a single, condensed hyperbuilding. What we’re doing with CCTV is a prototype of the hyperbuilding” (“Kool Enough for Beijing?”). Interestingly, the “low-rise” type mentioned here brings to mind the siheyuan—textual evidence, perhaps, that the siheyuan is always already a silent fellow traveller of the CCTV Headquarters project. The CCTV Headquarters is, even at over 200 metres tall itself, an anomaly of horizontalism amidst Beijing’s pervasive skyscraper verticality. As Paul Goldberger reports, “some Beijingers have taken to calling it Big Shorts”, which again evokes horizontality. This is its most obvious anomaly, and a somewhat melancholy reminder of “the horizontal planning feature of traditional Beijing” now mutilated by skyscrapers (Liu and Awotona 254). In the same gesture, however, with which it lays the skyscraper on its side, Koolhaas’s creation raises into the air the shape of the courtyard of a classical Chinese house. To our knowledge, no one has noticed this before, let alone written about it. It is, to be sure, a genuine courtyard shape—not merely an archway or a bridge with unoccupied space between. Pure building entirely surrounds the vertical courtyard shape formed in the air. Most images of the building provide an orientation that maximises the size of its vertical courtyard. To this extent, the (secret) courtyard shape of the building is hidden in plain sight. It is possible, however, to make the courtyard narrow to a mere slit of space, and finally to nothing, by circumnavigating the building. Certain perspectives on the building can even make it look like a more-or-less ordinary skyscraper. But, as a quick google-image search reveals, such views are rare. What seems to make the building special to people is precisely that part of it that is not building. Furthermore, anyone approaching the CCTV Headquarters with the intention of locating a courtyard typology within its form will be disappointed unless they look to its vertical plane. There is no hint of a courtyard at the base of the building. Figure 3: The CCTV Headquarters—View from “The Overhang”. Cher Coad, 2020.Figure 4: The CCTV Headquarters—Looking through the Floor of “The Overhang”. Cher Coad, 2020.Visiting the CCTV Headquarters: A “Special Introverted Quality?” In January 2020, we visited the CCTV Headquarters, ostensibly as audience members for a recording of a science spectacular show. Towards the end of the recording, we were granted a quick tour of the building. It is rare for foreigners to gain access to the sections of the building we visited. Taking the lift about 40 floors up, we arrived at the cantilever level—known informally as “the overhang”. Glass discs in the floor allow one to walk out over nothingness, looking down on ant-like pedestrians. Looking down like this was also to peer into the vacant “courtyard” of the building—into a structure “turned or pushed inward on itself”, which is the anatomical definition of “introverted” (Oxford Languages Dictionary). Workers in the building evinced no great affection for it, and certainly nothing of our wide-eyed wonder. Somebody said, “it’s just a place to work”. One of this article’s authors, Patrick West, seemed to feel the overhang almost imperceptibly vibrating beneath him. (Still, he has also experienced this sensation in conventional skyscrapers.) We were told the rumour that the building has started to tilt over dangerously. Being high in the air, but also high on the air, with nothing but air beneath us, felt edgy—somehow special—our own little world. Koolhaas promotes the CCTV Headquarters as (in paraphrase) “its own city, its own community” (“Kool Enough for Beijing?”). This resonated with us on our visit. Conventional skyscrapers fracture any sense of community through their segregated floor-upon-floor verticality; there is never enough room for a little patch of horizontal urbanism to unroll. Within “the overhang”, the CCTV Headquarters felt unlike a standard skyscraper, as if we were in an urban space magically levitated from the streets below. Sure, we had been told by one of the building’s inhabitants that it was “just a place to work”—but compared to the bleak sterility of most skyscraper work places, it wasn’t that sterile. The phrase Liu and Awotona use of the siheyuan comes to mind here, as we recall our experience; somehow, we had been inside a different type of building, one with its own “special introverted quality” (249). Special, that is, in the sense of containing just so much of horizontal urbanism as allows the building to retain its introverted quality as “its own city” (“Kool Enough for Beijing?”). Figure 5: The CCTV Headquarters—View from “The Overhang”. Cher Coad, 2020.Figure 6: The CCTV Headquarters—Inside “The Overhang”. Cher Coad, 2020. Unbuilt Architecture: The Visionary and the Contingent Within the present that it constitutes, built architecture is surrounded by unbuilt architecture at two interfaces: where the past ends; where the future begins. The soupy mix of urbanism continually spawns myriad architectural possibilities, and any given skyscraper is haunted by all the skyscrapers it might have been. History and the past hang heavily from them. Meanwhile, architectural programme or ambition—such as it is—pulls in the other direction: towards an idealised (if not impossible to practically realise) future. Along these lines, Koolhaas and the OMA are plainly a future-directed, as well as self-aware, architectural unit: at OMA we try to build in the greatest possible tolerance and the least amount of rigidity in terms of embodying one particular moment. We want our buildings to evolve. A building has at least two lives—the one imagined by its maker and the life it lives afterward—and they are never the same. (Fraioli 115) Koolhaas makes the same point even more starkly with regard to the CCTV Headquarters project through his use of the word “prototype”: “what we’re doing with CCTV is a prototype of the hyperbuilding” (“Kool Enough for Beijing?”). At the same time, however, as the presence of the siheyuan within the architecture of the CCTV Headquarters shows, the work of the OMA cannot escape from the superabundance of history, within which, as Roberto Schwarz claims, “forms are the abstract of specific social relationships” (53). Supporting our contentions here, Daniel M. Abramson notes that unbuilt architecture implies two sub-categories … the visionary unbuilt, and the contingent … . Visionary schemes invite a forward glance, down one true, vanguard path to a reformed society and discipline. The contingent unbuilts, conversely, invite a backward glance, along multiple routes history might have gone, each with its own likelihood and validity; no privileged truths. (Abramson)Introducing Abramson’s theory to the example of the CCTV Headquarters, the “visionary unbuilt” lines up with Koolhaas’ thesis that the building is a future-directed “prototype”. while the clearest candidate for the “contingent unbuilt”, we suggest, is the siheyuan. Why? Firstly, the siheyuan is hidden in plain sight, within the framing architecture of the CCTV Headquarters; secondly, it is ubiquitous in Beijing urbanism—little wonder then that it turns up, unannounced, in this Beijing building; thirdly, and related to the second point, the two buildings share a “special introverted quality” (Liu and Awotona 249). “The contingent”, in this case, is the anomaly nestled within the much more blatant “visionary” (or futuristic) anomaly—the hyperbuilding to come—of the Beijing-embedded CCTV Headquarters. Koolhaas’s building’s most fascinating anomaly relates, not to any forecast of the future, but to the subtle persistence of the past—its muted quotation of the ancient siheyuan form. Our article is, in part, a response to Abramson’s invitation to “pursue … the consequences of the unbuilt … [and thus] to open architectural history more fully to history”. We have supplemented Abramson’s idea with Schwarz’s suggestion that “forms are the abstract of specific social relationships” (53). The anomaly of the siheyuan—alongside that of the hyperbuilding—within the CCTV headquarters, opens the building up (paraphrasing Abramson) to a fuller analysis of its historical positioning within Western and Eastern flows of globalisation (or better, as we are about to suggest, of glocalisation). In parallel, its form (paraphrasing Schwarz) abstracts and re-presents this history’s specific social relationships. Figure 7: The CCTV Headquarters—A Courtyard of Data. Cher Coad, 2020.Conclusion: A Courtyard of Data and Tensions of Glocalisation Koolhaas proposes that the CCTV Headquarters was “a partnership, not a foreign imposition” and that the building “emerged from the local situation” (Fraioli 117). To us, this smacks of Pollyanna globalisation. The CCTV Headquarters is, we suggest, more accurately read as an imposition of the American skyscraper typology, albeit in anomalous form. (One might even argue that the building’s horizontal deviation from the vertical norm reinforces that norm.) Still, amidst a thicket of conventionally vertical skyscrapers, the building’s horizontalism does have the anomalous effect of recalling “the horizontal planning feature of traditional Beijing” (Liu and Awotona 254). Buried within its horizontalism, however, lies a more secretive anomaly in the form of a vertical siheyuan. This anomaly, we contend, motivates a terminological shift from “globalisation” to “glocalisation”, for the latter term better captures the notion of a lack of reconciliation between the “global” and the “local” in the building. Koolhaas’s visionary architectural programme explicitly advances anomaly. The CCTV Headquarters radically reworks the skyscraper typology as the prototype of a hyperbuilding defined by horizontalism. Certainly, such horizontalism recalls the horizontal plane of pre-skyscraper Beijing and, if faintly, that plane’s ubiquitous feature: the classical courtyard house. Simultaneously, however, the siheyuan has a direct if secretive presence within the morphology of the CCTV Headquarters, even as any suggestion of a vertical courtyard is strikingly absent from Koolhaas’s vanguard manifesto. To this extent, the hyperbuilding fits within Abramson’s category of “the visionary unbuilt”, while the siheyuan aligns with Abramson’s “contingent unbuilt” descriptor. The latter is the “might have been” that, largely under the pressure of its ubiquity as Beijing vernacular architecture, “very nearly is”. Drawing on Schwarz’s idea that “forms are the abstract of specific social relationships”, we propose that the siheyuan, as anomalous form of the CCTV Headquarters, is a heterotopic space within the hybrid global harmony (to paraphrase Koolhaas) purportedly represented by the building (53). In this space thus formed collides the built-up historical and philosophical social intensity of the classical Chinese courtyard house and the intensities of data flows and captures that help constitute the predominantly capitalist and neo-liberalist “social relationship” of China and the Western world—the world of the skyscraper (Schwarz). Within the siheyuan of the CCTV Headquarters, globalised data is literally enveloped by Daoism and Confucianism; it is saturated with the social consequence of local place. The term “glocalisation” is, we suggest, to be preferred here to “globalisation”, because of how it better reflects such vernacular interruptions to the hegemony of globalised space. Forms delineate social relationships, and data, which both forms and is formed by social relationships, may be formed by architecture as much as anything else within social space. Attention to the unbuilt architectural forms (vanguard and contingent) contained within the CCTV Headquarters reveals layers of anomaly that might, ultimately, point to another form of architecture entirely, in which glocal tensions are not only recognised, but resolved. Here, Abramson’s historical project intersects, in the final analysis, with a worldwide politics. Figure 8: The CCTV Headquarters—A Sound Stage in Action. Cher Coad, 2020. References Abramson, Daniel M. “Stakes of the Unbuilt.” Aggregate Architectural History Collaborative. 20 July 2020. <http://we-aggregate.org/piece/stakes-of-the-unbuilt>.Foster, N. “The Architecture of the Future.” The Architecture Reader: Essential Writings from Vitruvius to the Present. Ed. A. Krista Sykes. New York: George Braziller, 2007: 276-79. Fraioli, Paul. “The Invention and Reinvention of the City: An Interview with Rem Koolhaas.” Journal of International Affairs 65.2 (Spring/Summer 2012): 113-19. Goldberger, Paul. “Forbidden Cities: Beijing’s Great New Architecture Is a Mixed Blessing for the City.” The New Yorker—The Sky Line. 23 June 2008. <https://www.newyorker.com/magazine/2008/06/30/forbidden-cities>.“Kool Enough for Beijing?” China Daily. 2 March 2004. <https://www.chinadaily.com.cn/english/doc/2004-03/02/content_310800.htm>. Liu, Ying, and Adenrele Awotona. “The Traditional Courtyard House in China: Its Formation and Transition.” Evolving Environmental Ideals—Changing Way of Life, Values and Design Practices: IAPS 14 Conference Proceedings. IAPS. Stockholm, Sweden: Royal Institute of Technology, 1996: 248-60. <https://iaps.architexturez.net/system/files/pdf/1202bm1029.content.pdf>.Oxford Languages Dictionary. “Rem Koolhaas Biography.” Encyclopedia of World Biography. 20 July 2020. <https://www.notablebiographies.com/news/Ge-La/Koolhaas-Rem.html>. “Rem Koolhaas Interview.” Manufacturing Intellect. Canadian Broadcasting Corporation. 2003. <https://www.youtube.com/watch?v=oW187PwSjY0>.Schwarz, Roberto. Misplaced Ideas: Essays on Brazilian Culture. New York: Verso, 1992. Zhang, Donia. “Classical Courtyard Houses of Beijing: Architecture as Cultural Artifact.” Space and Communication 1.1 (Dec. 2015): 47-68.

«For a place to leave an impression on us, it must be made of time as well as space – of its past, its history, its culture» (Sciascia, 1987). Architecture is one the many disciplines which, due to their heteronomous nature, aspire to represent the past, present and future of a community. Just as the construction of buildings is not merely a response to a need, but rather an act that incorporates the concrete translation of desires and aspirations, so too do music, philosophy, and the figurative arts reflect contemporary themes in their evolution. The fragmentation of skills, the specialisation of knowledge, the rapid modification of the tools we work with, the digitalisation and hyperdevelopment of communication are all phenomena that have a substantial impact on the evolution of disciplines in a reciprocal interaction with the intangible values of a community – economic, social and cultural – as well as the material assets of the places where it expresses itself. Interpreting heteronomy as a condition in which an action is not guided by an autonomous principle that is intrinsic to the discipline, but rather determined by its interaction with external factors, a theoretical reflection on the evolution of the tools of knowledge and creation has the task of defining possible scenarios capable of tackling the risk of losing an ability to synthesise the relationships between the conditions that define the identity of architecture itself. The challenge of complexity is rooted in social, technological and environmental shifts: a challenge that involves space, a material resource, in its global scale and its human measure; and time, an immaterial resource, nowadays evaluated in terms of speed and flexibility, but also duration and permanence. These elements impact upon the project as a whole, as a combination of multiple forms of knowledge which, given their constant evolution, is subject to continuous comparison. The cultural debate has investigated at length the topic of art being forced to devote itself to heteronomy whilst also retaining a need for aesthetic autonomy. The risk of forgetting its own ontological status, of losing its own identity in the fragmentation and entropy of the contemporary world, finds an answer in the idea of design as a synthesis between an artistic idea and the social and environmental conditions in which it is places, configuring itself as an element capable of reconciling the antithetical drives towards an autonomous vision of the work, on the one hand, and a heteronomous one linked to its geographical, cultural, sociological and psychological characteristics, on the other. In the systemic and concerted working process so intrinsic to disciplines such as filmmaking and music – but also the visual arts or even philosophy – the act of designing is the expression of the relationship with a community of individuals whose actions are based on a role that is as social as it is technical, given that they act based on material and immaterial values of a public nature. If indeed the sciences – as Thomas Kuhn demonstrated in his writings on the scientific revolutions – cannot be understood without their historical dimension, then disciplines such as those addressed in this Dossier represent cultural phenomena that can only truly be understood in their entirety when considered in the context of their era and the many factors that fed into their creation. However, precisely as demonstrated by Kuhn’s theories (Kuhn, 1987), their evolution also consists of “scientific revolutions”: moments of disruption capable of changing the community’s attitude towards the discipline itself and, perhaps more importantly, its paradigms. Music, cinema, art, architecture and philosophy are all expressions of that which makes us human, in all its complexity: divided and confined to their own disciplinary fields, they are not capable of expressing the poetic quality of life and thus «making people feel and become aware of the aesthetic feeling» (Morin, 2019). Emanuele Coccia, an internationally renowned philosopher and associate professor at the École des Hautes Études en Sciences Sociales in Paris, imagines a world in which everything you see is the product of an intentionality articulated by human, non-human and non-living actors. Design – not only anthropocentric design – is the most universal power in the world. Every living being can, in effect, design the world, but at the same time, every agent of matter can also design, and it is the interplay between these elements that creates a continuous metamorphosis of our environment. In other words, being alive is not a necessary condition for being a designer. The two anthropologists Alfred Gell and Philippe Descola, in their writings on Western society and nature, present contrasting views on the presence of the soul/animism in nature. The result is a sort of architecture of the landscape, in which nature itself is imbued with a sense of design intentionality that exists in a continuum with mankind. Edoardo Tresoldi, a young Italian sculptor, is one of the latest exponents of the heteronomy of architecture, which rejects the limiting confines of individual disciplines so as to imagine a transversal vision of the environment and its construction. Through the interplay of transparencies created with ephemeral metal structures, Tresoldi exalts the geometrical qualities of this raw material, going beyond the simple spatiotemporal dimension to establish a dialogue between place and the artistic representation thereof. Tresoldi recounts this journey of his through five themes: Place, because architecture in itself is markedly conditioned by its context, as is – in his case – art; Design, that is the act of envisaging the work, which is ultimately influenced by everything around us and our imagination; Time, as art is characterised by a potential interweaving, a continuity in the creative processes influenced by the history of the place; Material, or rather, materiality and the duality between the technical and artistic parts; and, finally, “What’s Next”, exploring the idea of what the future holds for us. On this last point, Tresoldi imagines his works further opening up to a diversified range of skills in a way that would also carve out new professional profiles for young people. Cristina Frosini, Director of the Milan Conservatory, with a contribution on music – «the supreme mystery of the sciences of man» (Lévi-Strauss, 2004) – offers reflections on a field with deep affinities with the discipline of architecture, with both sharing a strong relationship between composition and execution. The sheer vastness of musical expression, from the precision of the classical score to the freedom of interpretation exemplified by the conductor or the improvising jazz musician, sees the concepts of overall rhythm and melody, the homogeneity and identity of different instruments, and the circularity of the process as the key themes of music as a public art whose creative process has always been founded upon the relationship between technical factors and cultural factors. The contribution provided by Michele Guerra, an academic and professor of History of Cinema, confirms the words of Edgar Morin. «Nowadays, cinema is widely recognised as an art, and in my opinion, it is a tremendous polyphonic and polymorphous art that is capable of stimulating and integrating into itself the virtues of all the other arts: novel-writing, theatre, music, painting, scenography, photography. [...] it can be said that those who participate in the creation of a film are artisans, artists, who play an important role in the aesthetics of the film» (Morin, 2019). The work of the “cinematographic construction site” is driven by forces which, incorporating the status quo of the technical and material factors, lead to “an idea of imaginary metamorphosis” which reflects the aspirations of a society in its efforts to become contemporary. A concept of a heteronomous approach to “making” is also founded upon recognising the didactic value of the work, as emerges from Luigi Alini’s contribution on the figure of Vittorio Garatti – an intellectual first and architect second – whose pieces are the result of work that is as much immaterial as it is material, with an «experiential rather than mediatic» approach (Frampton, in Borsa and Carboni Maestri, 2018), as true architecture is expected to be. The heteronomy of architecture, much like that of other similar disciplines, is based on engagement on two fronts: an understanding of the relevant international scenarios and the definition of the project charter, with a view to conforming it so that it takes into account any changes, operates in continuity with and with an appreciation for history, and develops in harmony with the universality of the discipline and the teachings of its masters. Stimulating a dialogue between different cultural positions is a means to create the conditions for a degree of adherence to contemporaneity without compromising on a principle of historical continuity. In light of this, the contribution by Ferruccio Resta – the current Rector of the Politecnico di Milano – focuses on the varying cultural and intellectual positions that have animated the culture of the Politecnico over the years, representing a highly valuable heritage for the university. Nowadays, with the presence of certain indispensable premises such as sustainability and connectivity, technology seems to overwhelm the design process, outsourcing it to a sort of management of the engineering and component production aspects. Hence the need to reaffirm a “humanistic and human” dimension of the act of making, starting at the root by orienting the training processes in line with the words of historian and philosopher Yuval Noah Harari, who says: «Many pedagogical experts argue that schools should switch to teaching “the four Cs” – critical thinking, communication, collaboration, and creativity. More broadly, they believe, schools should downplay technical skills and emphasize general-purpose life skills. Most important of all will be the ability to deal with change, learn new things, and preserve your mental balance in unfamiliar situations». This need reopens the theme of the dualism between “art” and “discipline”, surpassing it in favour of a coexistence of terminology in that it is the quality of the design and the piece that define where it belongs. Reflecting on the foundations of the paths and tools employed in different disciplines – in light of the innovations that involve the project charter in terms not only of concepts, but also of instruments – means reflecting on the concept of “project culture”, understood as the ability to work through actions which combine different contributions, tackling complex problems by way of a conscious creative process. The ability to envisage the new – as is implicit in the etymology of the word “project” itself – and, at the same time, to interpret continuity in the sense of a coherent system of methods and values, is shared by the disciplines and skills brought together in the Dossier: dealing with culture, society, the city, the landscape and the environment all at once requires a multifaceted vision, an ability to read problems, but also a certain openmindedness towards opportunities, the management of complexities, control of the risks of drops in quality in service of concepts of efficiency based on numerical parameters and the standardisation of languages. A comparison of the various contributions and perspectives throws up a picture in which the importance of relationships, the search for what Eiffell defined «the secret laws of harmony», the disciplinary specificity of design as the ability to relate in order to «understand, criticise, transform» (Gregotti, 1981), the ability to distinguish that which is different by involving it in the transformation of design, all represent the foundations for the evolution of heteronomous disciplines in how they move beyond the notions of technique and context as passive referents which generate possibilities in line with the Rogersian reflection on pre-existing environmental elements as historical conditions for reference, critically taken on as determinants. Hence the validity of a “polytechnic” cultural approach that is not only capable of deploying tools and skills which can deal with the operating conditions to be found in a heteronomous context, but also of stimulating critical approaches oriented towards innovation and managing change with the perspective of a project as an opportunity – in the words of Franco Albini – for «experimentation and verification in relation to the progression of construction techniques, tools for investigation, knowledge in the various fields and in relation to the shifts in contemporary culture» (Albini, 1968). The need for a sense of humanism is strongly linked to the reintroduction of the concept of “beauty”, in its modern meaning, under which it shifts from a subjective value to a universal one. Hence the importance of the dialogue with disciplines that identify with the polytechnic mould – that is, one which has always been deeply attentive to the relationship between theory and practice, to the design of architecture as an action that is at once intellectual and technical. As such, starting from the assumption that «no theory can be pursued without hitting a wall that only practice can penetrate» (Deleuze and Foucault 1972; Deleuze, 2002; Foucault, 1977; Deleuze, 2007), it is now essential to promote the professional profiles of artists, musicians, philosophers, humanistic architects and so on who are capable of managing design as a synthesis of external factors, but also as an internal dialectic, as well as skills capable of creating culture understood as technical knowledge. Sometimes, faced with the difficulty of discerning an identity for disciplines, we attempt to draw a boundary that allows us to better understand their meaning and content. However, going on the points of view that have emerged in the Dossier, it seems more important than ever to «work on the boundaries of each field of knowledge», drawing upon a concept expressed by Salvatore Veca (Veca, 1979), making communication between fields a central value, interpreting relationships and connections, identifying the relational perspective as a fundamental aspect of the creative act. The position of architecture as an “art at the edge of the arts”1, as so often posited by Renzo Piano, allows for a reflection on its identity by placing it in a position that centralises rather than marginalises it. A concept of “edge” that touches upon the sociological viewpoint that distinguishes the “finite limit” (boundary) from the “area of interaction” (border) (Sennet, 2011; Sennet, 2018), in which the transformational yet constructive contact with the entities necessary for its realisation takes place. The heteronomy of architecture coincides with its “universality”, a concept that Alberto Campo Baeza (Campo Baeza, 2018) believes to represent the identity of architecture itself. Indeed, its dependence upon human life, the development of society, of its cultural growth, derives from a single and inalienable factor: its heteronomy, the necessary condition for a process as artistic as it is technical, tasked with expressing the values of a community over time and representing the “beautiful” rather than the “new”. A design practice based on – to borrow some concepts already expressed years ago by Edgar Morin – “contaminations that are necessary as well as possible”, on the contribution of “knowledge as an open system”, but above all, one aimed at working “against the continuities incapable of grasping the dynamics of change” (Morin, 1974), thus becomes an opportunity to develop a theory on the identity of the discipline itself, striking a balance between the technical and poetic spheres, but necessarily materialising in the finished work, lending substance to the «webs of intricate relationships that seek form» (Italo Calvino).

Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. Other types of documentation of the house allow these elements to be included. Documentation that is produced after-the-event, that interprets ‘the existing’, is absent from discourses on documentation; the realm of post factum documentation is a less examined form of documentation. This paper investigates post factum documentation of the house, and the alternative ways of making, producing and, therefore, thinking about, the house that it offers. This acknowledges the body in the space of architecture, and the inhabitation of space, and as a dynamic process. This then leads to the potential of the‘model of an action’ representing the motion and temporality inherent within the house. Architecture may then be seen as that which encloses the inhabitant. The word ‘document’ refers to a record or evidence of events. It implies a chronological sequence: the document comes after-the-event, that is, it is post factum. Within architecture, however, the use of the word documentation, predominantly, refers to working drawings that are made to ‘get to’ a building, drawings being the dominant representation within architecture. Robin Evans calls this notion, of architecture being brought into existence through drawing, the principle of reversed directionality (Evans 1997, 1989). Although it may be said that these types of drawings document the idea, or document the imagined reality of the building, their main emphasis, and reading, is in getting to something. In this case, the term documentation is used, not due to the documents’ placement within a process, of coming after the subject-object, but in referring to the drawings’ role. Other architectural drawings do exist that are a record of what is seen, but these are not the dominant drawing practice within architecture. Documentation within architecture regards the act of drawing as that process upon which the object is wholly dependent for its coming into existence. Drawing is defined as the pre-eminent methodology for generation of the building; drawings are considered the necessary initial step towards the creation of the 1:1 scale object. During the designing phase, the drawings are primary, setting out an intention. Drawings, therefore, are regarded as having a prescriptive endpoint rather than being part of an open-ended improvisation. Drawings, in getting to a building, draw out something, the act of drawing searches for and uncovers the latent design, drawing it into existence. They are seen as getting to the core of the design. Drawings display a technique of making and are influenced by their medium. Models, in getting to a building, may be described in the same way. The act of modelling, of making manifest two-dimensional sketches into a three-dimensional object, operates similarly in possessing a certain power in assisting the design process to unfurl. Drawing, as recording, alters the object. This act of drawing is used to resolve, and to edit, by excluding and omitting, as much as by including, within its page. Models similarly made after-the-fact are interpretive and consciously aware of their intentions. In encapsulating the subject-object, the model as documentation is equally drawing out meaning. This type of documentation is not neutral, but rather involves interpretation and reflection through representational editing. Working drawings record the house at an ideal moment in time: at the moment the builders leave the site and the owners unlock the front door. These drawings capture the house in stasis. There is often the notion that until the owners of a new house move in, the house has been empty, unlived in. But the life of the house cannot be fixed to any one starting point; rather it has different phases of life from conception to ruin. With working drawings being the dominant representation of the house, they exclude much; both the life of the house before this act of inhabitation, and the life that occurs after it. The transformations that occur at each phase of construction are never shown in a set of working drawings. When a house is built, it separates itself from the space it resides within: the domain of the house is marked off from the rest of the site. The house has a skin of a periphery, that inherently creates an outside and an inside (Kreiser 88). As construction continues, there is a freedom in the structure which closes down; potential becomes prescriptive as choices are made and embodied in material. The undesignedness of the site, that exists before the house is planned, becomes lost once the surveyors’ pegs are in place (Wakely 92). Next, the skeletal frame of open volumes becomes roofed, and then becomes walled, and walking through the frame becomes walking through doorways. One day an interior is created. The interior and exterior of the house are now two different things, and the house has definite edges (Casey 290). At some point, the house becomes lockable, its security assured through this act of sealing. It is this moment that working drawings capture. Photographs comprise the usual documentation of houses once they are built, and yet they show no lived-in-ness, no palimpsest of occupancy. They do not observe the changes and traces the inhabitants make upon a space, nor do they document the path of the person, the arc of their actions, within the space of the house. American architects and artists Elizabeth Diller and Ricardo Scofidio have written of these traces of the everyday that punctuate floor and wall surfaces: the intersecting rings left by coffee glasses on a tabletop, the dust under a bed that becomes its plan analog when the bed is moved, the swing etched into the floor by a sagging door. (Diller & Scofidio 99) It is these marks, these traces, that are omitted from the conventional documentation of a built house. To examine an alternative way of documenting, and to redress these omissions, a redefinition of the house is needed. A space can be delineated by its form, its edges, or it can be defined by the actions that are performed, and the connections between people that occur, within it. To define the house by what it encapsulates, rather than being seen as an object in space, allows a different type of documentation to be employed. By defining a space as that which accommodates actions, rooms may be delineated by the reach of a person, carved out by the actions of a person, as though they are leaving a trace as they move, a windscreen wiper of living, through the repetition of an act. Reverse directional documentation does not directly show the actions that take place within a house; we must infer these from the rooms’ fittings and fixtures, and the names on the plan. In a similar way, Italo Calvino, in Invisible Cities, defines a city by the relationships between its inhabitants, rather than by its buildings: in Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or grey or black-and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain … Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form. (Calvino 62) By defining architecture by that which it encapsulates, form or materiality may be given to the ‘spiderwebs of intricate relationships’. Modelling the actions that are performed in the space of architecture, therefore, models the architecture. This is referred to as a model of an action. In examining the model of an action, the possibilities of post factum documentation of the house may be seen. The Shinkenchiku competition The Plan-Less House (2006), explored these ideas of representing a house without using the conventional plan to do so. A suggested alternative was to map the use of the house by its inhabitants, similar to the idea of the model of an action. The house could be described by a technique of scanning: those areas that came into contact with the body would be mapped. Therefore, the representation of the house is not connected with spatial division, that is, by marking the location of walls, but rather with its use by its inhabitants. The work of Diller and Scofidio and Allan Wexler and others explores this realm. One inquiry they share is the modelling of the body in the space of architecture: to them, the body is inseparable from the conception of space. By looking at their work, and that of others, three different ways of representing this inhabitation of space are seen. These are: to represent the objects involved in a particular action, or patterns of movement, that occurs in the space, in a way that highlights the action; to document the action itself; or to document the result of the action. These can all be defined as the model of an action. The first way, the examination of the body in a space via an action’s objects, is explored by American artist Allan Wexler, who defines architecture as ‘choreography without a choreographer, structuring its inhabitant’s movements’ (Galfetti 22). In his project ‘Crate House’ (1981), Wexler examines the notion of the body in a space via an action’s objects. He divided the house into its basic activities: bedroom, bathroom, kitchen and living room. Each of these is then defined by their artefacts, contained in their own crate on wheels, which is rolled out when needed. At any point in time, the entire house becomes the activity due to its crate: when a room such as the kitchen is needed, that crate is rolled in through one of the door openings. When the occupant is tired, the entire house becomes a bedroom, and when the occupant is hungry, it becomes a kitchen … I view each crate as if it is a diorama in a natural history museum — the pillow, the spoon, the flashlight, the pot, the nail, the salt. We lose sight of everyday things. These things I isolate, making them sculpture: their use being theatre. (Galfetti 42–6) The work of Andrea Zittel explores similar ideas. ‘A–Z Comfort Unit’ (1994), is made up of five segments, the centrepiece being a couch/bed, which is surrounded by four ancillary units on castors. These offer a library, kitchen, home office and vanity unit. The structure allows the lodger never to need to leave the cocoon-like bed, as all desires are an arm’s reach away. The ritual of eating a meal is examined in Wexler’s ‘Scaffold Furniture’ (1988). This project isolates the components of the dining table without the structure of the table. Instead, the chair, plate, cup, glass, napkin, knife, fork, spoon and lamp are suspended by scaffolding. Their connection, rather than being that of objects sharing a tabletop, is seen to be the (absent) hand that uses them during a meal; the act of eating is highlighted. In these examples, the actions performed within a space are represented by the objects involved in the action. A second way of representing the patterns of movement within a space is to represent the action itself. The Japanese tea ceremony breaks the act of drinking into many parts, separating and dissecting the whole as a way of then reassembling it as though it is one continuous action. Wexler likens this to an Eadweard Muybridge film of a human in motion (Galfetti 31). This one action is then housed in a particular building, so that when devoid of people, the action itself still has a presence. Another way of documenting the inhabitation of architecture, by drawing the actions within the space, is time and motion studies, such as those of Rene W.P. Leanhardt (Diller & Scofidio 40–1). In one series of photographs, lights were attached to a housewife’s wrists, to demonstrate the difference in time and effort required in the preparation of a dinner prepared entirely from scratch in ninety minutes, and a pre-cooked, pre-packaged dinner of the same dish, which took only twelve minutes. These studies are lines of light, recorded as line drawings on a photograph of the kitchen. They record the movement of the person in the room of the action they perform, but they also draw the kitchen in a way conventional documentation does not. A recent example of the documentation of an action was undertaken by Asymptote and the students at Columbia University Graduate School of Architecture in their exhibition at the Venice Biennale of Architecture in 2000. A gymnast moving through the interior space of the pavilion was recorded using a process of digitisation and augmentation. Using modelling procedures, the spatial information was then reconstructed to become a full-scale architectural re-enactment of the gymnast’s trajectory through the room (Feireiss 40). This is similar to a recent performance by Australian contemporary dance company Chunky Move, called ‘Glow’. Infra-red video tracking took a picture of the dancer twenty-five times a second. This was used to generate shapes and images based on the movements of a solo dancer, which were projected onto the floor and the dancer herself. In the past, when the company has used DVDs or videos, the dancer has had to match what they were doing to the projection. This shifts the technology to following the dancer (Bibby 3). A third way of representing the inhabitation of architecture is to document the result of an action. Raoul Bunschoten writes of the marks of a knife being the manifestation of the act of cutting, as an analogy: incisions imply the use of a cutting tool. Together, cuts and cutting tool embrace a special condition. The actual movement of the incision is fleeting, the cut or mark stays behind, the knife moves on, creating an apparent discontinuity … The space of the cut is a reminder of the knife, its shape and its movements: the preparation, the swoop through the air, the cutting, withdrawal, the moving away. These movements remain implicitly connected with the cut as its imaginary cause, as a mnemonic programme about a hand holding a knife, incising a surface, severing skin. (Bunschoten 40) As a method of documenting actions, the paintings of Jackson Pollack can be seen as a manifestation of an act. In the late 1940s, Pollack began to drip paint onto a canvas laid flat on the floor; his tools were sticks and old caked brushes. This process clarified his work, allowing him to walk around it and work from all four sides. Robert Hughes describes it as ‘painting “from the hip” … swinging paintstick in flourishes and frisks that required an almost dancelike movement of the body’ (Hughes 154). These paintings made manifest Pollack’s gestures. As his arm swung in space, the dripping paint followed that arc, to be preserved on a flat plane as pictorial space (Hughes 262). Wexler, in another study, recorded the manifestation of an action. He placed a chair in a one-room building. It was attached to lengths of timber that extended outdoors through slots in the walls of the building. As the chair moved inside the building, its projections carved grooves in the ground outside. As the chair moved in a particular pattern, deeper grooves were created: ‘Eventually, the occupant of the chair has no choice in his movement; the architecture moves him.’ (Galfetti 14) The pattern of movement creates a result, which in turn influences the movement. By redefining architecture by what it encapsulates rather than by the enclosure itself, allows architecture to be documented by the post factum model of an action that occurs in that space. This leads to the exploration of architecture, formed by the body within it, since the documentation and representation of architecture starts to affect the reading of architecture. Architecture may then be seen as that which encloses the inhabitant. The documentation of the body and the space it makes concerns the work of the Hungarian architect Imre Makovecz. His exploration is of the body and the space it makes. Makovecz, and a circle of like-minded architects and artists, embarked on a series of experiments analysing the patterns of human motion and subsequently set up a competition based around the search for a minimum existential space. This consisted of mapping human motion in certain spatial conditions and situations. Small light bulbs were attached to points on the limbs and joints and photographed, creating a series of curves and forms. This led to a competition called ‘Minimal Space’ (1971–2), in which architects, artists and designers were invited to consider a minimal space for containing the human body, a new notion of personal containment. Makovecz’s own response took the form of a bell-like capsule composed of a double shell expressing its presence and location in both time and space (Heathcote 120). Vito Acconci, an artist turned architect by virtue of his installation work, explored this notion of enclosure in his work (Feireiss 38). In 1980 Acconci began his series of ‘self-erecting architectures’, vehicles or instruments involving one or more viewers whose operation erected simple buildings (Acconci & Linker 114). In his project ‘Instant House’ (1980), a set of walls lies flat on the floor, forming an open cruciform shape. By sitting in the swing in the centre of this configuration, the visitor activates an apparatus of cables and pulleys causing walls to rise and form a box-like house. It is a work that explores the idea of enclosing, of a space being something that has to be constructed, in the same way for example one builds up meaning (Reed 247–8). This documentation of architecture directly references the inhabitation of architecture. The post factum model of architecture is closely linked to the body in space and the actions it performs. Examining the actions and movement patterns within a space allows the inhabitation process to be seen as a dynamic process. David Owen describes the biological process of ‘ecopoiesis’: the process of a system making a home for itself. He describes the building and its occupants jointly as the new system, in a system of shaping and reshaping themselves until there is a tolerable fit (Brand 164). The definition of architecture as being that which encloses us, interests Edward S. Casey: in standing in my home, I stand here and yet feel surrounded (sheltered, challenged, drawn out, etc.) by the building’s boundaries over there. A person in this situation is not simply in time or simply in space but experiences an event in all its engaging and unpredictable power. In Derrida’s words, ‘this outside engages us in the very thing we are’, and we find ourselves subjected to architecture rather than being the controlling subject that plans or owns, uses or enjoys it; in short architecture ‘comprehends us’. (Casey 314) This shift in relationship between the inhabitant and architecture shifts the documentation and reading of the exhibition of architecture. Casey’s notion of architecture comprehending the inhabitant opens the possibility for an alternate exhibition of architecture, the documentation of that which is beyond the inhabitant’s direction. Conventional documentation shows a quiescence to the house. Rather than attempting to capture the flurry — the palimpsest of occupancy — within the house, it is presented as stilled, inert and dormant. In representing the house this way, a lull is provided, fostering a steadiness of gaze: a pause is created, within which to examine the house. However, the house is then seen as object, rather than that which encapsulates motion and temporality. Defining, and thus documenting, the space of architecture by its actions, extends the perimeter of architecture. No longer is the house bounded by its doors and walls, but rather by the extent of its patterns of movement. Post factum documentation allows this altering of the definition of architecture, as it includes the notion of the model of an action. By appropriating, clarifying and reshaping situations that are relevant to the investigation of post factum documentation, the notion of the inhabitation of the house as a definition of architecture may be examined. This further examines the relationship between architectural representation, the architectural image, and the image of architecture. References Acconci, V., and K. Linker. Vito Acconci. New York: Rizzoli, 1994. Bibby, P. “Dancer in the Dark Is Light Years Ahead.” Sydney Morning Herald 22 March 2007: 3. Brand, S. How Buildings Learn: What Happens after They’re Built. London: Phoenix Illustrated, 1997. Bunschoten, R. “Cutting the Horizon: Two Theses on Architecture.” Forum (Nov. 1992): 40–9. Calvino, I. Invisible Cities. London: Picador, 1979. Casey, E.S. The Fate of Place. California: U of California P, 1998. Diller, E., and R. Scofidio. Flesh: Architectural Probes. New York: Princeton Architectural Press, 1994. Evans, R. Translations from Drawing to Building and Other Essays. Cambridge, Mass.: MIT Press, 1997. ———. “Architectural Projection.” Eds. E. Blau and E. Kaufman. Architecture and Its Image: Four Centuries of Architectural Representation: Works from the Collection of the Canadian Center for Architecture. Exhibition catalogue. Cambridge, Mass.: MIT Press, 1989. 19–35. Feireiss, K., ed. The Art of Architecture Exhibitions. Rotterdam: Netherlands Architecture Institute, 2001. Galfetti, G.G., ed. Allan Wexler. Barcelona: GG Portfolio, 1998. Glanville, R. “An Irregular Dodekahedron and a Lemon Yellow Citroen.” In L. van Schaik, ed., The Practice of Practice: Research in the Medium of Design. Melbourne: RMIT University Press, 2003. 258–265. Heathcote, E. Imre Mackovecz: The Wings of the Soul. West Sussex: Academy Editions, 1997. Hughes, R. The Shock of the New: Art and the Century of Change. London: British Broadcasting Corporation, 1980. Kreiser, C. “On the Loss of (Dark) Inside Space.” Daidalos 36 (June 1990): 88–99. Reed, C. ed. Not at Home: The Suppression of Domesticity in Modern Art and Architecture. London: Thames & Hudson, 1996. “Shinkenchiku Competition 2006: The Plan-Less House.” The Japan Architect 64 (Winter 2007): 7–12. Small, D. Paper John. USA: Farrar, Straus and Giroux, 1987. Wakely, M. Dream Home. Crows Nest, NSW: Allen & Unwin. 2003. Citation reference for this article MLA Style Macken, Marian. "And Then We Moved In: Post Factum Documentation of the House." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/04-macken.php>. APA Style Macken, M. (Aug. 2007) "And Then We Moved In: Post Factum Documentation of the House," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/04-macken.php>.

ABSTRACT A long-standing biological question is how evolution has shaped the genomic architecture of dikaryotic fungi. To answer this, high-quality genomic resources that enable haplotype comparisons are essential. Short-read genome assemblies for dikaryotic fungi are highly fragmented and lack haplotype-specific information due to the high heterozygosity and repeat content of these genomes. Here, we present a diploid-aware assembly of the wheat stripe rust fungus Puccinia striiformis f. sp. tritici based on long reads using the FALCON-Unzip assembler. Transcriptome sequencing data sets were used to infer high-quality gene models and identify virulence genes involved in plant infection referred to as effectors. This represents the most complete Puccinia striiformis f. sp. tritici genome assembly to date (83 Mb, 156 contigs, N 50 of 1.5 Mb) and provides phased haplotype information for over 92% of the genome. Comparisons of the phase blocks revealed high interhaplotype diversity of over 6%. More than 25% of all genes lack a clear allelic counterpart. When we investigated genome features that potentially promote the rapid evolution of virulence, we found that candidate effector genes are spatially associated with conserved genes commonly found in basidiomycetes. Yet, candidate effectors that lack an allelic counterpart are more distant from conserved genes than allelic candidate effectors and are less likely to be evolutionarily conserved within the P. striiformis species complex and Pucciniales. In summary, this haplotype-phased assembly enabled us to discover novel genome features of a dikaryotic plant-pathogenic fungus previously hidden in collapsed and fragmented genome assemblies. IMPORTANCE Current representations of eukaryotic microbial genomes are haploid, hiding the genomic diversity intrinsic to diploid and polyploid life forms. This hidden diversity contributes to the organism’s evolutionary potential and ability to adapt to stress conditions. Yet, it is challenging to provide haplotype-specific information at a whole-genome level. Here, we take advantage of long-read DNA sequencing technology and a tailored-assembly algorithm to disentangle the two haploid genomes of a dikaryotic pathogenic wheat rust fungus. The two genomes display high levels of nucleotide and structural variations, which lead to allelic variation and the presence of genes lacking allelic counterparts. Nonallelic candidate effector genes, which likely encode important pathogenicity factors, display distinct genome localization patterns and are less likely to be evolutionary conserved than those which are present as allelic pairs. This genomic diversity may promote rapid host adaptation and/or be related to the age of the sequenced isolate since last meiosis.

IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questioning the role of site within sound installation works. The potential for sound to create shared space and foster relationships between bodies, objects, and the surrounding environment is evident in recent contemporary art exhibitions. For MOMA’s Soundings: A Contemporary Score, curator Barbara London, sought to create a series of “tuned environments” rather than use headphones, emphasising the potential of sound works to envelop the gallery goer. Similarly, Sam Belinafante’s Listening, aimed to capture a sense of how sound can influence attention by choreographing the visitors’ experience towards the artworks. By using motorised technology to stagger each installation, gallery goers were led by their ears. Both London’s and Belinafante’s curatorial approaches highlight the current awareness and interest in aural space and its influence on bodies, an area I aim to contribute to with this article.Audio-based performance works consisting of narration or instructions received through headphones feature as a dominant trend within the field of theatre and performance studies. Well-known examples from the past decade include: Janet Cardiff’s The Missing Case Study B; Graeme Miller’s Linked; and Lavinia Greenlaw’s Audio Obscura. The use of sound in these works offers several possibilities: the layering of fiction onto site, the intensification, or contradiction of existing atmospheres and, in most cases, the direction of audience attention. Misha Myers uses the term ‘percipient’ to articulate this mode of engagement that relies on the active attendance of the participant to their surroundings. She states that it is the participant “whose active, embodied and sensorial engagement alters and determines [an artistic] process and its outcomes” (172-23). Indeed, audio-based works provide invaluable ways of considering how the body of the audience member might be engaged, raising important issues in relation to sound, embodiment and presence. Yet the question remains, outside of individual acoustic environments, how does sound build physical relations between bodies and across space? Within sound studies the World Soundscape Project, founded in the 1970s by R. Murray Schafer, documents the acoustic properties of cities, nature, technology and work. Collaborations between sound engineers and musicians indicated the musicality inherent in the world encouraging attunement to the acoustic characteristics of our environment. Gernot Böhme indicates the importance of personal and emotional impressions of space, experienced as atmosphere. Atmosphere, rather than being an accumulation of individual acoustic characteristics, is a total experience. In relation to sound, sensitivity to this mode of engagement is understood as a need to shift from hearing in “an instrumental sense—hearing something—into a way of taking part in the world” (221). Böhme highlights the importance of the less tangible, emotional consistency of our surrounding environment. Brandon Labelle further indicates the social potential of sound by foregrounding the emotional and psychological charges which support “event-architecture, participatory productions, and related performative aspects of space” (Acoustic Spatiality 2) these, Labelle claims enable sound to catalyse both the material world and our imaginations. Sound as felt experience and the emotional construction of space form the key focus here. Within architectural discourse, both Juhani Pallasmaa and Peter Zumthor point to atmospheric nuances and flows of energy which can cause events to furnish the more rigid physical constructs we exist between, influencing spatial quality. However, it is sensorial experience Jean-Paul Thibaud claims, including attention to light, sound, smell and texture that informs much of how we situate ourselves, contributing to the way we imaginatively construct the world we inhabit, even if only of temporary duration. To expand on this, Thibaud locates the sensorial appreciation of site between “the lived experience of people as well as the built environment of the place” (Three Dynamics 37) hinting at the presence of energetic flows. Such insights into how relations are built between bodies and objects inform the approach taken in this article, as I focus on sensorial modes of engagement to write through my own experience as listener-spectator. George Home-Cook uses the term listener-spectator to describe “an ongoing, intersensorial bodily engagement with the affordances of the theatrical environment” (147) and a mode of attending that privileges phenomenal engagement. Here, I occupy the position of the listener-spectator to attend to two installations, Invisible Flock’s 105+dB and Atelier Bildraum’s Bildraum. The first is a large-scale sound installation produced for Hull UK city of culture, 2017. The piece uses audio recordings from 16 shotgun microphones positioned at the periphery of Hull City’s soccer pitch during a match on 28 November 2016. The piece relocates the recordings in public space, replaying a twenty-minute edited version through 36 speakers. The second, Bildraum, is an installation performance consisting of photographer Charlotte Bouckaert, architect Steve Salembier with sound by Duncan Speakman. The piece, with a running time of 40-minutes uses architectural models, live photography, sound and lighting to explore narrative, memory, and space. In writing through these two case studies, I aim to emphasise sensorial engagement. To do so I recognise, as Salomé Voegelin does, the limits of critical discourse to account for relations built through sound. Voegelin indicates the rift critical discourse creates between what is described and its description. In her own writing, Voegelin attempts to counteract this by using the subjective “I” to foreground the experience of a sound work as a writer-listener. Similarly, here I foreground my position as a listener-spectator and aim to evidence the criticality within the work by writing through my experience of attending thereby bringing out mood, texture, atmosphere to foreground how relations are built across space and between bodies.105+dB Invisible Flock January 2017, I arrive in Hull for Invisible Flock’s 105+dB programmed as part of Made in Hull, a series of cultural activities happening across the city. The piece takes place in Zebedee’s Yard, a pedestrianised area located between Princes Dock Street and Whitefriargate in the grounds of the former Trinity House School. From several streets, I can already hear a crowd. Sound, porous in its very nature, flows through the city expanding beyond its immediate geography bringing the notion of a fictional event into being. I look in pub windows to see which teams are playing, yet the visual clues defy what my ears tell me. Listening, as Labelle suggests is relational, it brings us into proximity with nearby occurrences, bodies and objects. Sound and in turn listening, by both an intended and unsuspecting public, lures bodies into proximity aurally bound by the promise of an event. The use of sound, combined with the physical sensation implied by the surrounding architecture serves to construct us as a group of attendees to a soccer match. This is evident as I continue my approach, passing through an archway with cobbled stones underfoot. The narrow entrance rapidly fills up with bodies and objects; push chairs, wheelchairs, umbrellas, and thick winter coats bringing us into close physical contact with one another. Individuals are reduced to a sea of heads bobbing towards the bright stadium lights now visible in the distance. The title 105+dB, refers to the volume at which the sound of an individual voice is lost amongst a crowd, accordingly my experience of being at the site of the piece further echoes this theme. The physical structure of the archway combined with the volume of bodies contributes to what Pallasmaa describes as “atmospheric perception” (231), a mode of attending to experience that engages all the senses as well as time, memory and imagination. Sound here contributes to the atmosphere provoking a shift in my listening. The importance of the listener-spectator experience is underscored by the absence of architectural structures habitually found in stadiums. The piece is staged using the bare minimum: four metal scaffolding structures on each side of the Yard support stadium lights and a high-visibility clad figure patrols the periphery. These trappings serve to evoke an essence of the original site of the recordings, the rest is furnished by the audio track played through 36 speakers situated at intervals around the space as well as the movement of other bodies. As Böhme notes: “Space is genuinely experienced by being in it, through physical presence” (179) similarly, here, it is necessary to be in the space, aurally immersed in sound and in physical proximity to other bodies moving across the Yard. Image 1: The piece is staged using the bare minimum, the rest is furnished by the audio track and movement of bodies. Image courtesy of the artists.The absence of visual clues draws attention to the importance of presence and mood, as Böhme claims: “By feeling our own presence, we feel the space in which we are present” (179). Listening-spectators actively contribute to the event-architecture as physical sensations build and are tangibly felt amongst those present, influenced by the dramaturgical structure of the audio recording. Sounds of jeering, applause and the referees’ whistle combine with occasional chants such as “come on city, come on city” marking a shared rhythm. Specific moments, such as the sound of a leather ball hitting a foot creates a sense of expectation amongst the crowd, and disappointed “ohhs” make a near-miss audibly palpable. Yet, more important than a singular sound event is the sustained sensation of being in a situation, a distinction Pallasmaa makes, foregrounding the “ephemeral and dynamic experiential fields” (235) offered by music, an argument I wish to consider in relation to this sound installation.The detail of the recording makes it possible to imagine, and almost accurately chart, the movement of the ball around the pitch. A “yeah” erupts, making it acoustically evident that a goal is scored as the sound of elation erupts through the speakers. In turn, this sensation much like Thibaud’s concept of intercorporeality, spreads amongst the bodies of the listening-spectators who fist bump, smile, clap, jeer and jump about sharing and occupying Zebedee’s Yard with physical manifestations of triumph. Through sound comes an invitation to be both physically and emotionally in the space, indicating the potential to understand, as Pallasmaa suggests, how “spaces and true architectural experiences are verbs” (231). By physically engaging with the peaks and troughs of the game, a temporary community of sorts forms. After twenty minutes, the main lights dim creating an amber glow in the space, sound is reduced to shuffling noises as the stadium fills up, or empties out (it is impossible to tell). Accordingly, Zebedee’s Yard also begins to empty. It is unclear if I am listening to the sounds in the space around me, or those on the recording as they overlap. People turn to leave, or stand and shuffle evidencing an attitude of receptiveness towards their surrounding environment and underscoring what Thibaud describes as “tuned ambiance” where a resemblance emerges “between what is felt and what is produced” (Three Dynamics 44). The piece, by replaying the crowd sounds of a soccer match across the space of Zebedee’s Yard, stages atmospheric perception. In the absence of further architectural structures, it is the sound of the crowd in the stadium and in turn an attention to our hearing and physical presence that constitutes the event. Bildraum Atelier BildraumAugust 2016, I am in Edinburgh to see Bildraum. The German word “bildraum” roughly translates as image room, and specifically relates to the part of the camera where the image is constructed. Bouckaert takes high definition images live onstage that project immediately onto the screen at the back of the space. The audience see the architectural model, the taking of the photograph, the projected image and hear both pre-recorded ambient sounds by Speakman, and live music played by Salembier generating the sensation that they are inhabiting a bildraum. Here I explore how both sound and image projection can encourage the listener-spectator to construct multiple narratives of possible events and engage their spatial imagination. Image 2: The audience see the architectural model, the taking of the photograph, the projected image and hear both live and pre-recorded sounds. Image courtesy of the artists.In Bildraum, the combination of elements (photographic, acoustic, architectural) serve to create provocative scenes which (quite literally) build multiple spaces for potential narratives. As Bouckaert asserts, “when we speak with people after the performance, they all have a different story”. The piece always begins with a scale model of the actual space. It then evolves to show other spaces such as a ‘social’ scene located in a restaurant, a ‘relaxation’ scene featuring sun loungers, an oversize palm tree and a pool as well as a ‘domestic’ scene with a staircase to another room. The use of architectural models makes the spaces presented appear as homogenous, neutral containers yet layers of sound including footsteps, people chatting, doors opening and closing, objects dropping, and an eerie soundscape serve to expand and incite the construction of imaginative possibilities. In relation to spatial imagination, Pallasmaa discusses the novel and our ability, when reading, to build all the settings of the story, as though they already existed in pre-formed realities. These imagined scenes are not experienced in two dimensions, as pictures, but in three dimensions and include both atmosphere and a sense of spatiality (239). Here, the clean, slick lines of the rooms, devoid of colour and personal clutter become personalised, yet also troubled through the sounds and shadows which appear in the photographs, adding ambiance and serving to highlight the pluralisation of space. As the piece progresses, these neat lines suffer disruption giving insight into the relations between bodies and across space. As Martin Heidegger notes, space and our occupation of space are not mutually exclusive but intertwined. Pallasmaa further reminds us that when we enter a space, space enters us and the experience is a reciprocal exchange and fusion of both subject and object (232).One image shows a table with several chairs neatly arranged around the outside. The distance between the chairs and the table is sufficient to imagine the presence of several bodies. The first image, though visually devoid of any living presence is layered with chattering sounds suggesting the presence of bodies. In the following image, the chairs have shifted position and there is a light haze, I envisage familiar social scenes where conversations with friends last long into the night. In the next image, one chair appears on top of the table, another lies tilted on the floor with raucous noise to accompany the image. Despite the absence of bodies, the minimal audio-visual provocations activate my spatial imagination and serve to suggest a correlation between physical behaviour and ambiance in everyday settings. As discussed in the previous paragraph, this highlights how space is far from a disinterested, or separate container for physical relations, rather, it underscores how social energy, sound and mood can build a dynamic presence within the built environment, one that is not in isolation but indeed in dialogue with surrounding structures. In a further scene, the seemingly fixed, stable nature of the models undergoes a sudden influx of materials as a barrage of tiny polystyrene balls appears. The image, combined with the sound suggests a large-scale disaster, or freak weather incident. The ambiguity created by the combination of sound and image indicates a hidden mobility beneath what is seen. Sound here does not announce the presence of an object, or indicate the taking place of a specific event, instead it acts as an invitation, as Voegelin notes, “not to confirm and preserve actuality but to explore possibilities” (Sonic 13). The use of sound which accompanies the image helps to underscore an exchange between the material and immaterial elements occurring within everyday life, leaving a gap for the listener-spectator to build their own narrative whilst also indicating further on goings in the depth of the visual. Image 3: The minimal audio-visual provocations serve to activate my spatial imagination. Image courtesy of the artists.The piece advances at a slow pace as each model is adjusted while lighting and objects are arranged. The previous image lingers on the projector screen, animated by the sound track which uses simple but evocative chords. This lulls me into an attentive, almost meditative state as I tune into and construct my own memories prompted by the spaces shown. The pace and rhythm that this establishes in Summerhall’s Old Lab creates a productive imaginative space. Böhme argues that atmosphere is a combination of both subjective and objective perceptions of space (16). Here, stimulated by the shifting arrangements Bouckaert and Salembier propose, I create short-lived geographies charting my lived experience and memories across a plurality of possible environments. As listener-spectator I am individually implicated as the producer of a series of invisible maps. The invitation to engage with the process of the work over 40-minutes as the building and dismantling of models and objects takes place draws attention to the sensorial flows and what Voegelin denotes as a “semantic materiality” (Sonic 53), one that might penetrate our sensibility and accompany us beyond the immediate timeframe of the work itself. The timeframe and rhythm of the piece encourages me, as listener-spectator to focus on the ambient sound track, not just as sound, but to consider the material realities of the here and now, to attend to vibrational milieus which operate beyond the surface of the visible. In doing so, I become aware of constructed actualities and of sound as a medium to get me beyond what is merely presented. ConclusionThe dynamic experiential potential of sound installations discussed from the perspective of a listener-spectator indicate how emotion is a key composite of spatial construction. Beyond the closed acoustic environments of audio-based performance works, aural space, physical proximity, and the importance of ambiance are foregrounded. Such intangible, ephemeral experiences can benefit from a writing practice that attends to these aesthetic concerns. By writing through both case studies from the position of listener-spectator, my lived experience of each work, manifested through attention to sensorial experience, have indicated how relations are built between bodies and across space. In Invisible Flock´s 105+dB sound featured as a social material binding listener-spectators to each other and catalysing a fictional relation to space. Here, sound formed temporal communities bringing bodies into contact to share in constructing and further shaping the parameters of a fictional event.In Atelier Bildraum’s Bildraum the construction of architectural models combined with ambient and live sound indicated a depth of engagement to the visual, one not confined to how things might appear on the surface. The seemingly given, stable nature of familiar environments can be questioned hinting at the presence of further layers within the vibrational or atmospheric properties operating across space that might bring new or alternative realities to the forefront.In both, the correlation between the environment and emotional impressions of bodies that occupy it emerged as key in underscoring and engaging in a dialogue between ambiance and lived experience.ReferencesBildraum, Atelier. Bildraum. Old Lab, Summer Hall, Edinburgh. 18 Aug. 2016.Böhme, Gernot, and Jean-Paul Thibaud (eds.). The Aesthetics of Atmospheres. New York: Routledge, 2017.Cardiff, Janet. The Missing Case Study B. Art Angel, 1999.Home-Cook, George. Theatre and Aural Attention. London: Palgrave Macmillan, 2015.Greenlaw, Lavinia. Audio Obscura. 2011.Bouckaert, Charlotte, and Steve Salembier. Bildraum. Brussels. 8 Oct. 2014. 18 Jan. 2017 <https://www.youtube.com/watch?v=eueeAaIuMo0>.Daemen, Merel. “Steve Salembier & Charlotte Bouckaert.” 1 Jul. 2015. 18 Jan. 2017 <http://thissurroundingusall.com/post/122886489993/steve-salembier-charlotte-bouckaert-an-architect>. Haydon, Andrew. “Bildraum – Summerhall, Edinburgh.” Postcards from the Gods 20 Aug. 2016. 18 Jan. 2017 <http://postcardsgods.blogspot.co.uk/2016/08/bildraum-summerhall-edinburgh.html>. Heidegger, Martin. “Building, Dwelling, Thinking.” Basic Writings. Ed. David Farrell Krell. Oxford: Routledge, 1978. 239-57.Hutchins, Roy. 27 Aug. 2016. 18 Jan. 2017 <http://fringereview.co.uk/review/edinburgh-fringe/2016/bildraum/>.Invisible Flock. 105+dB. Zebedee’s Yard, Made in Hull. Hull. 7 Jan. 2017. Labelle, Brandon. “Acoustic Spatiality.” SIC – Journal of Literature, Culture and Literary Translation (2012). 18 Jan. 2017 <http://hrcak.srce.hr/file/127338>.———. “Other Acoustics” OASE: Immersed - Sound & Architecture 78 (2009): 14-24.———. “Sharing Architecture: Space, Time and the Aesthetics of Pressure.” Journal of Visual Culture 10.2 (2011): 177-89.Miller, Graeme. Linked. 2003.Myers, Misha. “Situations for Living: Performing Emplacement.” Research in Drama Education 13.2 (2008): 171-80.Pallasmaa, Juhani. “Space, Place and Atmosphere. Emotion and Peripheral Perception in Architectural Experience.” Lebenswelt 4.1 (2014): 230-45.Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Vermont: Destiny Books, 1994.Schevers, Bas. Bildraum (trailer) by Charlotte Bouckaert and Steve Salembier. Dec. 2014. 18 Jan. 2017 <https://vimeo.com/126676951>.Taylor, N. “Made in Hull Artists: Invisible Flock.” 6 Jan. 2017. 9 Jan. 2017 <https://www.hull2017.co.uk/discover/article/made-hull-artists-invisible-flock/>. Thibaud, Jean-Paul. “The Three Dynamics of Urban Ambiances.” Sites of Sound: of Architecture and the Ear Vol. II. Eds. B. Labelle and C. Martinho. Berlin: Errant Bodies P, 2011. 45-53.———. “Urban Ambiances as Common Ground?” 4.1 (2014): 282-95.Voegelin, Salomé. Listening to Sound and Silence: Toward a Philosophy of Sound Art. New York: Continuum, 2010.———. Sonic Possible Worlds. London: Bloomsbury, 2014.Zumthor, Peter. Thinking Architecture. Basel: Birkhäuser, 1998.———. Atmosphere: Architectural Environments – Surrounding Objects. Basel: Birkhäuser, 2006.

IntroductionThe Sydney Opera House is Australia’s, if not the world’s, most recognisable building. It is universally recognised as an architectural icon and as a masterpiece of the built environment, which has captured the imagination of many (Commonwealth of Australia 4). The construction of the Sydney Opera House, between 1959 and 1973, utilised many ground-breaking methods and materials which, together, pushed the boundaries of technical possibilities to the limits of human knowledge at the time (Commonwealth of Australia 36, 45). Typical investigations into the Sydney Opera House focus on its architects, the materials, construction, or the events that occur on its stages. The role of the illumination, in the perception and understanding of Australia’s most famous performing arts centre, is an under-investigated aspect of its construction and its use today (Dwyer Backstage Biography 1; Dwyer “Utzon’s Use” 131).This article examines the illumination of the Sydney Opera House from the perspective of light as a construction material, another element that is used to ‘build’ the structure on Bennelong Point. This article examines the illumination from an historical view as Jørn Utzon’s (1918-2008) concepts for the building, including the lighting design intentions, were not all realised as he did not complete the project. The task of finishing this structure was allocated to the architectural cooperative of Hall, Todd & Littlemore who replaced Utzon in 1966. The Danish-born Utzon was appointed in January 1957 having won an international competition, from a field of over 230 entries, to design a national opera house for Sydney. He quickly began the task of resolving his design, transforming the roughly-sketched concepts presented in his competition entry, into detailed drawings that articulated how the opera house would be realised. The iteration of these concepts can be most succinctly identified in Utzon’s formal design reports to the Opera House Committee which are often referred to based on the colour of their cover design. The first report, the ‘red book’ was issued in 1958 with further developments of the architectural and services designs outlined in the ‘yellow book’ which followed in 1962. The last of the original architects’ publications was the Utzon Design Principles (2002) which was created as part of the reengagement process—between the Government of New South Wales and the Sydney Opera House with the original architect—that commenced in 1999.As with many modern buildings (such as Eero Saarinen’s TWA Flight Center, Richard Meier’s Jubilee Church or Adrian D. Smith’ Burj Khalifa), concrete was selected to form the basic structural element of the Sydney Opera House. Working with the, now internationally-renowned, engineering firm Ove Arup and Partners, Utzon designed some of the most significant shapes and finishes that have become synonymous with the site. The concrete elements range from basic blade walls with lustrous finishes to the complex, shape-changing beams that rise from under the monumental stairs and climb to terminate in the southern foyers. Thus, demonstrating the use of concrete as both a structural element and a high quality architectural finish. Another product used throughout the Sydney Opera House is granite. As a hardwearing stone, it is used in a crushed form as part of the precast panels that line the walls and internal flooring and as setts on the forecourt. As with the concrete the use of the same material inside and out blurs the distinction between interior and exterior. The forecourt forms a wide-open plaza before the building rises like a headland as it meets the harbour. The final, and most recognisable element is that of the shell (or roof) tiles. After many years of research Utzon settled on a simple mix of gloss and matt tiles of approximately 120mm square that, carefully arranged, produced a chevron shaped ‘lid’ and results in an effect likened to snow and ice (Commonwealth of Australia 51).These construction elements would all remain invisible if not illuminated by light, natural or artificial. This paper posits that the illumination reinforces the architecture of the structure and extends the architectural and experiential narratives of the Sydney Opera House across time and space. That, light is—like concrete, granite and tiles—a critical component of the Opera House’s build.Building a Narrative with LightIn creating the Sydney Opera House, Utzon set about harnessing natural and artificial illumination that are intrinsic parts of the human condition. Light shapes every facet of our lives from defining working and leisure hours to providing the mechanism for high speed communications and is, therefore, an obvious choice to reinforce the structure of the building and to link the built environment with the natural world that enveloped his creation. Light was to play a major role in the narrative of the Sydney Opera House starting from a patron’s approach to the site.Utzon’s staged approach to a performance at the Sydney Opera House is well documented, from the opening passages of the Descriptive Narrative (Utzon 1-2) to the Lighting Master Plan (Steensen Varming). The role of artificial light in the preparation of the audience extends beyond the simple visibility necessary to navigate the site. Light provides a linking element that guides an audience member along their ‘journey’ through several phases of transformation from the physicality of the city on the forecourt to “another world–a make believe atmosphere, which will exclude all outside impressions and allow the patrons to be absorbed into the theatre mood, which the actors and the producers wish to create” (Utzon Descriptive Narrative 2) in the theatres. Utzon conceived of light as part of the storytelling process, expressing the building’s narrative in a way that allows illumination is to be so much more than signposts to points of activity such as cloaking areas, theatre entries and the like. The lighting was intended to delineate various stages on the ‘journey’ noted above, to reinforce the transition from one world to another such that the combination of light and architecture would provide a series of successive stimuli that would build until the crescendo of the performance itself. This supports the transition of the visitor from the world of the everyday into the narrative of the Sydney Opera House and a world of make believe. Yet, in providing a narrative between these two ‘worlds’ the lighting becomes an anchor—or an element held in suspension – a mediator in the tension between the city at the beginning of the ‘journey’ and the ‘other world’ of the performance at the end. There is a balance to be maintained between illuminating the Sydney Opera House so that it remains prominent in its harbour location, easily read as a distinct sculptural structure on the peninsular separate from, but still an essential part of, the city that lies beyond Circular Quay to the south. Utzon alludes to the challenges of crafting the illumination so that it meets these requirements, noting that the illumination of the broardwalks “must be compatible with the lighting on the approach roads” (Utzon Descriptive Narrative 68) while maintaining that “the floodlit building will be the first and last impression for [… an audience] to receive” (Utzon Descriptive Narrative 1). These lighting requirements are also tempered by the desire that the “night time [...] view will be all lights and reflections, [that] stretch all along the harbour for many miles” (Utzon Descriptive Narrative 1) reinforcing the use of light as an anchor that provides both a point of reference and serves as a mediator of the Sydney Opera House’s place within the city.The narrative of the materials and elements that are combined to give the final, physical form its striking sensory presence is also told through light, in particular colour. Or, perhaps more precisely in an illumination sense, the accurate reproduction of colour and by extension accurate presentation of the construction materials used in the creation of the Sydney Opera House. Expression of the ‘truth’ in the materials he used was important for Utzon and the faithful representation of details such as the fine grains in timber and the smooth concrete finishes required careful lighting to enhance these features. When extended to the human occupants of the Sydney Opera House, there is a short, yet very descriptive instruction: the lighting is to give “life to the skin and hair on the human form in much the same way as the light from candles” (Utzon Descriptive Narrative 67). Thus, the narrative of the materials and their quality was as important as the final structure and those who would occupy it. It is the role of light to build upon the story of the materials to contribute to the overall narrative of the Sydney Opera House.Building an Experience through IlluminationUtzon envisaged that light would do much more than provide illumination or tell the narrative of the materials he had selected – light was also to build a unique architectural experience for a patron. The experience of light was to be subtle; the architecture was to retain a position of centre stage, reinforced by, rather than ever replaced by, the illumination. In this way, concealed lighting was proposed which would be “designed in close collaboration with the acoustical engineers as they will become an integral part of overall acoustic design” and “installed in carefully selected places based on knowledge gleaned from experimental work” (Utzon Descriptive Narrative 67). Through concealing the light source, the architecture did not become cluttered or over powered by a dazzling array of fixtures and fittings that detracted from the audience’s experiences. For instance, to illuminate the monumental steps, Utzon proposed that the fittings would be recessed into the handrails, while the bar and lounge areas would be lit from discreet fittings installed within the plywood ceiling panels (Utzon Descriptive Narrative 16) to create an experience of light that was unified across the site. In addition to the aesthetical improvements gained from the removal of the light sources from the field of view, unwanted glare is also reduced reinforcing the ‘whole’ of the architectural experience.During the time that Utzon was conceptualising the illumination of the Sydney Opera House, the Major Hall (what is now known as the Concert Hall) was envisaged as what might be considered as a modern multipurpose venue, one that could accommodate among other activities: symphonic concerts; opera; ballet and dance; choral concerts; pageants and mass meetings (NSW Department of Local Government 24). The Concert Hall was the terminus for the ‘journey’—where the actors and audience find themselves in the same space, the ‘other world’—“a make believe atmosphere, which will exclude all outside impressions and allow the patrons to be absorbed into the theatre mood, which the actors and the producers wish to create” (Utzon Descriptive Narrative 2). This other world was to sumptuously explode with rich colours “which uplift you in that festive mood, away from daily life, that you expect when you go to the theatre, a play, an opera or a concert” (Utzon Utzon Design Principles 34). These highly decorated and colourful finishes contrast with the white shells further highlighting the ‘journey’ that has taken place. Utzon proposed to use the illumination to reinforce this distance and provide the link between the natural colours of the raw materials used outside the theatre and highly decorated colours of the performance spaces.The lighting treatment of the theatres extended into the foyers and their public amenities to ensure that the lighting design contributed to the overall enhancement of a patron’s visit and delivered the experience of the ‘journey’ that was envisaged by Utzon (Dwyer “Utzon’s Use” 130-32). This standardised approach was in concert with Utzon’s architectural philosophy where repetitive systems of construction elements were utilised, for instance, in the construction of the shells. Utzon clearly articulated this approach in The Descriptive Narrative, noting that “standard light fittings will be chosen […] to suit each location” (67), however the standardisation would not compromise other considerations of the space such as the acoustical performance, with Utzon noting that the “fittings for auditoria and rehearsal rooms must be of necessity, designed in close collaboration with the acoustical engineers as they will become an integral part of over acoustic design” (Utzon Descriptive Narrative 67). Another parallel between the architectural development of the Sydney Opera House and Utzon’s approach to the lighting concepts was, uncommon at the time, his preference for prototyping and experimentation with lighting effects and various fittings (Utzon Descriptive Narrative 67). A sharp contrast to the usual practices of the day which relied upon more straightforward procurement processes with generic rather than tailored solutions. Peter Hall, of Hall, Todd & Littlemore, discussed the typical method of lighting design which was prevalent during the construction of the Sydney Opera House, as a method which “amounted to the electrical engineers laying out on a plan sufficient off-the-shelf light fittings to achieve the desired illumination levels […] the resulting effects were dull even if brightly lit” (Hall 180). Thus, Utzon’s careful approach to ensure that light and architecture were in harmony as “nothing is introduced into the scheme, before it has been carefully investigated and has proved to be the right solution to the problem” (Utzon Descriptive Narrative 2) was highly innovative for its time.The use of light to provide an experience was not necessarily new, for example RSL Clubs, theme parks and department stores all used light to attract attention to their products and services, however the scale and proposed execution of these concepts was pioneering for Australia in the 1950s and 1960s. Utzon’s concepts provided a highly experiential unified design to provide the patron with a unique architectural experience built through the careful use of light.Building the Scenery with LightArchitecture might be considered set design on a grand scale (for example see Raban, Rasmuseen and Read). Both architects and set designers are concerned with the relationship between the creative designs and the viewers and both set up opportunities for interactions between people (as actors or users) and structure. However, without light, the scene remains literally, in the dark, isolated from its surroundings and unperceetable to an audience.Utzon was acutely aware of the relationship between the Sydney Opera House and the city in which it stands. The positioning of the structure on the site is no accident and the interplay between the ‘sails’ and the sun is perhaps the most recognised lighting feature of the Sydney Opera House. By varying the angle of the shells, the reflections and the effects of the sunlight are constantly varying depending on the viewer’s position and focus. More importantly, these subtle variations in the light enhance the sculptural effect of the direct illumination and help create the effect of “matt snow and shining ice” (Commonwealth of Australia 51): the ‘shimmer of life’ so desired by Utzon as the sunlight strikes the ceramic tiles. This ‘shimmer’ is not the only natural lighting effect. The use of the different angles ensures variation in the light, clouds and resulting shadows to heighten interest and create an ever-changing scene that plays out on the shells as the sun moves across the sky, as Utzon notes, “something new goes on all the time and it is so important–this interplay is so important that together with the sun, the light and the clouds, it makes it a living thing” (Utzon Sydney Opera House 49). This scene is enhanced by the changing quality of the sunlight; the shells appear to be deep amber at first light their shadows long and faint before becoming shorter and stronger as the sun moves towards its midday position with the colour changing slowly to ‘pure’ white before the shadows change sides, the process reverses and they again disappear under the cover of darkness. Although the scene replays daily, the relative location of the sun and changing weather patterns ensure infinite variation in the effect.This changing scene, on a grand scale, with light as the central character is just as important as the theatrical performances taking place indoors on the stages. With a mobile audience, the detailing of the visual scene that is the structure becomes more important. The Sydney Opera House competes for attention with shipping movements in the harbour, the adjacent bridge with the ant-like procession of climbers and the activities of the city to the south. Utzon foresaw this noting that the “position on a peninsular, which is overlooked from all angles makes it important to maintain an all-round elevation. There can be no backsides to the building and nothing can be hidden from the view” (Utzon Descriptive Narrative 1). The use of natural light to enhance the sculptural form and reinforce isolation of the structure on the peninsular, centre stage on the harbour is therefore not a coincidence. Utzon has deliberately harnessed the natural light to ensure that the Sydney Opera House is just as vibrant a performer as its surroundings. In this way, Utzon has used light to anchor the Sydney Opera House both in the city it serves and for the performances it houses.It is not just the natural light that is used as such an anchor point. Utzon planned for artificial lighting of the sails and surrounding site to ensure that after dark the ‘shimmer’ of the white tiles would be maintained with an equivalent, if manufactured, effect. For Utzon, the sculptural qualities of structure were important and should be clearly ‘read’ at night, even against a dark harbour on one side and the brighter city on the other. Through the use of artificial lighting, Utzon set the scene on Bennelong Point with the structure clearly centred in the set that is the Sydney skyline. This reinforced the notion that a journey into the Sydney Opera House was something special, a transition from the everyday to the ‘other’ world.ConclusionFor Utzon light was just as essential as concrete and other building materials for the design of the Sydney Opera House. The traditional bright lights of the stage had no place in the architectural illumination, replaced instead by a much more subtle, understated use of light, and indeed its absence. Utzon planned for the lighting to envelope an audience but not to smother them. Unfortunately, he was unable to complete his project and in 1968 J.M. Waldram was eventually appointed to complete the lighting design. Waldram’s lighting solutions—many of which are still in place today—borrowed or significantly drew upon Utzon’s original illumination concepts, thus demonstrating their strength and timeless qualities. In this way light builds on the story of the structure, reinforcing the architecture of the building and extending the narratives of the construction elements used to build the Sydney Opera House.AcknowledgementsThe author acknowledges the assistance of Rachel Franks for her input on an early draft of this article and thanks the blind peer reviewers for their generous feedback and suggestions, of course any remain errors or omissions are my own. ReferencesCommonwealth of Australia. Sydney Opera House Nomination by the Government of Australia for Inscription on the World Heritage List. Canberra: Commonwealth of Australia, 2006.Cleaver, Jack. Surface and Textured Finishes for Concrete and Their Impact upon the Environment. 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