Artigos de revistas sobre o tema "Decorated local systems"

Some composite materials have been prepared, constituted by a cyclodextrin-bis-urethane-based nanosponge matrix in which a reduced graphene oxide/silver nanoparticles photocatalyst has been dispersed. Different chain extenders were employed for designing the nanosponge supports, in such a way as to decorate their hyper-cross-linked structure with diverse functionalities. Moreover, two different strategies were explored to accomplish the silver loading. The obtained systems were successfully tested as catalysts for the photodegradation of emerging pollutants such as model dyes and drugs. Enhancement of the photoactive species performance (up to nine times), due to the synergistic local concentration effect exerted by the nanosponge, could be assessed. Overall, the best performances were shown by polyamine-decorated materials, which were able to promote the degradation of some particularly resistant drugs. Some methodological issues pertaining to data collection are also addressed.

Alendronate (ALN) is the most commonly prescribed oral nitrogen-containing bisphosphonate for osteoporosis therapy. However, its administration is associated with serious side effects. Therefore, the drug delivery systems (DDS) enabling local administration and localized action of that drug are still of great importance. Herein, a novel multifunctional DDS system based on the hydroxyapatite-decorated mesoporous silica particles (MSP-NH2-HAp-ALN) embedded into collagen/chitosan/chondroitin sulfate hydrogel for simultaneous osteoporosis treatment and bone regeneration is proposed. In such a system, the hydrogel serves as a carrier for the controlled delivery of ALN at the site of implantation, thus limiting potential adverse effects. The involvement of MSP-NH2-HAp-ALN in the crosslinking process was established, as well as the ability of hybrids to be used as injectable systems. We have shown that the attachment of MSP-NH2-HAp-ALN to the polymeric matrix provides a prolonged ALN release (up to 20 days) and minimizes the initial burst effect. It was revealed that obtained composites are effective osteoconductive materials capable of supporting the osteoblast-like cell (MG-63) functions and inhibiting osteoclast-like cell (J7741.A) proliferation in vitro. The purposely selected biomimetic composition of these materials (biopolymer hydrogel enriched with the mineral phase) allows their biointegration (in vitro study in the simulated body fluid) and delivers the desired physicochemical features (mechanical, wettability, swellability). Furthermore, the antibacterial activity of the composites in in vitro experiments was also demonstrated.

Multifunctional nanosystems combining magnetic and plasmonic properties are a promising approach for cancer therapy, allowing magnetic guidance and a local temperature increase. This capability can provide a triggered drug release and synergistic cytotoxic effect in cancer cells. In this work, nickel ferrite/gold nanoparticles were developed, including nickel ferrite magnetic nanoparticles decorated with plasmonic gold nanoparticles and core/shell nanostructures (with a nickel ferrite core and a gold shell). These nanoparticles were covered with a surfactant/lipid bilayer, originating liposome-like structures with diameters below 160 nm. The heating capacity of these systems, upon excitation with light above 600 nm wavelength, was assessed through the emission quenching of rhodamine B located in the lipid layer. The developed nanosystems show promising results for future applications in thermotherapy.

Rational design of composite nanostructured photocatalytic systems with good sunlight absorption capacity and efficient charge separation and transfer ability is an urgent problem to be solved in photocatalysis research. Here, a ZnMn2O4 decorated three-dimensional carbon nitride with O, C co-doping, and nitrogen defect composite photocatalytic system was prepared using a simple hydrothermal method and subsequent calcination method. For the photocatalytic reactions, the presence of heterostructures, C, O co-doping, and nitrogen defects greatly promotes the separation and transfer of charges at the semiconductor/semiconductor interface under the local electric field, thereby extending its service life. The photocatalytic degradation efficiency of sulfamethoxazole in water is as high as 94.3% under the synergistic effects, which is also suitable for the complex water environment. In addition, the synthesized photocatalyst has good chemical stability and recyclability. This study provides a new opportunity to solve the problem of environmental pollution.

Background: Cervical intraepithelial neoplasia, the predisposing factor for cervical cancer (CC), is caused by human papillomavirus (HPV) infection and can be treated with imiquimod (IMQ). However, poor water solubility and side effects such as local inflammation can render IMQ ineffective. The aim of this study is to design a prolonged release nano system in combination with mucoadhesive–thermosensitive properties for an effective vaginal drug delivery. Methods: Polylactic-co-glycolic acid (PLGA), polycaprolactone (PCL), poly lactide-co-caprolactone (PLA-PCL), and poly L-lactide-co-caprolactone-co-glycolide (PLGA-PCL) were used to create IMQ nanoparticles. Chitosan (CS) was then added to the surfaces of the IMQ NPs for its mucoadhesive properties. The NPs were then incorporated into poloxamer hydrogels. The NPs’ size and morphology, encapsulation efficiency (EE), in vitro drug release, gel characterization, ex vivo drug permeation, and in vitro safety and efficacy were characterized. Results: Two batches of NPs were prepared, IMQ NPs and CS-coated NPs (CS-IMQ NPs). In general, both types of NPs were uniformly spherical in shape with average particle sizes of 237.3 ± 4.7 and 278.2 ± 5.4 nm and EE% of 61.48 ± 5.19% and 37.73 ± 2.88 for IMQ NPs and CS-IMQ NPs, respectively. Both systems showed prolonged drug release of about 80 and 70% for IMQ NPs and CS-IMQ NPs, respectively, within 48 h. The gelation temperatures for the IMQ NPs and CS-IMQ NPs were 30 and 32 °C, respectively; thus, suitable for vaginal application. Although ex vivo permeability showed that CS-IMQ NPs showed superior penetration compared to IMQ NPs, both systems enhanced drug penetration (283 and 462 µg/cm2 for IMQ NPs and CS-IMQ NPs, respectively) relative to the control (60 µg/cm2). Both systems reduced the viability of cervical cancer cells, with a minimal effect of the normal vaginal epithelium. However, IMQ NPs exhibited a more pronounced cytotoxic effect. Both systems were able to reduce the production of inflammatory cytokines by at least 25% in comparison to free IMQ. Conclusion: IMQ and CS-IMQ NP in situ gels enhanced stability and drug release, and improved IMQ penetration through the vaginal tissues. Additionally, the new systems were able to increase the cytotoxic effect of IMQ against CC cells with a reduction in inflammatory responses. Thus, we believe that these systems could be a good alternative to commercial IMQ systems for the management of CC.

Overall-water splitting on photocatalysts provides a direct-unassisted path in the conversion of solar energy to chemical energy. Optoelectronic properties (absorbing incident light with long excited state lifetimes) and carrier selective contacts (transporting and transferring the desired electronic carrier to the targeted redox active species) are two key parameters that govern photocatalyst behavior. However, the advantageous small geometry of the highest achieving photocatalysts makes measurement of their carrier selective contacts difficult. Additionally, several mechanisms that enable high energy-conversion efficiencies and large gradients in free energy manifest only at the nanoscale at individual nanoparticle sites. SrTiO3 has been extensively studied and shown to split water with high quantum yields when decorated with HER and OER catalysts. SrTiO3 is used, in this work, as a model system to study mechanisms for charge selectivity on overall-water splitting photocatalyst particles. Here, we use three sample geometries to measure local, facet, and catalyst-dependent, electrochemical driving forces and their synergistic enhancement of carrier selectivity, (single crystal planar (b), single crystal co-facet exposed planar (a), facetted nanoparticles (c) loaded with OER and HER catalysts [{Pt/CrO3, Rh/CrO3} and CoOOH respectively]). We use ex-situ conductive atomic force microscopy to individually interrogate the electrical properties of nano-scale catalyst/semiconductor junctions decorated on facet-engineered surfaces of SrTiO3. Supporting experiments of SECM and Operando AP-XPS will be used to measure the charge carrier selectivity when an electrolyte is present and connect the ex-situ characterization observations to operando conditions. In summary, these findings demonstrate the underlying mechanisms and the degree that they play, enabling directed research of photocatalyst systems under the two dominant engineering conditions, high optoelectronic properties and charge selective contacts. Figure 1

The delivery of drugs through the skin barrier at a predetermined rate is the aim of transdermal drug delivery systems (TDDSs). However, so far, TDDS has not fully attained its potential as an alternative to hypodermic injections and oral delivery. In this study, we presented a proof of concept of a dual drug-loaded patch made of nanoparticles (NPs) and ultrafine fibers fabricated by using one equipment, i.e., the electrospinning apparatus. Such NP/fiber systems can be useful to release drugs locally through the skin and the tympanic membrane. Briefly, dexamethasone (DEX)-loaded poly(3-hydroxybutyrate-co-3-hydroxyvalerate) (PHBHV) fiber meshes were decorated with rhodamine (RHO)-loaded poly(lactic-co-glycolic acid) (PLGA) NPs, with RHO representing as a second drug model. By properly tuning the working parameters of electrospinning, DEX-loaded PHBHV fibers (i.e., by electrospinning mode) and RHO-loaded PLGA NPs (i.e., by electrospray mode) were successfully prepared and straightforwardly assembled to form a TDDS patch, which was characterized via Fourier transform infrared spectroscopy and dynamometry. The patch was then tested in vitro using human dermal fibroblasts (HDFs). The incorporation of DEX significantly reduced the fiber mesh stiffness. In vitro tests with showed that HDFs were viable for 8 days in contact with drug-loaded samples, and significant signs of cytotoxicity were not highlighted. Finally, thanks to a beaded structure of the fibers, a controlled release of DEX from the electrospun patch was obtained over 4 weeks, which may accomplish the therapeutic objective of a local, sustained and prolonged anti-inflammatory action of a TDDS, as is requested in chronic inflammatory conditions, and other pathological conditions, such as in sudden sensorineural hearing loss treatment.

Smart drug delivery systems with controllable properties play an important role in targeted therapy and tissue regeneration. The aim of our study was the preparation andin vitroevaluation of a collagen (Col) matrix embedding a liposomal formulation of chondroitin sulfate (L-CS) for the treatment of inflammatory disorders. Structural studies using Oil Red O specific staining for lipids and scanning electron microscopy showed an alveolar network of nanosized Col fibrils decorated with deposits of L-CS at both periphery and inner of the matrix. The porosity and density of Col-L-CS matrix were similar to those of Col matrix, while its mean pore size and biodegradability had significantly higher and lower values (P<0.05), respectively.In vitrocytotoxicity assays showed that the matrix system induced high cell viability and stimulated cell metabolism in L929 fibroblast cell culture. Light and electron micrographs of the cell-matrix construct showed that cells clustered into the porous structure at 72 h of cultivation.In vitrodiffusion test indicated that the quantity of released CS was significantly lower (P<0.05) after embedment of L-CS within Col matrix. All these results indicated that the biocompatible and biodegradable Col-L-CS matrix might be a promising delivery system for local treatment of inflamed site.

The dichotomy between advanced materials and brain has driven the curiosity of scientists to explore the wonders of the brain, as well as motivated the continued innovations of novel technologies based on advances in materials science and engineering to understand the brain. To improve treatments of brain-related diseases will require new tools and methods to map and to repair the brain with precision and biocompatibility. Current treatments of pain heavily rely on opioids, resulting in significant side effects such as addiction, tolerance, leading to the Opioid Overdose Crisis as we know of today. Smart drug delivery systems may provide an effective solution. Here I present the development of polymer-based externally-triggerable drug delivery systems for on-demand, repeatable and adjustable local anesthesia, where the timing, duration, and intensity of nerve block can be controlled through external energy triggers such as light. In addition to the new pharmacological approaches, bioelectronic platforms to enhance our insights into the eye and will also be discussed. The restoration of light response with complex spatiotemporal features in retinal degenerative diseases towards retinal prosthesis has proven to be a considerable challenge over the past decades. Herein, inspired by the structure and function of photoreceptors in retinas, I develop artificial retina based on gold nanoparticle-decorated titania nanowire arrays, for restoration of visual responses in the blind mice with degenerated photoreceptors. Green, blue and near UV light responses in the retinal ganglion cells (RGCs) are restored with a spatial resolution better than 100 µm. ON responses in RGCs are blocked by glutamatergic antagonists, suggesting functional preservation of the remaining retinal circuits. Moreover, neurons in the primary visual cortex respond to light after subretinal implant of nanowire arrays. Improvement in pupillary light reflex suggests the behavioral recovery of light sensitivity. My study will shed light on the development of a new generation of optoelectronic toolkits for subretinal prosthetic devices. Through pharmacological, optical, and electrical toolsets, I aim to develop effective therapeutic solutions to neurological disease states. These results, along with a discussion of future neural interfaces, aim to improve our understanding of the nervous system and to inform new therapeutic approaches for biomaterials and bioelectronics.

Multiorgan thromboses and subsequent organ failure are among the more devastating consequences of antiphospholipid antibody syndrome (APS). APS poses a relatively unique risk to patients by virtue of its propensity to cause thrombi of both the arterial and venous vascular systems. While recent studies have explored mechanisms of thrombosis in singular vascular beds, there remains a dearth of targetable effectors of arteriovenous thrombosis in APS. Here, we examine the potential of neutrophils as key players of both arterial and venous thrombosis in APS. From this and previous studies, we have also identified a critical transcriptional regulator in neutrophils whose loss mimics arterial and venous thrombosis susceptibility seen in APS. This factor, Krüppel-like factor 2 (KLF2), is down regulated in APS patients as well as in cells treated with antiphospholipid antibody (APLA) ex vivo. Loss of KLF2 in neutrophils contributes to classic neutrophil activation phenotypes including NETosis, increased tissue factor release, and heightened chemotaxis; remarkably, blocking each of these functions greatly abrogates the thrombotic phenotype. Utilizing the myeloid KLF2 knockout (K2KO) system as a model for aberrant neutrophil activation seen in APS, we have identified clustering of P-selectin glycoprotein ligand 1 (PSGL-1) secondary to actin rearrangement to be operative in neutrophil-mediated thrombosis in arterial and venous systems. While neutralizing antibodies against PSGL-1 have been explored as therapeutic options in APS, there remains a challenge in establishing local specificity to activated immune cells in order to increase efficacy. To circumvent this, we have designed a nanoparticle (NP) based approach that utilizes NPs decorated with anti-PSGL-1 immunoglobulins to better target clustered PSGL-1 on activated neutrophils. PSGL-1 NPs are more effective at inhibiting neutrophil rolling and adhesion in in vitro assays while, incubating activated neutrophils in PSGL-1 NPs prior to infusion attenuates their ability to contribute to both arterial and venous thrombosis. Further, injection of PSGL-1 NPs directly into K2KO mice reduces their extensive thrombotic phenotype. Importantly, this effect occurs at a substantially lower dose of PSGL-1 NPs than that which would be needed of PSGL-1 antibody alone. Finally, PSGL-1 NPs greatly reduce thrombotic burden in mice injected with APLA, diminishing clotting in both arteries and veins. Together, this work identifies key molecular and cellular players in APLA-induced arteriovenous thrombosis. Furthermore, it provides early pre-clinical evidence at specifically targeting clustered PSGL-1 on neutrophils as a viable option in combatting thrombosis in this particularly vulnerable patient population. Disclosures No relevant conflicts of interest to declare.

The Nora show started in 1820, using Nora beads to decorate the Nora costumes. Today, Nora beads are created as crafts for ornament in response to the needs of society and consumers. However, due to the changes affecting the social and economic aspects, the preservation and maintenance of crafts like Nora are crucial for sustainability. This article, which is part of a larger study on “Nora Bead Crafting: Cultural Capital and Creative Folklore”, is designed as analytical descriptive research with qualitative data analysis. The data for this study was collected using in-depth interviews and focus group discussions participated by Nora bead crafters in Muang District, Nakhon Si Thammarat Province. The findings revealed that Nora, a local performing art of the Southern part of Thailand, preserved and maintained the Nora identity and numerous belief systems. The crafters designed their products by changing the colours, shapes, and patterns and using the materials in stringing or embroidering the beads. The creation of the Nora beads in these new ways is considered a reproduction of culture in four aspects—production, dissemination, consumption, and reproduction.

International audience We provide bijections between the cluster variables (and clusters) in two families of cluster algebras which have received considerable attention. These cluster algebras are the ones associated with certain Grassmannians of k-planes, and those associated with certain spaces of decorated SLk-local systems in the disk in the work of Fock and Goncharov. When k is 3, this bijection can be described explicitly using the combinatorics of Kuperberg's basis of non-elliptic webs. Using our bijection and symmetries of these cluster algebras, we provide evidence for conjectures of Fomin and Pylyavskyy concerning cluster variables in Grassmannians of 3-planes. We also prove their conjecture that there are infinitely many indecomposable nonarborizable webs in the Grassmannian of 3-planes in 9-dimensional space.

Abstract We provide a semantic framework to specify information propagation in social networks; our semantic framework features both the operational description of information propagation and the epistemic aspects in social networks. In our framework, based on annotated labelled transition systems, actions are decorated with function views to specify different types of announcements. Our function views enforce various common types of local privacy policies, i.e. those policies concerning a single action. Furthermore, we specify global privacy policies, those concerning multiple actions, using a combination of modal $\mu $-calculus and epistemic logic. To illustrate the applicability of our framework, we apply it to the specification of a real-world case study. As a fundamental property for the epistemic aspect of our semantic model, we prove that its indistinguishability relations are equivalence relations, namely they are reflexive, symmetric and transitive. We also study the complexity bounds for the model-checking problem concerning a subset of our logic and show that model checking is PSPACE-complete for the studied subset.

We proposed herein a unique method of insulator-decorated bipolar electrochemistry (IDBE), for realizing large-scale separation of bioparticles in microchannels driven by AC dielectrophoresis (DEP). In IDBE, a pair of planar driving electrodes (DE) is placed at the bottom of channel sidewalls, between which an array of the rectangular floating electrode (FE) strips without external Ohmic contact are evenly spaced along transversal direction, and a series of insulating dielectric blocks are periodically deposited above all the inter-electrode gaps and in full contact with the channel bottom surface. By creating local field maximum and minimum at multiple sites, IDBE extends well the actuating range of DEP force field from the immediate vicinity of electrode tips in traditional bipolar electrochemistry to current fluid bulk. Considering DEP force plays the dominant role around 1MHz, we utilize Lagrange particle tracing algorithm to calculate motion trajectories of incoming samples for testing the feasibility of microchip in continuous separation of live and dead yeast cells. By applying suitable voltage parameters, highly efficient DEP sorting is theoretically achievable under a moderate inlet flow rate, where most of the viable yeasts are trapped by positive-DEP to sharp dielectric edges, while all the incoming nonviable yeasts are repelled by negative-DEP to the top surface of both FE and insulating block to form multiple thin beams co-flowing into the channel outlet. The microfluidic device exploiting insulators on bipolar FE effectively expands the actuating range of nonlinear electrodynamics and provides invaluable guidelines for developing flexible electrokinetic frameworks in modern microfluidic systems.

AbstractDesigning smart (bio)interfaces with the capability to sense and react to changes in local environments offers intriguing possibilities for new surface‐based sensing devices and technologies. Polymer brushes make ideal materials to design such adaptive and responsive interfaces given their large variety of functional and structural possibilities as well as their outstanding abilities to respond to physical, chemical, and biological stimuli. Herein, a practical sensory interface for glucose detection based on auto‐fluorescent polymer brushes decorated with phenylboronic acid (PBA) receptors is presented. The glucose‐responsive luminescent surfaces, which are capable of translating conformational transitions triggered by pH variations and binding events into fluorescent readouts without the need for fluorescent dyes, are grown from both nanopatterned and non‐patterned substrates. Two‐photon laser scanning confocal microscopy and atomic force microscopy (AFM) analyses reveal the relationship between the brush conformation and glucose concentration and confirm that the phenylboronic acid functionalized brushes can bind glucose over a range of physiologically relevant concentrations in a reversible manner. The combination of auto‐fluorescent polymer brushes with synthetic receptors presents a promising avenue for designing innovative and robust sensing systems, which are essential for various biomedical applications, among other uses.

A variety of complexation, reconstruction, and sulfide formation processes can occur at step edges on the {111} surfaces of coinage metals (M) in the presence of adsorbed S under ultra-high vacuum conditions. Given the cooperative many-atom nature of these reaction processes, Molecular Dynamics (MD) simulation of the associated dynamics is instructive. However, only quite restricted DFT-level ab-initio MD is viable. Thus, for M = Ag and Cu, we instead utilize the DeePMD framework to develop machine-learning derived potentials, retaining near-DFT accuracy for the M-S systems, which should have broad applicability. These potentials are validated by comparison with DFT predictions for various key quantities related to the energetics of S on M(111) surfaces. The potentials are then utilized to perform extensive MD simulations elucidating the above diverse restructuring and reaction processes at step edges. Key observations from MD simulations include: the formation of small metal-sulfur complexes, especially MS2; development of a local reconstruction at A-steps featuring an S-decorated {100} motif; and 3D sulfide formation. Additional analysis yields further information on the kinetics for metal-sulfur complex formation, where these complexes can strongly enhance surface mass transport, and on the propensity for sulfide formation.

AbstractAtomic scale studies of the anchoring of catalytically active complexes to surfaces may provide valuable insights for the design of new catalytically active hybrid systems. In this work, the self-assembly of 1D, 2D and 3D structures of the complex fac-Re(bpy)(CO)3Cl (bpy = 2,2′-bipyridine), a CO2 reduction catalyst, on the Ag(001) surface are studied by a combination of low-temperature scanning tunneling microscopy and density functional theory calculations. Infrared and sum frequency generation spectroscopy confirm that the complex remains chemically intact under sublimation. Deposition of the complexes onto the silver surface at 300 K leads to strong local variations in the resulting surface coverage on the nanometer scale, indicating that in the initial phase of deposition a large fraction of the molecules is desorbing from the surface. Low coverage regions show a decoration of step edges aligned along the crystal’s symmetry axes <110>. These crystallographic directions are found to be of major importance to the binding of the complexes to the surface. Moreover, the interaction between the molecules and the substrate promotes the restructuring of surface steps along these directions. Well-aligned and decorated steps are found to act as nucleation point for monolayer growth (2D) before 3D growth starts.

AbstractThe development of efficient and environmentally friendly plant protection systems is one of the major challenges for a sustainable agriculture of the future. Citrus canker caused by the pathogen Xanthomonas citri subsp. citri (X. citri) affects all cultivated citrus species worldwide and is responsible for enormous economic losses and restrictions in international trade. Currently used commercial copper‐based formulations are the origin of contamination for soil and groundwater, affecting local ecosystems and human health. A copper‐free sustainable microgel‐based plant protection system able to efficiently combat X. citri is developed. Microgels decorated with anchor peptides exhibit strong non‐covalent attachment to the surface of orange leaves and have the ability to release hexyl gallate, which inhibits the growth and spreading of pathogens. The tailored design of the microgel network allows high loadings of hexyl gallate (up to 40 wt.%) and a controlled release of gallates from microgels that provide long‐term protection. The antibacterial activity of the hexyl gallate‐loaded microgels is demonstrated by various in vitro assays as well as on orange plants in greenhouse settings. The experimental results suggest that the developed sustainable microgel‐based plant protection system for citrus trees allows efficient abatement of X. citri and reduces environmental pollution caused by copper formulations.

AbstractResearch development in the precise control of gene expression in plant cells is an emerging necessity that would lead to the elucidation of gene function in these biological systems. Conventional gene-interfering techniques, such as micro-RNA and short interfering RNA, have limitations in their ability to downregulate gene expression in plants within short time periods. However, nanotechnology provides a promising new avenue with new tools to overcome these challenges. Here, we show that functionalized gold nanoparticles, decorated with sense and antisense oligonucleotides (FANSAO), can serve as a remote-control optical switch for gene interference in photosynthetic plant cells. We demonstrate the potential of employing LEDs as optimal light sources to photothermally dehybridize the oligonucleotides on the surface of metallic nanostructures, consequently inducing regulation of gene expression in plant cells. We show the efficiency of metallic nanoparticles in absorbing light from an LED source and converting it to thermal energy, resulting in a local temperature increase on the surface of the gold nanoparticles. The antisense oligonucleotides are then released due to the opto-thermal heating of the nanobiosystem composed of the metallic nanoparticles and the sense-antisense oligonucleotides. By applying this approach, we silenced the Carnitine Acyl Carnitine Translocase genes at 90.7%, resulting in the accumulation of lipid bodies in microalgae cells. These results exhibit the feasibility of using functionalized gold nanoparticles with sense and antisense oligonucleotides to enhance nucleic acid delivery efficiency and, most importantly, allow for temporal control of gene silencing in plant cells. These nanobiosystems have broad applications in the development and biosynthesis of biofuels, pharmaceuticals, and specialized chemicals.

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. Sydney: Steel Reinforcement Institute of Australia, 2005.Dwyer, Simon. A Backstage Biography of the Sydney Opera House. Proceedings of the 7th Annual Conference of the Popular Culture Association of Australia and New Zealand (PopCAANZ) 2016: 1-10.———. “Utzon’s Use of Light to Influence the Audience’s Perception of the Sydney Opera House”. Inhabiting the Meta Visual: Contemporary Performance Themes. Eds. Helene Gee Markstein and Arthur Maria Steijn. Oxford: Inter-Disciplinary P, 2016.Hall, Peter. Sydney Opera House: The Design Approach to the Building with Recommendations on Its Conservation. Sydney: Sydney Opera House Trust, 1990.NSW Department of Local Government. An International Competition for a National Opera House at Bennelong Point Sydney, New South Wales, Australia: Conditions and Program (“The ‘Brown’ Book”). Sydney: NSW Government Printer, 1957.Raban, Jonathan. Soft City. London: Picador, 2008.Rasmuseen, Steen. Experiencing Architecture. Cambridge: Massachusetts Institute of Technology P, 1964.Read, Gary. “Theater of Public Space: Architectural Experimentation in the Théâtre de l'Espace (Theater of Space), Paris 1937.” Journal of Architectural Education 58.4 (2005): 53-62.Steensen Varming. Lighting Master Plan. Sydney: Sydney Opera House Trust, 2007.Utzon, Jørn. Sydney Opera House: The Descriptive Narrative. Sydney: Sydney Opera House Trust, 1965.———. The Sydney Opera House. Zodiac, 1965. 48-93.———. Untitled. (The ‘Red’ Book). Unpublished, 1958.———. Untitled. (The ‘Yellow’ Book). Unpublished, 1962.———. Utzon Design Principles. Sydney: Sydney Opera House Trust, 2002.

Perhaps nothing in media culture today makes clearer the connection between people’s bodies and their homes than the Emmy-winning reality TV program Extreme Makeover: Home Edition. Home Edition is a spin-off from the original Extreme Makeover, and that fact provides in fundamental form the strong connection that the show demonstrates between bodies and houses. The first EM, initially popular for its focus on cosmetic surgery, laser skin and hair treatments, dental work, cosmetics and wardrobe for mainly middle-aged and self-described unattractive participants, lagged after two full seasons and was finally cancelled entirely, whereas EMHE has continued to accrue viewers and sponsors, as well as accolades (Paulsen, Poniewozik, EMHE Website, Wilhelm). That viewers and the ABC network shifted their attention to the reconstruction of houses over the original version’s direct intervention in problematic bodies indicates that sites of personal transformation are not necessarily within our own physical or emotional beings, but in the larger surround of our environments and in our cultural ideals of home and body. One effect of this shift in the Extreme Makeover format is that a seemingly wider range of narrative problems can be solved relating to houses than to the particular bodies featured on the original show. Although Extreme Makeover featured a few people who’d had previously botched cleft palate surgeries or mastectomies, as Cressida Heyes points out, “the only kind of disability that interests the show is one that can be corrected to conform to able-bodied norms” (22). Most of the recipients were simply middle-aged folks who were ordinary or aged in appearance; many of them seemed self-obsessed and vain, and their children often seemed disturbed by the transformation (Heyes 24). However, children are happy to have a brand new TV and a toy-filled room decorated like their latest fantasy, and they thereby can be drawn into the process of identity transformation in the Home Edition version; in fact, children are required of virtually all recipients of the show’s largess. Because EMHE can do “major surgery” or simply bulldoze an old structure and start with a new building, it is also able to incorporate more variety in its stories—floods, fires, hurricanes, propane explosions, war, crime, immigration, car accidents, unscrupulous contractors, insurance problems, terrorist attacks—the list of traumas is seemingly endless. Home Edition can solve any problem, small or large. Houses are much easier things to repair or reconstruct than bodies. Perhaps partly for this reason, EMHE uses disability as one of its major tropes. Until Season 4, Episode 22, 46.9 percent of the episodes have had some content related to disability or illness of a disabling sort, and this number rises to 76.4 percent if the count includes families that have been traumatised by the (usually recent) death of a family member in childhood or the prime of life by illness, accident or violence. Considering that the percentage of people living with disabilities in the U.S. is defined at 18.1 percent (Steinmetz), EMHE obviously favours them considerably in the selection process. Even the disproportionate numbers of people with disabilities living in poverty and who therefore might be more likely to need help—20.9 percent as opposed to 7.7 percent of the able-bodied population (Steinmetz)—does not fully explain their dominance on the program. In fact, the program seeks out people with new and different physical disabilities and illnesses, sending out emails to local news stations looking for “Extraordinary Mom / Dad recently diagnosed with ALS,” “Family who has a child with PROGERIA (aka ‘little old man’s disease’)” and other particular situations (Simonian). A total of sixty-five ill or disabled people have been featured on the show over the past four years, and, even if one considers its methods maudlin or exploitive, the presence of that much disability and illness is very unusual for reality TV and for TV in general. What the show purports to do is to radically transform multiple aspects of individuals’ lives—and especially lives marred by what are perceived as physical setbacks—via the provision of a luxurious new house, albeit sometimes with the addition of automobiles, mortgage payments or college scholarships. In some ways the assumptions underpinning EMHE fit with a social constructionist body theory that posits an almost infinitely flexible physical matter, of which the definitions and capabilities are largely determined by social concepts and institutions. The social model within the disability studies field has used this theoretical perspective to emphasise the distinction between an impairment, “the physical fact of lacking an arm or a leg,” and disability, “the social process that turns an impairment into a negative by creating barriers to access” (Davis, Bending 12). Accessible housing has certainly been one emphasis of disability rights activists, and many of them have focused on how “design conceptions, in relation to floor plans and allocation of functions to specific spaces, do not conceive of impairment, disease and illness as part of domestic habitation or being” (Imrie 91). In this regard, EMHE appears as a paragon. In one of its most challenging and dramatic Season 1 episodes, the “Design Team” worked on the home of the Ziteks, whose twenty-two-year-old son had been restricted to a sub-floor of the three-level structure since a car accident had paralyzed him. The show refitted the house with an elevator, roll-in bathroom and shower, and wheelchair-accessible doors. Robert Zitek was also provided with sophisticated computer equipment that would help him produce music, a life-long interest that had been halted by his upper-vertebra paralysis. Such examples abound in the new EMHE houses, which have been constructed for families featuring situations such as both blind and deaf members, a child prone to bone breaks due to osteogenesis imperfecta, legs lost in Iraq warfare, allergies that make mold life-threatening, sun sensitivity due to melanoma or polymorphic light eruption or migraines, fragile immune systems (often due to organ transplants or chemotherapy), cerebral palsy, multiple sclerosis, Krabbe disease and autism. EMHE tries to set these lives right via the latest in technology and treatment—computer communication software and hardware, lock systems, wheelchair-friendly design, ventilation and air purification set-ups, the latest in care and mental health approaches for various disabilities and occasional consultations with disabled celebrities like Marlee Matlin. Even when individuals or familes are “[d]iscriminated against on a daily basis by ignorance and physical challenges,” as the program website notes, they “deserve to have a home that doesn’t discriminate against them” (EMHE website, Season 3, Episode 4). The relief that they will be able to inhabit accessible and pleasant environments is evident on the faces of many of these recipients. That physical ease, that ability to move and perform the intimate acts of domestic life, seems according to the show’s narrative to be the most basic element of home. Nonetheless, as Robert Imrie has pointed out, superficial accessibility may still veil “a static, singular conception of the body” (201) that prevents broader change in attitudes about people with disabilities, their activities and their spaces. Starting with the story of the child singing in an attempt at self-comforting from Deleuze and Guattari’s A Thousand Plateaus, J. MacGregor Wise defines home as a process of territorialisation through specific behaviours. “The markers of home … are not simply inanimate objects (a place with stuff),” he notes, “but the presence, habits, and effects of spouses, children, parents, and companions” (299). While Ty Pennington, EMHE’s boisterous host, implies changes for these families along the lines of access to higher education, creative possibilities provided by musical instruments and disability-appropriate art materials, help with home businesses in the way of equipment and licenses and so on, the families’ identity-producing habits are just as likely to be significantly changed by the structural and decorative arrangements made for them by the Design Team. The homes that are created for these families are highly conventional in their structure, layout, decoration, and expectations of use. More specifically, certain behavioural patterns are encouraged and others discouraged by the Design Team’s assumptions. Several themes run through the show’s episodes: Large dining rooms provide for the most common of Pennington’s comments: “You can finally sit down and eat meals together as a family.” A nostalgic value in an era where most families have schedules full of conflicts that prevent such Ozzie-and-Harriet scenarios, it nonetheless predominates. Large kitchens allow for cooking and eating at home, though featured food is usually frozen and instant. In addition, kitchens are not designed for the families’ disabled members; for wheelchair users, for instance, counters need to be lower than usual with open space underneath, so that a wheelchair can roll underneath the counter. Thus, all the wheelchair inhabitants depicted will still be dependent on family members, primarily mothers, to prepare food and clean up after them. (See Imrie, 95-96, for examples of adapted kitchens.) Pets, perhaps because they are inherently “dirty,” are downplayed or absent, even when the family has them when EMHE arrives (except one family that is featured for their animal rescue efforts); interestingly, there are no service dogs, which might obviate the need for some of the high-tech solutions for the disabled offered by the show. The previous example is one element of an emphasis on clutter-free cleanliness and tastefulness combined with a rampant consumerism. While “cultural” elements may be salvaged from exotic immigrant families, most of the houses are very similar and assume a certain kind of commodified style based on new furniture (not humble family hand-me-downs), appliances, toys and expensive, prefab yard gear. Sears is a sponsor of the program, and shopping trips for furniture and appliances form a regular part of the program. Most or all of the houses have large garages, and the families are often given large vehicles by Ford, maintaining a positive take on a reliance on private transportation and gas-guzzling vehicles, but rarely handicap-adapted vans. Living spaces are open, with high ceilings and arches rather than doorways, so that family members will have visual and aural contact. Bedrooms are by contrast presented as private domains of retreat, especially for parents who have demanding (often ill or disabled) children, from which they are considered to need an occasional break. All living and bedrooms are dominated by TVs and other electronica, sometimes presented as an aid to the disabled, but also dominating to the point of excluding other ways of being and interacting. As already mentioned, childless couples and elderly people without children are completely absent. Friends buying houses together and gay couples are also not represented. The ideal of the heterosexual nuclear family is thus perpetuated, even though some of the show’s craftspeople are gay. Likewise, even though “independence” is mentioned frequently in the context of families with disabled members, there are no recipients who are disabled adults living on their own without family caretakers. “Independence” is spoken of mostly in terms of bathing, dressing, using the bathroom and other bodily aspects of life, not in terms of work, friendship, community or self-concept. Perhaps most salient, the EMHE houses are usually created as though nothing about the family will ever again change. While a few of the projects have featured terminally ill parents seeking to leave their children secure after their death, for the most part the families are considered oddly in stasis. Single mothers will stay single mothers, even children with conditions with severe prognoses will continue to live, the five-year-old will sleep forever in a fire-truck bed or dollhouse room, the occasional grandparent installed in his or her own suite will never pass away, and teenagers and young adults (especially the disabled) will never grow up, marry, discover their homosexuality, have a falling out with their parents or leave home. A kind of timeless nostalgia, hearkening back to Gaston Bachelard’s The Poetics of Space, pervades the show. Like the body-modifying Extreme Makeover, the Home Edition version is haunted by the issue of normalisation. The word ‘normal’, in fact, floats through the program’s dialogue frequently, and it is made clear that the goal of the show is to restore, as much as possible, a somewhat glamourised, but status quo existence. The website, in describing the work of one deserving couple notes that “Camp Barnabas is a non-profit organisation that caters to the needs of critically and chronically ill children and gives them the opportunity to be ‘normal’ for one week” (EMHE website, Season 3, Episode 7). Someone at the network is sophisticated enough to put ‘normal’ in quotation marks, and the show demonstrates a relatively inclusive concept of ‘normal’, but the word dominates the show itself, and the concept remains largely unquestioned (See Canguilhem; Davis, Enforcing Normalcy; and Snyder and Mitchell, Narrative, for critiques of the process of normalization in regard to disability). In EMHE there is no sense that disability or illness ever produces anything positive, even though the show also notes repeatedly the inspirational attitudes that people have developed through their disability and illness experiences. Similarly, there is no sense that a little messiness can be creatively productive or even necessary. Wise makes a distinction between “home and the home, home and house, home and domus,” the latter of each pair being normative concepts, whereas the former “is a space of comfort (a never-ending process)” antithetical to oppressive norms, such as the association of the home with the enforced domesticity of women. In cases where the house or domus becomes a place of violence and discomfort, home becomes the process of coping with or resisting the negative aspects of the place (300). Certainly the disabled have experienced this in inaccessible homes, but they may also come to experience a different version in a new EMHE house. For, as Wise puts it, “home can also mean a process of rationalization or submission, a break with the reality of the situation, self-delusion, or falling under the delusion of others” (300). The show’s assumption that the construction of these new houses will to a great extent solve these families’ problems (and that disability itself is the problem, not the failure of our culture to accommodate its many forms) may in fact be a delusional spell under which the recipient families fall. In fact, the show demonstrates a triumphalist narrative prevalent today, in which individual happenstance and extreme circumstances are given responsibility for social ills. In this regard, EMHE acts out an ancient morality play, where the recipients of the show’s largesse are assessed and judged based on what they “deserve,” and the opening of each show, when the Design Team reviews the application video tape of the family, strongly emphasises what good people these are (they work with charities, they love each other, they help out their neighbours) and how their situation is caused by natural disaster, act of God or undeserved tragedy, not their own bad behaviour. Disabilities are viewed as terrible tragedies that befall the young and innocent—there is no lung cancer or emphysema from a former smoking habit, and the recipients paralyzed by gunshots have received them in drive-by shootings or in the line of duty as police officers and soldiers. In addition, one of the functions of large families is that the children veil any selfish motivation the adults may have—they are always seeking the show’s assistance on behalf of the children, not themselves. While the Design Team always notes that there are “so many other deserving people out there,” the implication is that some people’s poverty and need may be their own fault. (See Snyder and Mitchell, Locations 41-67; Blunt and Dowling 116-25; and Holliday.) In addition, the structure of the show—with the opening view of the family’s undeserved problems, their joyous greeting at the arrival of the Team, their departure for the first vacation they may ever have had and then the final exuberance when they return to the new house—creates a sense of complete, almost religious salvation. Such narratives fail to point out social support systems that fail large numbers of people who live in poverty and who struggle with issues of accessibility in terms of not only domestic spaces, but public buildings, educational opportunities and social acceptance. In this way, it echoes elements of the medical model, long criticised in disability studies, where each and every disabled body is conceptualised as a site of individual aberration in need of correction, not as something disabled by an ableist society. In fact, “the house does not shelter us from cosmic forces; at most it filters and selects them” (Deleuze and Guattari, What Is Philosophy?, qtd. in Frichot 61), and those outside forces will still apply to all these families. The normative assumptions inherent in the houses may also become oppressive in spite of their being accessible in a technical sense (a thing necessary but perhaps not sufficient for a sense of home). As Tobin Siebers points out, “[t]he debate in architecture has so far focused more on the fundamental problem of whether buildings and landscapes should be universally accessible than on the aesthetic symbolism by which the built environment mirrors its potential inhabitants” (“Culture” 183). Siebers argues that the Jamesonian “political unconscious” is a “social imaginary” based on a concept of perfection (186) that “enforces a mutual identification between forms of appearance, whether organic, aesthetic, or architectural, and ideal images of the body politic” (185). Able-bodied people are fearful of the disabled’s incurability and refusal of normalisation, and do not accept the statistical fact that, at least through the process of aging, most people will end up dependent, ill and/or disabled at some point in life. Mainstream society “prefers to think of people with disabilities as a small population, a stable population, that nevertheless makes enormous claims on the resources of everyone else” (“Theory” 742). Siebers notes that the use of euphemism and strategies of covering eventually harm efforts to create a society that is home to able-bodied and disabled alike (“Theory” 747) and calls for an exploration of “new modes of beauty that attack aesthetic and political standards that insist on uniformity, balance, hygiene, and formal integrity” (Culture 210). What such an architecture, particularly of an actually livable domestic nature, might look like is an open question, though there are already some examples of people trying to reframe many of the assumptions about housing design. For instance, cohousing, where families and individuals share communal space, yet have private accommodations, too, makes available a larger social group than the nuclear family for social and caretaking activities (Blunt and Dowling, 262-65). But how does one define a beauty-less aesthetic or a pleasant home that is not hygienic? Post-structuralist architects, working on different grounds and usually in a highly theoretical, imaginary framework, however, may offer another clue, as they have also tried to ‘liberate’ architecture from the nostalgic dictates of the aesthetic. Ironically, one of the most famous of these, Peter Eisenman, is well known for producing, in a strange reversal, buildings that render the able-bodied uncomfortable and even sometimes ill (see, in particular, Frank and Eisenman). Of several house designs he produced over the years, Eisenman notes that his intention was to dislocate the house from that comforting metaphysic and symbolism of shelter in order to initiate a search for those possibilities of dwelling that may have been repressed by that metaphysic. The house may once have been a true locus and symbol of nurturing shelter, but in a world of irresolvable anxiety, the meaning and form of shelter must be different. (Eisenman 172) Although Eisenman’s starting point is very different from that of Siebers, it nonetheless resonates with the latter’s desire for an aesthetic that incorporates the “ragged edge” of disabled bodies. Yet few would want to live in a home made less attractive or less comfortable, and the “illusion” of permanence is one of the things that provide rest within our homes. Could there be an architecture, or an aesthetic, of home that could create a new and different kind of comfort and beauty, one that is neither based on a denial of the importance of bodily comfort and pleasure nor based on an oppressively narrow and commercialised set of aesthetic values that implicitly value some people over others? For one thing, instead of viewing home as a place of (false) stasis and permanence, we might see it as a place of continual change and renewal, which any home always becomes in practice anyway. As architect Hélène Frichot suggests, “we must look toward the immanent conditions of architecture, the processes it employs, the serial deformations of its built forms, together with our quotidian spatio-temporal practices” (63) instead of settling into a deadening nostalgia like that seen on EMHE. If we define home as a process of continual territorialisation, if we understand that “[t]here is no fixed self, only the process of looking for one,” and likewise that “there is no home, only the process of forming one” (Wise 303), perhaps we can begin to imagine a different, yet lovely conception of “house” and its relation to the experience of “home.” Extreme Makeover: Home Edition should be lauded for its attempts to include families of a wide variety of ethnic and racial backgrounds, various religions, from different regions around the U.S., both rural and suburban, even occasionally urban, and especially for its bringing to the fore how, indeed, structures can be as disabling as any individual impairment. That it shows designers and builders working with the families of the disabled to create accessible homes may help to change wider attitudes and break down resistance to the building of inclusive housing. However, it so far has missed the opportunity to help viewers think about the ways that our ideal homes may conflict with our constantly evolving social needs and bodily realities. References Bachelard, Gaston. The Poetics of Space. Tr. Maria Jolas. Boston: Beacon Press, 1969. Blunt, Alison, and Robyn Dowling. Home. London and New York: Routledge, 2006. Canguilhem, Georges. The Normal and the Pathological. New York: Zone Books, 1991. Davis, Lennard. Bending Over Backwards: Disability, Dismodernism & Other Difficult Positions. New York: NYUP, 2002. ———. Enforcing Normalcy: Disability, Deafness, and the Body. New York: Verso, 1995. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Tr. B. Massumi. Minneapolis: University of Minnesota Press, 1987. ———. What Is Philosophy? Tr. G. Burchell and H. Tomlinson. London and New York: Verso, 1994. Eisenman, Peter Eisenman. “Misreading” in House of Cards. 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Macgregor. “Home: Territory and Identity.” Cultural Studies 14.2 (2000): 295-310. Citation reference for this article MLA Style Roney, Lisa. "The Extreme Connection Between Bodies and Houses." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/03-roney.php>. APA Style Roney, L. (Aug. 2007) "The Extreme Connection Between Bodies and Houses," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/03-roney.php>.