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This chapter explores the archaeological evidence from London for the short-lived ‘British Empire’ of Carausius and his successor Allectus, when the city gained the pretensions of an imperial capital. Allectus commissioned a massive new public building complex along the riverside. This appears to have incorporated two unusually late examples of classical temples, which were perhaps attached to an imperial palace. In addition to summarizing previously published work, the text includes new speculations as to the character and identity of these temples. The suggestion that the boat found at County Hall in 1910 had been built as part of Carausius’ fleet is tentatively revived. The mint established at this time continued in operation after Constantius’s reconquest of Britain and Constantine’s subsequent assumption of power. The archaeological remains of this period are described to show that London remained an important administrative centre, but power was exercised from private houses and compounds. The city was no longer a port of consequence, and several of London’s most important public buildings were made redundant, quarried for buildings materials, and replaced by workshops.

This chapter summarizes evidence for the form, date, and use of the massive monumental forum complex that replaced London’s Flavian forum in the late first and early second century. Work probably started on this vast public building under Trajan, following soon after the new waterside quays were built, and after the successful conclusion of the first Dacian war. The complex was not completed, however, until the Hadrianic period, perhaps in preparation for Hadrian’s visit to Britain in AD 122. The forum’s role as the public focus of imperial ideology, and as a place for managing supplies and business affairs, is discussed.

Controlling the scale of civil buildings is of great significance for energy saving and emission reduction in the construction field. This paper analyzes and extracts the key index parameters for the calculation of various civil building areas, establishes a detailed calculation model of the total civil building area, and constructs three different scenarios to predict various civil building areas in China from 2020 to 2060. Under the three scenarios, the total amount of civil buildings in China will reach a peak of 93.5, 84.6, and 76.3 billion m2 in 2040, 2035, and 2035, respectively. Under the constraints of energy consumption and carbon emission, this paper suggests that civil buildings develop according to the medium control scenario. In 2035, the urban per capita residential area will reach a peak of 42 m2, the urban residential area will reach 43 billion m2, the rural per capita residential area will reach the peak of 55 m2, the rural residential area will reach 20.6 billion m2, and the public building area will reach 21 billion m2. By 2060, the total area of civil buildings will drop to 76.5 billion m2, including 37.1 billion m2 of urban residential buildings, 18.5 billion m2 of rural residential buildings, and 20.9 billion m2 of public buildings.

<p>A biosecurity centre on Kapiti Coast is required for checks on visitors venturing 5km out to the nationally significant nature reserve, Kapiti Island. The shorefront lacks a public building connecting to Kapiti Island. The proposal for a visitors centre is the vehicle for this design-led research. This thesis experiments with architectural form in a coastal setting exploring some specific approaches to form-making.  New Zealand architects often rely on metaphors as a method for making form. For example using mountain ranges or a waka as a referent. International theorists like Pier Vitorrio Aureli argue for a more self-referential logic. Architect Ron Witte explains that a good architectural ‘figure’ comprises architectural references like programme, technology and form. The removal of its representational obligation gives the figure its strength. How does a good figure work without the dependence of an external referent? Can the referent be removed allowing the figure to work internally?  Derivation from earlier sources is also commonly used in making form often resulting only in the abstraction of the image. Winy Maas and Adam Caruso both acknowledge that  ‘novelty is nonsense’. They argue that references from the past should be used as existing knowledge and built upon. How can past sources be used for their value in knowledge rather than their use of imagery?  This thesis is organised into a series of parts with experiments around figuration and form-making each looking at a particular use of a referent. Experiment one looks at form-making through the derivation of ‘heroes’. Experiment two focuses on abstracting and using the metaphor of a waka. Experiment three explores anthropomorphic and zoomorphic figures through the architectural language developed by John Hejduk. Lastly, experiment four abandons these figures and buries the building in the site’s dunes. The form and façade of the building refer to the work of several Swiss architects including Valerio Olgiati and Christian Kerez for their use of ornamentation in heavy buildings.   The outcome and implications of this design-led research address a disciplinary exploration of the referent and its use  in making a form. The final design proposition extracts six formal principles used in common with works from Olgiati, Kerez and Caruso. The proposition is re-built on top of existing knowledge, offering a particular approach to form-making.</p>

<p>A biosecurity centre on Kapiti Coast is required for checks on visitors venturing 5km out to the nationally significant nature reserve, Kapiti Island. The shorefront lacks a public building connecting to Kapiti Island. The proposal for a visitors centre is the vehicle for this design-led research. This thesis experiments with architectural form in a coastal setting exploring some specific approaches to form-making.  New Zealand architects often rely on metaphors as a method for making form. For example using mountain ranges or a waka as a referent. International theorists like Pier Vitorrio Aureli argue for a more self-referential logic. Architect Ron Witte explains that a good architectural ‘figure’ comprises architectural references like programme, technology and form. The removal of its representational obligation gives the figure its strength. How does a good figure work without the dependence of an external referent? Can the referent be removed allowing the figure to work internally?  Derivation from earlier sources is also commonly used in making form often resulting only in the abstraction of the image. Winy Maas and Adam Caruso both acknowledge that  ‘novelty is nonsense’. They argue that references from the past should be used as existing knowledge and built upon. How can past sources be used for their value in knowledge rather than their use of imagery?  This thesis is organised into a series of parts with experiments around figuration and form-making each looking at a particular use of a referent. Experiment one looks at form-making through the derivation of ‘heroes’. Experiment two focuses on abstracting and using the metaphor of a waka. Experiment three explores anthropomorphic and zoomorphic figures through the architectural language developed by John Hejduk. Lastly, experiment four abandons these figures and buries the building in the site’s dunes. The form and façade of the building refer to the work of several Swiss architects including Valerio Olgiati and Christian Kerez for their use of ornamentation in heavy buildings.   The outcome and implications of this design-led research address a disciplinary exploration of the referent and its use  in making a form. The final design proposition extracts six formal principles used in common with works from Olgiati, Kerez and Caruso. The proposition is re-built on top of existing knowledge, offering a particular approach to form-making.</p>

В ходе раскопок архаического поселения на о. Березань в устье Днепро-Бугского лимана в 1970 г. была сделана важная находка, значению которой ранее не уделялось должного внимания. Экспедицией ИА АН УССР под руководством В. В. Лапина раскрыто двойное захоронение - кремация. Два ионийских сосуда, использованные в качестве урн для помещения праха, и аттическая чаша на ножке, послужившая в качестве крышки одного из них, позволяют датировать погребение концом VI или рубежом VI-V вв. до н. э. Понимание контекста захоронения затруднено плохой сохранностью окружающих архаических строительных остатков - они в значительной степени уничтожены при строительстве на этом месте большого комплекса построек в IV в. до н. э. Однако установлено, что двойное погребение находилось на значительном удалении от некрополя, в центральной части городского квартала, и всего в 18 метрах от общественного здания - т. н. «дома с апсидой». Возможно, здесь был расположен героон. Раскрытые В. В. Лапиным погребения вполне могли бы принадлежать кому-то из лидеров колонистов, основавших и построивших на Березани урбанизированное поселение несколькими десятилетиями ранее - в начале третьей четверти VI в. до н. э. Захоронение с двойной кремацией своей датировкой приблизительно совпадает со сменой строительных фаз II-A и II-B в периодизации Березанского поселения. Завершение фазы II-A отмечается пожарами, разрушениями и последующими перестройками, прослеженными в разных частях памятника. Нельзя исключить того, что гибель двух человек, погребенных неподалеку от «дома с апсидой», также была связана с этой катастрофой, причины которой пока не установлены. During the excavations of an Archaic period settlement on the Berezan island in the mouth of the Dnieper-Bug silted estuary in 1970 an important find was made that was not given due consideration. The expedition of the Ukrainian Academy of Sciences led by V. V. Lapin discovered a double cremation burial. Two Ionian vessels (Fig. 3) used as urns with ashes and an Attic footed cup that was used as a lid of one of these vessels suggest that the burial dates to the end of the 6th c. BC or the end of the 6th - early 5th cc. BC. Understanding the burial context is hampered by poor preservation conditions of archaic buildings debris which were mostly pulled down during construction of a group of buildings in the 4th c. BC. However, it has been found that the double burial was located at a long distance from the necropolis in the central part of the city blocks, only 18 m away from the public building, the so called house with an apse (Fig. 2). Maybe, a heroon was located there. The burials uncovered by V. V. Lapin probably belonged to one of the colonists’ leaders who had founded this urban settlement on the Berezan island several decades before, i.e. in the early third quarter of the 6th c. BC. Chronologically the double cremation burial almost coincides with the replacement of construction phases II-A and II-B according to the Berezan settlement periodization. The end of construction phases II-A was marked by fires, collapse of buildings and subsequent rebuilding traced in various parts of the site. We cannot exclude that the death of two individuals buried not far from the house with the apse was also linked to this disaster by factors not yet identified

<p>This thesis explores endemic light and atmosphere through the shifting scales of three architectural interventions. These interventions are guided by site and theoretical research, providing justification for the notion of endemic light. This notion develops upon the concept of site specific architecture and place. It is the synthesis of site context – combining both ephemeral and phenomenological qualities to create engaging and evocative architectural experiences. Analysis of the Mackenzie Basin site established an overarching understanding of the atmospheric, physical, social and historical contexts of the area. Peter Zumthor, Steven Holl, Juhani Pallasmaa and Christian Norberg-Schulz provide key justifications for the theoretical investigation of light, atmosphere, and place; as well as ongoing precedence for the research through design process.  This process explores three interventions, moving up in scale from an installation, to a domestic dwelling, and finally a public building. The installation operates at an interactive scale, exploring abstract concepts of condensing light within a space, through manipulation of light, colour and texture. The domestic scale expands on this research, developing condensed light and atmosphere at a habitable scale. Through designing for light and atmosphere the dwelling becomes a device for endemic atmospheric experiences in a domestic context. The final scale explores a public building in the form of a town centre for Twizel. This intervention adapts the notion of condensing light within interior spaces, instead exploring at an urban scale, intensifying them externally through courtyards and exterior building form. The thesis concludes, that successful and immersive architectural experiences are generated through strong ephemeral and phenomenological connections and engagement with site and endemic light.</p>

<p>This thesis explores endemic light and atmosphere through the shifting scales of three architectural interventions. These interventions are guided by site and theoretical research, providing justification for the notion of endemic light. This notion develops upon the concept of site specific architecture and place. It is the synthesis of site context – combining both ephemeral and phenomenological qualities to create engaging and evocative architectural experiences. Analysis of the Mackenzie Basin site established an overarching understanding of the atmospheric, physical, social and historical contexts of the area. Peter Zumthor, Steven Holl, Juhani Pallasmaa and Christian Norberg-Schulz provide key justifications for the theoretical investigation of light, atmosphere, and place; as well as ongoing precedence for the research through design process.  This process explores three interventions, moving up in scale from an installation, to a domestic dwelling, and finally a public building. The installation operates at an interactive scale, exploring abstract concepts of condensing light within a space, through manipulation of light, colour and texture. The domestic scale expands on this research, developing condensed light and atmosphere at a habitable scale. Through designing for light and atmosphere the dwelling becomes a device for endemic atmospheric experiences in a domestic context. The final scale explores a public building in the form of a town centre for Twizel. This intervention adapts the notion of condensing light within interior spaces, instead exploring at an urban scale, intensifying them externally through courtyards and exterior building form. The thesis concludes, that successful and immersive architectural experiences are generated through strong ephemeral and phenomenological connections and engagement with site and endemic light.</p>

This study examines the effect of a COVID-19 Officer Robot (COR) on passersby compliance and the effects of its minor design manipulations on human–robot interaction. A robotic application was developed to ensure participants entering a public building comply with COVID restrictions of a green pass and wearing a face mask. The participants’ attitudes toward the robot and their perception of its authoritativeness were explored with video and questionnaires data. Thematic analysis was used to define unique behaviors related to human–COR interaction. Direct and extended interactions with minor design manipulation of the COR were evaluated in a public scenario setting. The results demonstrate that even minor design manipulations may influence users’ attitudes toward officer robots. The outcomes of this research can support manufacturers in rapidly adjusting their robots to new domains and tasks and guide future designs of authoritative socially assistive robots (SARs).