Application of a Fourier-type series approach based on triangles of constant width to letterforms

The purpose of this article is to find out the peculiarities of the application of algorithmic methods of the artistic and scientific experiment in modern practices of visual art; to identify the role of algorithmic methods in creating new aesthetics, stylistics, and artistic language through art history analysis of the work of leading groups of contemporary art and design. The research methodology includes generalization, systematization, and comparison, which contribute to the identification of the leading algorithmic methods in modern art and project practices; art description and analysis of experimental art projects were used to identify the role and principles of application of algorithmic methods in the scientific and artistic experiment. The scientific novelty of the study is to determine the typology, possibilities, and prospects for the application of algorithmic methods in conducting artistic and scientific experiments in modern design. The study reveals the varieties of algorithmic methods and, with the help of art history analysis, their role in the creation of “new aesthetics” and digital images in intersectoral art and design experiments; description of the technology and principles of application of parametrism as a promising stylistic and linguistic direction for the development of visual art and design. Conclusions. Algorithmic methods are actively used in scientific and artistic experimental practices of modern visual art. They create a “new aesthetic” through a variety of digital images and principles of parametric modelling. Algorithmic methods are based on mathematically generalized and reproducible laws of nature, which determine their application in the practices of biodesign and biomorphism. The review of modern art and design practice shows the growing interest in the new artistic stylistics and the use of algorithmic methods in the experimental creative work, which makes research in this area relevant and promising.

The article proposes an original failure mode and effects analysis methodology for designing and introducing into production all types of modern and advanced electric machines. For the convenience of engineers involved in the design and implementation of modern and advanced electric machines, some of the main aspects of failure mode and effects analysis were worked out and illustrated by the example of the high-torque permanent magnets synchronous motor developed by the FSBEI HE «USATU» research team. The theory of failures considered which is necessary for understanding the role of failure mode and effects analysis in the design and production of modern and advanced electric machines. In this paper, conclusions about the efficiency of failure mode and effects analysis application in modern electrical machines engineering are made.

In Australia the image of sporting prowess and easy access to swimming venues — both natural and artificial — has ensured that public swimming pools became a site of modern architectural interest and design experimentation from the 1930s onwards. Ranging from prosaic, local amenities to award-winning significant complexes, public pools are fascinating and potent places of individual and community memories and experiences. Many still exist but many others have been lost or detrimentally altered in the last two decades. As a modern type they deserve further documentation and careful conservation and adaptation to suit contemporary use.

<p>Taking the Roof off a Modern Building explores ways to appropriately reactivate modernist architecture, acknowledging the social, economic and contextual constraints of a contemporary provincial New Zealand township. This research is motivated by the lack of use and maintenance of aging Kapiti modern architecture. Like many small towns, Waikanae, in the Kapiti Coast region, has a variety of buildings which are often up for lease. Within this catalogue, the modernist buildings stand out as ones that theoretically should be adaptable for changing requirements. The aim of the research is to develop a design solution to preserve the Parker Building, situated in Mahara Place, understanding the potential implications for the wider region. The research is completed through design experiments which pursue reactivation, examining modernism, preservation and programme. The exploration of spatial possibilities focus on how the Mahara Place shopping precinct may function for social and economic needs of the current society, which differs from when it was built, in the 1970s. Designing is done through a process of research into physical and social constraints, while iterating design ideas, feeding off each other to develop the outcome. New Zealand Modernist Architecture is a relevant research topic due to the prominent place of these buildings in our cities and towns, and their association with many great New Zealand architects. While isolating a site within the Kapiti Region, Mahara Place was highlighted as a strip of buildings not used to their fullest potential. Many buildings similar to these are at risk of demolishment, but research is needed to explore how the interior can function appropriately for the users.</p>

<p>Taking the Roof off a Modern Building explores ways to appropriately reactivate modernist architecture, acknowledging the social, economic and contextual constraints of a contemporary provincial New Zealand township. This research is motivated by the lack of use and maintenance of aging Kapiti modern architecture. Like many small towns, Waikanae, in the Kapiti Coast region, has a variety of buildings which are often up for lease. Within this catalogue, the modernist buildings stand out as ones that theoretically should be adaptable for changing requirements. The aim of the research is to develop a design solution to preserve the Parker Building, situated in Mahara Place, understanding the potential implications for the wider region. The research is completed through design experiments which pursue reactivation, examining modernism, preservation and programme. The exploration of spatial possibilities focus on how the Mahara Place shopping precinct may function for social and economic needs of the current society, which differs from when it was built, in the 1970s. Designing is done through a process of research into physical and social constraints, while iterating design ideas, feeding off each other to develop the outcome. New Zealand Modernist Architecture is a relevant research topic due to the prominent place of these buildings in our cities and towns, and their association with many great New Zealand architects. While isolating a site within the Kapiti Region, Mahara Place was highlighted as a strip of buildings not used to their fullest potential. Many buildings similar to these are at risk of demolishment, but research is needed to explore how the interior can function appropriately for the users.</p>

Modern Architecture and Urbanism are the concrete results of a series of urban and design experiments that, during the first and second industrial revolution took place in Western and Eastern European countries and came to define the practices of the world of construction, prefabrication and design in the context of full industrialization. Five words could be identified that describe the methods and the processes underlying modern urban design, building a Mantra of Modern Architecture still in vogue: Technocracy, Hygienism, Formal Reduction, Cost-effectiveness and Communitarianism. This paper aims at analysing and clarifying how the Mantra of Modernism has been applied in non-European settlement and how it can constitute the conceptual base towards the construction of an alternative contemporary modernity.

Stitching techniques are primarily used to join flexible materials and are widely employed in apparel manufacturing and surgical practice. By contrast, joints between rigid materials typically rely on mature processes such as welding, riveting, and adhesive bonding. Nevertheless, stitching between rigid materials offers distinctive advantages, including the ability to conform to curved surfaces, to enable airflow through interfacial gaps, and to preserve a controlled degree of relative movement between components; it continues to be used in certain specialized domains. Research on this topic remains limited in both academic and industrial contexts. Drawing on historical sources in shipbuilding, this paper examines sewn-plank construction, in which natural-fiber cordage is used to stitch planks to form a hull, and analyzes its processes, performance characteristics, and scope of application. It investigates applications of stitching techniques for rigid-material joints in modern design, integrating current industrial capabilities with recent advances in materials and technologies. Guided by these insights, a design experiment was conducted using a computer-generated Voronoi diagram to define panel geometries, resulting in a bespoke stitched handbag. The research process and outcomes indicate that, amid rapid advances in materials and fiber technologies, ancient sewn-plank techniques continue to offer valuable inspiration for contemporary design innovation.

User experience design, which provides the emergence of user-oriented designs, while meeting the needs of users functionally, also deals with their emotions and perceptions. With this interactive design approach, personalized design alternatives can be offered in accordance with the expectations of the users. At the same time, the flexibility with changing conditions, demands and pleasures ensures that designs are sustainable. Architecture is one of the disciplines where user experience design can effectively use. The inability of changing of buildings in traditional architecture causes another inability that to respond user’s current needs and demands. Thus, in modern architecture many researchers and designers investigate for a solution to create different spaces. Moving, flexible and interactive spaces, which are shaped with demands and needs of the users, give importance to the user experience. In this context, a tent was designed as a temporary shelter with caring the user experience and changes depending on the demands and needs of the user, by using the Arduino Uno microcontroller development board. The prototype experiments of the tent design, which was modeled with SketchUp and rendered with Lumion, were made with the Fritzing program. Arduino Uno, sensors, lamp, relay module and servo motors were used in the tent design and the space was enabled to interact with the user's different senses. Two different sensors, temperature-humidity and sound were used in the study. The temperature-humidity sensor interacts with both the user and the environment. Since precipitation occurs when the relative humidity in the air reaches 100%, the program is coded to turn off the panel on the top of the tent when the humidity in the air reaches 70%. With the help of the sound sensor, predetermined colors are lit on the front panel of the tent with the user's hand clap. In the study, it is aimed to create different experiences by providing the interaction between the body and the space.

This chapter traces the evolution of the humble postage stamp in Ireland – especially from the 1920s to the 1950s – from nationalist heresy to nationalist orthodoxy. Stamps played a significant heretical role in asserting an Irish national identity – for both symbolic and fundraising purposes – and harnessing revolutionary energies pre-independence. Later, however, they promoted a nationalist orthodoxy intended to shape ideology domestically and perception of Ireland internationally, after the foundation of the Free State. Ulin examines the complex political constraints that stifled innovations in philatelic design and prevented postage stamps from emulating modernist experiments in print culture and modern design. (98)

Welcome to New York in the 1960s! “Art and Design in 1960s New York,” a key component of Amanda Gluibizzi’s Doctor of Philosophy research at the “Graduate School of The Ohio State University,” has been first published in the UK and USA in 2021 by Anthem Press, and the book is now available to acquire on major websites. Anthem Press is a leading independent academic, professional, and trade publisher with a strong international and interdisciplinary focus in the established and emerging social sciences, business/law, and humanities fields of study. The Rail’s art editor is Amanda Gluibizzi, who is the co-founder and co-director of the New Foundation for Art History, as well as the author of the book titled “Art and Design in 1960s New York.” She is a well-known art historian, researcher, and associate professor. She has a background in history, education, teaching, and publishing, as well as a specialisation in modern and contemporary art and design. Two of her notable research talks and papers are “Design Systems: What Not to Include” at the Wentworth Institute of Technology in Boston and “Making New York Understandable”: Revolutionary Proposals for a City in Crisis-Design, History, and Revolution at Parsons New School in New York. The author takes a broader view of New York’s “Visual World” in the 1960s. The author uses a formal approach to explore the relationship between art and design and highlight their mutual influence, which has been overlooked throughout history. The author employs ethnographic and multidisciplinary methods throughout the book to highlight the art and design experiments and challenges in 1960s New York. The author examines design and art side-by-side to explore how their relationship manifests itself. The author included quotations and excerpts from journals, books, magazines, newspapers, interviews, and film scenes, in addition to diverse analyses of visuals and literature cognate to art and design. This research-based book gives readers an opportunity to take a look back with curiosity at the art and graphic design of 1960s New York.

Cities have long been important sites of collective memory. In this paper, I highlight the ritual and memorial functions of cities by focusing on Gibellina, a Sicilian town destroyed by earthquake, and the subsequent struggle among its community to articulate a sense of spatial belonging with its remains. By examining the productive relationships between art, landscape and collective memory, I consider how memorial objects in Gibellina have become integral to the reimagining of place, and, in some cases, to forgetting. To address the relationship between memorial objects and the articulation of communities from this unique vantage point, a significant part of my analysis compares memorial initiatives both in and around the old site on which Gibellina once stood. More specifically, my paper compares the aesthetic similarities between the Italian artist Alberto Burri’s design for a large concrete overlay of the city’s remains, and the Berlin Holocaust Memorial by the American architect Peter Eisenman. To reveal the distinctiveness of Burri’s design in relation to Eisenman’s work and the rich commentaries that have been produced in its name, and therefore to highlight the specificity of their relationship, I extend my comparison to more recent attempts at rebuilding Gibellina in the image of a “frontier city of art” (“Museum Network Belicina”).Broadly speaking, this paper is framed by a series of observations concerning the role that landscape plays in the construction or naturalization of collective identity, and by a further attempt at mapping the bonds that tend to be shared among members of particular communities in any given circumstance. To organize my thoughts in this area, I follow W. J. T. Mitchell’s interpretation of landscape as “a medium of exchange,” in other words, as an artistic practice that galvanizes nature for the purpose of naturalizing culture and its relations of power (5). While the terms of landscape art may in turn be described as “complicated,” “mutual” and marked by “ambivalence,” as Mitchell himself suggests, I would further argue that the artist’s sought-after result will, in almost every case, be to unify the visual and the discursive fields through an ideological operation that engenders, reinforces, and, perhaps also mystifies the constituents of community in general (9). From this perspective, landscape represents a crucial if unavoidable materialization both of community and collective memory.Conflicting viewpoints about this formation are undoubtedly present in the literature. For instance, in describing the effects of this operation, Mitchell, to use one example, will suggest that landscape as a mode of creation unfolds in ways that are similar to that of a dream, or that the materialization of landscape art is in accordance with the promise of “emancipation” that dreams inscribe into imaginaries (12). During the course of investigating and overturning the premise of Mitchell’s claim through a number of writers and commentators, I conclude my paper by turning to a famous work on the inoperative community by Jean-Luc Nancy. This work is especially useful for bringing clarity for understanding what is lost in the efforts by Gibellina’s residents to reconstruct a new city adjacent to the old, and therefore to emancipate themselves from their destructive past. By emphasizing the significance of acknowledging death for the regeneration and durability of communities and their material urban life, I suggest that the wishes of Gibellina’s residents have resulted in an environment for memory and memorialization despite apparent wishes to the contrary. In my reference to Nancy’s metaphor of ‘inoperativity’, therefore, I suggest that the community to emerge from Gibellina’s disaster is, in a sense, yet to come.Figure 1. The “Cretto di Burri” by Alberto Burri (1984-1989). Creative Commons.The old city of Gibellina was a township of Arabic and Medieval origins located southwest of Palermo in the heart of Sicily’s Belice valley. In January 1968, the region experienced a series of earthquakes as it had before. This time, however, the strongest among them provoked a rupture that within moments led to the complete destruction of towns and villages, and to the death of nearly 400 inhabitants. “From a seismological point of view,” as Susan Hough and Roger Bilham write, the towns and villages of the Belice valley were at this time “disasters in the making” (87). Maligned by a particular configuration of geological fault lines, the fragile structures along the surface of the valley were almost certain to be destroyed at some point in their lifetime. In 1968, after the largest disaster in recent history, the surviving inhabitants of the dilapidated urban centres were moved to the squalor conditions of displacement camps, in which many lived without permanent housing into the 1970s. While some of the smaller communities opted to rebuild, a number of the larger townships made the decision to move altogether. In 1971, a new settlement was created in Gibellina’s name, just eighteen kilometres west of the ruin.Since that time, I claim that a pattern of memory and forgetting has developed in the space between the ‘old’ and the ‘new’. For instance, the old city of Gibellina underwent a dramatic refurbishment in the 1980s when an internationally renowned Italian sculptor, Alberto Burri, was invited by the city to build a large concrete structure directly on top of the city’s remains. As depicted in Figure One, the artist moulded the destroyed buildings into blocks of smooth concrete surfaces. Standing roughly at human scale, Burri divided these stone slabs, or stelae, in such a way as to retain the lineaments of Gibellina’s medieval streets. Although unfinished and abandoned by the artist due to lack of funds, the tomb of this destroyed city has since become both an artistic oddity and a permanent fixture on the Sicilian landscape. As Elisebha Fabienne and Platzer write,if an ancient inhabitant of Gibellina walks in the inside of the Cretto, he is able to recognise the topic position of his house, but he is also forced by the Verfremdung [alienting effect] of the topical elements to distance himself from the past, to infer new information. (75)According to this assessment, the work’s intrinsic merit appears to be in Burri’s effort to forge a link between a shared memory of the city’s past, and the potential for that memory to fortify the imagination towards a future. In spatial terms, the merit of the work lies in preserving the skeletal imprint of the urban landscape in order to retain a semblance of this once vibrant and living community. Andrea Simitch and Val Warke appear to corroborate this hypothesis. They suggest that while Burri’s structure includes a specific imprint or reference point of the city’s remains, “embedded within the masses that construct the ghosted streets is the physical detritus of imagined narratives” (61). In other words, Simitch and Warke maintain that by using the archival or preserving function to communicate a ritual practice, Burri’s Cretto is intended to infuse the forgotten urban space of old Gibellina with a promise that it will eventually be found and therefore remembered. This promise is met, in turn, by the invitation for visitors to stroll through the hallowed interior of Gibellina as they would any other city. In this sense, the Cretto invites a plurality of narratives and meanings depending on the visitor at hand. In the absence of guidance or interruption, the hope appears to be that visitors will gain an experience of the place that is both familiar and disturbing.But there is a hidden dimension to this promise that the authors above do not explore in sufficient detail. For instance, Nigel Clark analyzes the way in which Burri has insisted upon “confronting us with the stark absence of life where once there was vitality,” a confrontation by the artist that is materialized by “cavernous wounds” (83). On this basis, by interpreting the promise of memory that others have discussed in terms of a warning about the longevity or durability of the built environment, Clark writes that Burri’s Cretto represents “an assertion of the forces of earth that have not been eclipsed by other forms of endangerment” (83). The implication of this particular forewarning is that “the precariousness of human settlement” is guaranteed by a non-human world that insists upon the relentless force of erasure (83). On the other hand, I would argue that Clark’s insistence upon situating the Cretto in relation to the natural forces of destruction ultimately represents a narrowing of perspective on Burri’s work. Significantly, by citing Burri’s choice of supposedly abstracted shapes made from lifeless concrete, Clark reduces the geographical intervention of the artist to “a paradigm of modernist austerity” (82). From Clark’s perspective, the overture to Modernism is meant to highlight Burri’s attempt at pairing the scale and proportion of the work with an effort to convey a sense of purity through abstraction. However, while some interpretations of Burri’s Cretto may be dependent upon its allusion to such Modernist formalism, it should also be recognized that the specific concerns raised by Gibellina go significantly beyond these equivocations.In fact, one crucial element of Burri’s artistic process that is not recognized by Clark is his investment in the American land art movement, which at the time of Burri’s design for Gibellina was led by Michael Heizer, Robert Smithson and other prominent artists in the United States. Burri’s debt to this movement can be detected by his gradual shift towards landscape throughout his career, and by his eventual break from the enclosed and constrained space of the gallery. On this basis, the crumbling city design at Gibellina obliterates the boundaries as to what constitutes a work of art in relation to the land it occupies, and this, in turn, throws i

Hit identification represents the pivotal early phase of drug discovery, transforming theoretical chemical space into tangible bioactive entities. Over the past two decades, three complementary paradigms high-throughput screening (HTS), fragment-based drug discovery (FBDD), and virtual screening (VS) have redefined how leads are uncovered, validated, and optimized. HTS allows rapid assessment of millions of compounds against defined biological targets using miniaturized, automated assays, whereas FBDD employs small chemical fragments to explore binding hotspots with enhanced chemical efficiency. In parallel, virtual screening utilizes computational algorithms to interrogate large chemical libraries in silico, predicting interactions prior to synthesis. The convergence of these approaches, supported by artificial intelligence, robotic automation, and on-demand libraries, has markedly accelerated hit identification while reducing attrition and cost. This chapter integrates theoretical principles, workflow methodologies, comparative metrics, and real-world applications of HTS, FBDD, and VS. Emphasis is placed on assay design, library curation, computational pre-filtering, fragment evolution strategies, and hybrid in vitro–in silico frameworks. Current challenges false positives, data reproducibility, and fragment elaboration are critically analyzed alongside emerging innovations such as AI-assisted screening, DNA-encoded libraries, and multi-objective optimization. Collectively, these advances herald a new era of efficient, intelligent hit discovery bridging computation and experimentation in modern computer-aided drug design.

During the last century, the relationship between designing of printed upholstery and architecture is a type of imagination, but current times there is increase in the correlation between them due to realization of that both of them depend on art, science and technology. The parametric design, in the field of architecture, considers a creative and innovative source to design printing textiles in general and upholstery designs for living rooms in special (research subject). In light of the tremendous scientific revolution and the unlimited technological leaps and the development of computer technologies, especially animation applications, parametric design tools and applications appeared, and it is a modern design trend that began to appear in architecture, as it is based on relationships, systems and equations applied by the designer through specialized computer programs, through which it is possible to obtain a number of Unlimited units and design elements by tweaking and matching one of the variables of these equations. It can be easily manipulated to create multiple design ideas at breakneck speed. Therefore, this research seeks to apply the use of the parametric design trend as an aesthetic dimension, and to propose a new vision, innovation and inspiration for new designs suitable for use in living room upholstery fabrics, as well as providing a new design style and style that works to provide many modern designs with high artistic and aesthetic value, which works on Elevating the artistic taste of the consumer through an artistic and aesthetic vision of modern living room upholstery designs. The research is also interested in presenting new features of contemporary parametric architecture, which opens new horizons for creative thought to transform traditional patterns in the design of print living room upholstery fabrics into designs with innovative and varied sensory and visual effects. The research problem is determined in the following questions: What is the concept of parametric design? And how can we rely on the practice of experimental thought based on the parametric design trend variables to reach a design construction for printing surfaces for living room upholstery? And how to take advantage of the aesthetic values ​​and structural foundations of parametric architecture to enrich the field of designing the printing of living room upholstery and to obtain innovative and unconventional design solutions? The research aims to identify the importance and features of parametric design, find new plastic formulations for print living room upholstery designs by taking advantage of the parametric design trend and inspired by parametric architecture, producing print designs for living room upholstery characterized by richness of shape, color and texture, and providing a new design style and style that works to provide many Of modern designs with high artistic and aesthetic value. The importance of research is to take advantage of parametric design in architecture, which supports technical design innovation and makes it keep pace with modern development, contributing to enriching the field of living room upholstery design because of its contemporary design structure and to emphasize the importance of experimentation, opening new horizons for the direction of parametric design and its application in the field of print design Textiles, and this research leads to a new field of vision for the contemporary artist to benefit from in the field of textile printing design in general and the design and printing of living room upholstery s in particular, which is a new addition to the Arabic library. Methodology: The research is based on the analytical descriptive approach, by identifying selections from parametric architecture, and the experimental approach, in which technical design experiments and employment proposals are conducted in the field of designing printing fabrics for living room upholstery s through experimentation and switching of parametric architecture elements. Results Showed that: the study of the parametric design trend in architecture is an important source that leads to the creation of designs suitable for printing contemporary living room upholstery studying the parametric design trend in architecture is a new idea worthy of to be included in research and studies of the arts of textile printing design in general and the field of designing and printing living room upholstery in particular. (8) Design ideas suitable for printing contemporary living room upholstery (interiors), and obtaining atypical designs that do not exist in the markets. When presented, we can make a great diversity of the offered designs to increase economic popularity and enter into competition in the local and international markets, as well as enhance the parametric design of the designer's creativity and confirms the importance of studying computer programs through which parametric design is achieved.

Energy consumption in the building sector justifies the necessity of knowing the thermal comfort perception of vernacular and modern architectural types, based on which a correct recognition was reached for the design of buildings suitable for the climatic conditions of each region. It should be determined that the different types of modern and traditional architecture are in the comfort level in harsh hot climate conditions and how much energy they consume to reach the comfort level. Despite consideration of energy consumption and thermal comfort in different buildings in Iran, there is no clear framework for evaluating these two parameters in different buildings and comparing them. This research aims to compare the indoor thermal comfort levels of vernacular architectural buildings and modern buildings in Iran's semi-hot and dry climate at the peak of summer heat and determine their energy consumption to reach the comfort level. This study has been accomplished by collecting field data, examining the indoor predicted mean vote (PMV) index of the buildings, and comparing them. It was found that rock-cut architecture buildings are in better thermal comfort conditions without energy consumption due to the use of groundmass temperature and low heat exchanges between the indoors and outdoors because of the thermal phase of the materials and the thickness of its layers. The indoor PMV average of rock-cut buildings in summer is −0.61; in modern buildings, it is 0.77, while these two building complexes are in the same climate and close. Also, the energy consumption to reach the comfort level in rock-cut buildings is zero, while modern buildings consume an average of 7.7 kW of electricity daily. The research results will lead to recognizing and modeling the climate design of vernacular architecture, which can be used in today's architecture to reduce energy consumption.

The Main Purpose of This Paper is to Study Transparent Figures Using Metal Screen as an Effective and Appropriate Approach to Uncover New Aesthetics Dimensions in Art, Design, and Stage Design. the Researchers Base their Paper on their Creative Experiments in Soft Sculpture and Stage Design with a Number of Design Students. the Researchers also Refer'to Local and International Creative Experiences that Complement the Works' Expressive Values and Functional Aspects. the Study is Concluded with a Proposed Design Project to be Researched and Implemented as a Business Venture.