Garden Wall Research Articles

11,500 y of human–clam relationships provide long-term context for intertidal management in the Salish Sea, British Columbia

Historical ecology can provide insights into the long-term and complex relationships between humans and culturally important species and ecosystems, thereby extending baselines for modern management. We bring together paleoecological, archaeological, and modern clam records to explore the relationship between humans and butter clams (Saxidomus gigantea) throughout the Holocene in the northern Salish Sea of British Columbia, Canada. We compare butter clam size and growth patterns from different temporal, environmental, and cultural contexts spanning 11,500 y to present. Butter clam size and growth were restricted in early postglacial times but increased over the next few millennia. During the early-Late Holocene, humans took increasing advantage of robust clam populations and after 3.5 ka, began constructing clam gardens (intertidal rock-walled terraces). Environmental and cultural variables, including coarse substrate, stabilized sea surface temperature, and the presence of a clam garden wall, increased clam growth throughout the Holocene. Measurements of clams collected in active clam gardens and deposited in middens suggest that clam gardens as well as other mariculture activities enhanced clam production despite increased harvesting pressure. Since European contact, decline of traditional management practices and increases in industrial activities are associated with reduced clam size and growth similar to those of the early postglacial clams. Deeper-time baselines that more accurately represent clam population variability and allow us to assess magnitudes of change throughout time as well as the complex interactions among humans and clams are useful for modern marine resource management.

Artificially induced calcium oxalate on limestone in urban environments – New findings

Calcium oxalate, known for its greater resistance to deterioration when compared to calcium carbonate, is the desired end product when ammonium oxalate treatment is applied to calcareous stone. Calcium oxalate can form naturally, on exposed limestone and marble architecture and statuary, although over long periods of time. Two mineral forms can be found, these being the monohydrate whewellite and the dihydrate weddellite. This paper focuses on the first detection of the formation of weddellite, following ammonium oxalate treatment, applied to an inland urban church in Malta built with porous limestone. This new finding is discussed within the context of the conditions presented by this particular site, and the resultant products that could potentially form between the treatment and soluble salts that may be present in the stone. Investigations first started in the laboratory with artificially salt-contaminated Globigerina Limestone, using individual sodium salts of chloride, sulfate and nitrate. The more stable whewellite was consistently found to have been produced in these situations without any by-product formation. This steered the research towards real buildings where salt mixtures would be present. Extending the chloride, sulfate and nitrate laboratory case studies to the field, a marine, garden and urban building were respectively selected to represent each scenario through expected salt predominance within existing salt mixtures: chlorides in the marine environment, nitrates in the garden location and sulphates in the urban setting. The calcium oxalate formed in the first two sites – a coastal bastion and a garden wall – was whewellite in both cases, as per results from the laboratory studies. Weddellite was only formed in the urban environment case scenario. This paper discusses the determining factors in ammonium oxalate treatment of porous salt-infested limestone in relation to the resulting form of calcium oxalate produced. These were found to be the calcium to oxalate ratio and the environmental conditions during treatment.

Mosul Lives: Verbatim Poems

Mosul Lives:Verbatim Poems Alana Marie Levinson-LaBrosse (bio) I work for Kashkul, a research and arts collaborative at the American University of Iraq, Sulaimani (AUIS). There, with regional and international scholars and artists, I participate in Mosul Lives, a project that gathers stories of daily life in Mosul. In April 2017, as the last Islamic State (Daesh) fighters dug into Mosul's Right Bank, we traveled to the newly liberated areas, as well as to camps for the recent waves of internally displaced people, mostly lifelong residents of Mosul. The stories we collected depict Mosul before the Islamic State, before the 2003 American presence, when citizens lived "in one hand," when the city was "a mosaic," not "simple tile." We worried that people would be angry we weren't asking about the recent violence; instead, they were delighted. Men laughed as they remembered how they snuck love letters over garden walls to their future wives. Women laughed and argued as they demonstrated the proper way to milk a goat. I complimented a man's tie, something he'd rushed to put on for us when we asked to photograph him, and he beamed. He had gone back to the rubble of his home to find his ties still hanging, perfectly clean, in the closet. Whether they were in their homes or UNHCR tents, people wanted to remember the Mosul they loved and carried in their minds. They wanted the world to remember their Mosul. [End Page 15] Originally, we called the project Mosul Remembered, considering our efforts a eulogy. But on our first day there, we saw: the city isn't dead. Mosul lives. The people you will meet in these verbatim poems—Sheikh Abdul Razak, Haneen, Majid—are only a fraction of the people with whom we conducted interviews. All of them are their city. All are seeking a way forward: a pathway they must often build themselves with what little remains. Dr. Mus'ab, the man who oversees restoration and archaeology in the province, said in October 2017, "We must rebuild even the rebuilding process: for some sites, we have only a kilogram of the ruins left—ruins of ruins. The Islamic State destroyed our places. They forced us to watch. People no longer recognize their city, themselves. But this isn't Mosul. This isn't us." These poems tell us what is. The interviews and the people behind them are reconstructing what reconstruction means. Patience The responsibility is so old I don't remember when it started. We open our home. We are the hotel, the refuge. We never eat alone. We host people upon people. We resolve disputes. We built the mosque that houses the only elementary school we have. In my family, we always said, "Gathering is learning." Sitting with people is a kind of school. You learn from them as from a teacher. Generations of our family, as they have come and gone, keep the message: be generous. Value peace. Be a house of the prophets, history, culture, reason. We encourage patience, courtesy, negotiation. Even when our family doesn't have enough, we host others. Give and give with no thought for how much you have. We are one family. Strangers are [End Page 16] family. My grandfather never ate dinner before ten in his life: he would wait, collecting guests for dinner, until the last train left town. Click for larger view View full resolution Sheikh Abdul Razak and his grandson. Photos courtesy of the author. What do I mean by patience? Well, my grandson got hit by a motorcycle. His head split open. He needed seventeen stitches. We didn't say, "We will hunt your child now." It was an accident. We took our child to the hospital. Another example? A stray bullet hit my nephew. Two men had a fight. It was an accident. We did not [End Page 17] shoot their nephew. We are mostly peaceful people, but fools start fights. Wise men resolve the problem when it is still small. Mosul once held all communities, all minorities. Our city of peace. The Mother of Two Springs. Ninewa. Mosul. So many names. When Daesh held Mosul, the bombings were...

Historic Low Wall Detection via Topographic Parameter Images Derived from Fine-Resolution DEM

Coral walls protect vegetation gardens from strong winds that sweep across Xiji Island, Taiwan Strait for half the year. Topographic parameters based on light detection and ranging (LiDAR)-based high-resolution digital elevation model (DEM) provide obvious correspondence with the expected form of landscape features. The information on slope, curvature, and openness can help identify the location of landscape features. This study applied the automatic landscape line detection to extract historic vegetable garden wall lines from a LiDAR-derived DEM. The three rapid processes used in this study included the derivation of topographic parameters, line extraction, and aggregation. The rules were extracted from a decision tree to check the line detection from multiple topographic parameters. Results show that wall line detection with multiple topographic parameter images is an alternative means of obtaining essential historic wall feature information. Multiple topographic parameters are highly related to low wall feature identification. Furthermore, the accuracy of wall feature detection is 74% compared with manual interpretation. Thus, this study provides rapid wall detection systems with multiple topographic parameters for further historic landscape management.

Between a rock and a soft place: Using optical ages to date ancient clam gardens on the Pacific Northwest

Rock-walled archaeological features are notoriously hard to date, largely because of the absence of suitable organic material for radiocarbon dating. This study demonstrates the efficacy of dating clam garden wall construction using optical dating, and uses optical ages to determine how sedimentation rates in the intertidal zone are affected by clam garden construction. Clam gardens are rock-walled, intertidal terraces that were constructed and maintained by coastal First Nation peoples to increase bivalve habitat and productivity. These features are evidence of ancient shellfish mariculture on the Pacific Northwest and, based on radiocarbon dating, date to at least the late Holocene. Optical dating exploits the luminescence signals of quartz or feldspar minerals to determine the last time the minerals were exposed to sunlight (i.e., their burial age), and thus does not require the presence of organic material. Optical ages were obtained from three clam garden sites on northern Quadra Island, British Columbia, and their reliability was assessed by comparing them to radiocarbon ages derived from shells underneath the clam garden walls, as well as below the terrace sediments. Our optical and radiocarbon ages suggest that construction of these clam garden walls commenced between ~1000 and ~1700 years ago, and our optical ages suggest that construction of the walls was likely incremental and increased sedimentation rates in the intertidal zone by up to fourfold. Results of this study show that when site characteristics are not amenable to radiocarbon dating, optical dating may be the only viable geochronometer. Furthermore, dating rock-walled marine management features and their geomorphic impact can lead to significant advances in our understanding of the intimate relationships that Indigenous peoples worldwide developed with their seascapes.

Memories of Media: An Interview with Carine Tardieu

Memories Of Media:An Interview With Carine Tardieu Tim Palmer (bio) The multitalented Carine Tardieu is an award-winning writer-director of short films and features, working in both television and cinema, as well as being an acclaimed children's novelist. Formatively inspired by Roald Dahl's more outlandish writings, after fitful studies in psychology and nursing, Tardieu found her vocation as a highly media-literate storyteller, exploring the inner lives of adolescents both mesmerized and frustrated by the bizarre adult world around them. Initially Tardieu conceived of her nonrealist narratives, whether words or images, primarily as a way of transcribing her youthful fantasies and dreams, to distill a solitary childhood consumed by her escapist passions: devouring novels and films. Central to this approach, though, is Tardieu's stylized intertextuality, representing traumatic memories on-screen via legacy formats and personal archives. From these points of departure, Tardieu's sparkling career began. After graduating from L'École Supérieure de Realisation Audiovisuelle (ESRA), Tardieu continued to write while she [End Page 142] Click for larger view View full resolution Figure 1. Carine Tardieu. Courtesy of Michaël Crotto. worked her way up through the filmmaking ranks, initially as a trainee assistant and grip on productions like Martine Dugowson's Portraits chinois (1996) and Olivier Ducastel and Jacques Martineau's Jeanne et le garçon formidable (1998); gravitating toward casting extras for Andrzej Zulawski's La Fidélité (2000); then acquiring more hands-on experience, as second assistant director, on Rithy Panh's Que la barque se brise, que la jonque s'entrouve (2001). After meeting, and being mentored by, writer-director Michel Leclerc, Tardieu successfully pitched to France 2, where she wrote episodes of the ironically titled cult TV series Age sensible (2002), set in an unruly college dorm. Emboldened, Tardieu wrote and directed two prize-winning shorts, Les Baisers des autres (2003) and L'Aîné de mes soucis (2004), the former thanks to a twenty-thousand- euro grant from the Centre National du Cinéma et de l'Image Animée (CNC). After being [End Page 143] commissioned to adapt both shorts as ciné-novels, Tardieu's career flourished. She published children's books, Je ne suis pas soeur Emmanuelle (2009) and Des Poules et des gateaux (2010), and was writer-director of two successful comedy-drama feature films, gaining a reputation as an accomplished director of child actors. La Tête de maman (2007), Tardieu's acclaimed debut feature, starring Karin Viard and Kad Merad, depicts the misadventures of a driven, introspective girl, the fifteen-year-old Lulu (Chloé Coulloud), who propels her increasingly depressive mother to reconnect—whether she likes it or not—with an old boyfriend. Key to the film is how Lulu engages literally and figuratively with media archives to try to understand her withdrawn mother and her estranged parents. Indeed, when Lulu discovers a cache of old photographs, home movies, and cans of 16mm filmmaking in the attic of her unhappy family's home, Tardieu uses legacy formats as her pivotal dramatic device. Whether it is shots of Holocaust newsreels projected behind a silhouetted parent's back or animated vintage postcards that bring her moribund mother back to life again, images from the past, citations of twentieth-century media formats, are what highlight generational drift, the alienation of children from adults, and the process of aging and attrition. One signature Tardieu set piece, in which Lulu watches in secret, enraptured, rediscovered 16mm footage of her mother's younger self, deliriously happy with her old boyfriend, flickering into life on a garden wall, underlines this trajectory. Based on a popular bande dessinée, the more overtly fantastical Du Vent dans mes mollets (2012), another star-studded production (with Agnès Jaoui, Denis Podalydès, Isabelle Carré, and Isabella Rossellini), set in the 1980s, also focuses on a young girl's anarchic reactions to a constrictive domestic situation, framed strategically via archival media citations as repressed images from the past. This time, the catalytic figure is nine-year-old Rachel (Juliette Gombert), initially shy and withdrawn, whose rebellious awakening—after a libertarian girl, Valérie (Anna Lemarchand), joins her school—parallels, and instigates, her parents' renewed...

“All That Was Lost Is Revealed”: Motifs and Moral Ambiguity in Over the Garden Wall

Pointedly nostalgic in both its source material and storytelling approach, Over the Garden Wall’s vintage aesthetic is not merely decorative, but ideological. The miniseries responds to recent postmodern fairy tale adaptations by stripping away a century of popular culture references and using motifs, not to invoke and upset increasingly familiar fairy tales, but as an artist’s palette of evocative, available images. In privileging imagery and mood over lessons, Over the Garden Wall captures something that has become vanishingly rare in children’s media: the moral ambiguity of fairy tale worlds.1

The fertile physics of chemical gardens

Many a child has enjoyed watching the gardens grow; many a physicist has puzzled over the transformation of self-organized, nonequilibrium patterns into permanent structures.

The role of botanic gardens in the twenty-first century.

Abstract Botanic gardens and their functions and role in society have evolved over time. Originally established for study of medicinal plants in the mid-sixteenth century, they morphed into active sites for introduction, cultivation and dissemination of economically important crops during European expansion of colonies in Asia, America and Africa during the seventeenth-nineteenth centuries. During the second half of the twentieth century, importance was placed on the need for conservation and sustainable use of biodiversity. In the twenty-first century, botanic gardens are challenged to address issues that extend beyond the garden walls by placing social and environmental responsibility as key mission drivers.

A Q&A with Wang Anyi

WORLDLIT.ORG 43 One day, I accidentally wandered into an old longtang . Squeezed into a narrow crack between glass-walled skyscrapers, it was nothing but a vestigial segment. I looked around in a daze—I had no idea where I was, and I had to ask directions from an elderly man who just happened to be walking by. He’d been lost in thought, and when I called out to him, he jumped: “You scared the wits out of me!” He spoke with the same local accent I’d been surrounded by growing up—genuine Shanghainese , with his hun sounding like huo, so he gave me a bit of a surprise as well. The various sounds and scents of the lane welled up from the pavement and enfolded me, hot tears filled my eyes, and the obscure pathway that had been hidden deep beneath the surface sparkled for a moment in the blazing sun, before it once again sank back into the broken tiles of a dilapidated garden wall. Memories of experiences that were attached to physical things beckoned like objects in a lost and found, but only for an instant; for immediately afterward, with another sweep of the hand, they abandoned me. The day I left home as a young woman, I went to the freight-train depot on the edge of town. There was no platform. The ties and coarse gravel beneath them lay in plain view, black rails meandered into the far distance, and heaven and earth seemed infinitely high and wide. Those who had come to see us off stood beside the wheels of the carriages and reached up through the windows, just barely able to grasp the hands of those who were leaving. At that moment, the town suddenly seemed bold and fierce as it threw off its old habits, leapt out of its old rut, and assumed a new form. When the train sped forward, the city revealed its whole face. It seemed entirely possible that there was nothing standing between the spot where we had lived, off the beaten track, filled with nooks and crannies, and the wider world. I opened my eyes wide and saw that this city was just a little courtyard, overgrown with foxtails and plantagos, a tiny and desolate patch—and yet to me it seemed vast and teeming with life. An oleander extended its flowering twigs over the wall, and green loquats fell from a neighbor’s tree—this was my season of blossoming and harvesting. Pill bugs and earthworms multiplied in the poor, thin soil of this garden. Bounded by walls on four sides, this spot also provided space for human activity, a place for me to grow, until one day I discovered that it had become the ruins of an illusion. Translation from the Chinese By Andrea Lingenfelter A Q&A with Wang Anyi by Ping Zhu Q: Would you like to be called a “woman writer” or just a “writer”? A: When I was young, I didn’t like the title “woman writer”; but now I’ve accepted it, because that is what I am. Q: Which is your favorite period of Shanghai? A: I grew up and live in Shanghai, so it is a place I cannot view objectively. Because my experiences are connected to Shanghai, it is more about which period of my life, rather than which period of Shanghai, that I like most. In the 1980s, I was young, but there were a lot of problems in my life. Now I live a comfortable life, but I’m no longer young. Q: It seems that the longtangs in your works represent not only the unique urban layout of Shanghai but also its complex history. Are the longtangs both spatial and temporal? A: Novelists are not responsible for reality. The longtangs are a stage I set up for my fictional characters. Whether the longtangs are temporal or spatial, they are theatrical. Q: What constantly drives you to break through your limits so you can produce works with different styles? A: My love for imagination and words. I don’t think I’ve had breakthroughs; I just keep writing day by day. Q: Which work have...

A Q&A with Wang Anyi

WORLDLIT.ORG 43 One day, I accidentally wandered into an old longtang . Squeezed into a narrow crack between glass-walled skyscrapers, it was nothing but a vestigial segment. I looked around in a daze—I had no idea where I was, and I had to ask directions from an elderly man who just happened to be walking by. He’d been lost in thought, and when I called out to him, he jumped: “You scared the wits out of me!” He spoke with the same local accent I’d been surrounded by growing up—genuine Shanghainese , with his hun sounding like huo, so he gave me a bit of a surprise as well. The various sounds and scents of the lane welled up from the pavement and enfolded me, hot tears filled my eyes, and the obscure pathway that had been hidden deep beneath the surface sparkled for a moment in the blazing sun, before it once again sank back into the broken tiles of a dilapidated garden wall. Memories of experiences that were attached to physical things beckoned like objects in a lost and found, but only for an instant; for immediately afterward, with another sweep of the hand, they abandoned me. The day I left home as a young woman, I went to the freight-train depot on the edge of town. There was no platform. The ties and coarse gravel beneath them lay in plain view, black rails meandered into the far distance, and heaven and earth seemed infinitely high and wide. Those who had come to see us off stood beside the wheels of the carriages and reached up through the windows, just barely able to grasp the hands of those who were leaving. At that moment, the town suddenly seemed bold and fierce as it threw off its old habits, leapt out of its old rut, and assumed a new form. When the train sped forward, the city revealed its whole face. It seemed entirely possible that there was nothing standing between the spot where we had lived, off the beaten track, filled with nooks and crannies, and the wider world. I opened my eyes wide and saw that this city was just a little courtyard, overgrown with foxtails and plantagos, a tiny and desolate patch—and yet to me it seemed vast and teeming with life. An oleander extended its flowering twigs over the wall, and green loquats fell from a neighbor’s tree—this was my season of blossoming and harvesting. Pill bugs and earthworms multiplied in the poor, thin soil of this garden. Bounded by walls on four sides, this spot also provided space for human activity, a place for me to grow, until one day I discovered that it had become the ruins of an illusion. Translation from the Chinese By Andrea Lingenfelter A Q&A with Wang Anyi by Ping Zhu Q: Would you like to be called a “woman writer” or just a “writer”? A: When I was young, I didn’t like the title “woman writer”; but now I’ve accepted it, because that is what I am. Q: Which is your favorite period of Shanghai? A: I grew up and live in Shanghai, so it is a place I cannot view objectively. Because my experiences are connected to Shanghai, it is more about which period of my life, rather than which period of Shanghai, that I like most. In the 1980s, I was young, but there were a lot of problems in my life. Now I live a comfortable life, but I’m no longer young. Q: It seems that the longtangs in your works represent not only the unique urban layout of Shanghai but also its complex history. Are the longtangs both spatial and temporal? A: Novelists are not responsible for reality. The longtangs are a stage I set up for my fictional characters. Whether the longtangs are temporal or spatial, they are theatrical. Q: What constantly drives you to break through your limits so you can produce works with different styles? A: My love for imagination and words. I don’t think I’ve had breakthroughs; I just keep writing day by day. Q: Which work have...

Gate of the Treasury of Istanbul Dolmabahçe Palace in the Context of Palace Architecture in Westernization Period

Gate of the Treasury of Istanbul Dolmabahçe Palace in the Context of Palace Architecture in Westernization Period

Feasibility of Mating Disruption for Agricultural Pest Eradication in an Urban Environment: Light Brown Apple Moth (Lepidoptera: Tortricidae) in Perth

Eradication technologies are needed for urban and suburban situations, but may require different technologies from pest management in agriculture. We investigated mating disruption of a model moth species recently targeted for eradication in Californian cities, by applying dollops of SPLAT releasing a two-component sex pheromone of the light brown apple moth in 2-ha plots in low-density residential Perth, Australia. The pheromone technology was applied manually at ∼1.5 m height to street and garden trees, scrubs, and walls at 500 dollops per hectare of 0.8 g containing ∼80 mg active two-component pheromone. Catches of male moths were similar among all plots before treatment, but in treated areas (six replicates) pheromone trap catches were substantially reduced for up to 29 wk posttreatment, compared with untreated control plot catches (three replicates). The treatment with pheromone reduced catch to virgin females by 86% (P < 0.001) and reduced the occurrence of mating by 93%, compared with three equivalent untreated control plot catches (P < 0.001). Eradication programs are following an upward trend with globalization and the spread of invasive arthropods, which are often first detected in urban areas. Eradication requires a major increase in the communication distance between individuals, but this can be achieved using sex pheromone-based mating disruption technology, which is very benign and suitable for sensitive environments. The need for new socially acceptable tools for eradication in urban environments is likely to increase because of increasing need for eradications.

Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija

Stilske su mijene u opusu nekog kipara za istraživače podjednako izazov i izvor nedoumica. To se posebno može primijeniti na istraživanje i pokušaj prepoznavanja mladenačkih radova određenog majstora u trenutku kada su još jaki utjecaji njegova učitelja. Također, nedovoljno iskustvo u svladavanju složenijih skulptorskih zadatka za majstora na početku karijere, često onemogućuje ispravnu valorizaciju njegova djela. Međutim, pojam mladenačkih ostvarenja u opusima kipara djelatnih u Veneciji Sei i Settecenta treba se uzeti s oprezom. Naime, za većinu su majstora slabo poznati njihovi učitelji, a još slabije djela iz razdoblja kada su sigurno već bili samostalni majstori, odnosno tijekom njihovih dvadesetih i tridesetih godina. Slična se situacija mogla sve do nedavno zamijetiti i u ranom opusu kipara Giovannija Bonazze (Venecija, 1654. – Padova, 1736.) budući da je arhivski najranije zabilježen 1684. kada je kipar imao već trideset godina. Iscrpnim proučavanjem cjelokupnog Giovannijevog opusa, Simeone Guerriero s pravom je predložio da bi potpisani reljef s prikazom Navještenja iz župne crkve Svetog Mateja u Dobro-ti u Boki Kotorskoj trebalo smatrati najranijim kiparevim djelom nastalim oko 1679. godine, kada kipar kleše i dvije Sibile te putta nad ulaznim portalom venecijanske crkve Santa Maria del Giglio.

日本建築学会「既存コンクリートブロック塀の耐震診断指針（案）・同解説」の刊行

日本建築学会「既存コンクリートブロック塀の耐震診断指針（案）・同解説」の刊行

Lattice fence and hedge barriers around an apiary increase honey bee flight height and decrease stings to people nearby

SummaryUrban beekeeping is becoming more popular in the UK. One of the challenges faced by urban beekeepers is finding a suitable apiary location. Honey bees are often perceived as a nuisance, mainly due to their stinging behaviour. Here, we experimentally test the assumption that barriers around an apiary such as walls or fences, force the bees to fly above human height, thereby reducing collisions with people and, consequently, stinging. The experiment was conducted in two apiaries using two common types of barrier: a lattice fence (trellis) and hedge. Barriers were 2 m high, which is taller than > 99% of humans and is also the maximum height allowed by UK planning regulations for garden fences or walls. We found that barriers were effective at both raising the mean honey bee flight height and reducing stinging. However, the effects were only seen when the barrier had been in place for a few days, not immediately after the barrier was put in place. Although this raises interesting questions regarding honey bee navigation and memory, it is not a problem for beekeepers, as any barrier placed around an apiary will be permanent. The effect of the barriers on raising bee flight height to a mean of c. 2.2–2.5 m was somewhat weak and inconsistent, probably because the bees flew high, mean of c. 1.6–2.0 m, even in the absence of a barrier. As barriers can also reduce wind exposure, improve security and are inexpensive, we recommend their use around urban apiaries in places such as private gardens or allotments, where nuisance to humans is likely to be a problem.

Shaw in “Sallust's House”

Shaw in “Sallust's House”

組積造塀の改修実態の評価に関する検討

A tracing survey to clarify the improvement feature of masonry garden walls ranked in the poor quality at 1980 (two years later from the 1978 Miyagiken-oki earthquake) was performed. The result of the inspection indicated a feature that over 80% of houses which had poor walls have been improved toward the safety. Some findings for studying how to evaluate the improving situation were also obtained. Investigation shows that a numerical method using the logit conversion could be a useful tool for the evaluation.

Durability assessment of the Alaçatı tuff (Izmir) in western Turkey

Alacati tuff has been used extensively as a source of building stone for outdoor and indoor decorations since the historical times in and around the tourist town of Alacati (western Turkey). The use of the Alacati tuff in buildings has been made compulsory by the Alacati municipality, for preserving the historical appearance of the buildings, after 2005 in Alacati. It has been noticed that, evident deteriorations developed in tuff surfaces of the stone buildings and garden walls within 5–6 years of their emplacement. Durability properties of the Alacati tuff are evaluated by determining the mineralogical, chemical, and physico-mechanical properties of the fresh tuff samples obtained from the only operative quarry in the area. Ageing tests such as Na2SO4 and MgSO4 salt crystallization, freezing–thawing, and wetting–drying were conducted on the fresh tuff samples to assess their durability. Additionally, the durability of the tuff is also evaluated by determining its average pore diameter, saturation coefficient, wet-to-dry strength ratio, static rock and slake-durability indices. Fresh Alacati tuff has high porosity and low unit weight and strengths and are classified to be very poor to moderately durable stone based on the test results of different durability assessment methods. Mineralogical and geochemical analyses have also been carried out on the deteriorated tuff samples collected from the surfaces of the stone buildings to determine the effect of weathering on tuff and the test results have been compared with those of the fresh tuff samples. There is no major difference observed between the mineralogy and chemistry of the fresh and weathered tuff samples thus, it has been concluded that physical weathering has been dominant in the area in deterioration of tuff.