Regular Layout Research Articles

A very fast multiplication algorithm for VLSI implementation

We present a simple recursive algorithm for multiplying two binary N-bit numbers in parallel O(log N) time. The simplicity of the design allows for a regular layout. The area requirement of this algorithm is comparable with that of much slower designs classically used in monolithic multipliers and in signal processing chips, hence the construction has definite practical impact.

A Regular Layout for Parallel Adders

With VLSI architecture, the chip area and design regularity represent a better measure of cost than the conventional gate count. We show that addition of n-bit binary numbers can be performed on a chip with a regular layout in time proportional to log n and with area proportional to n.

EVIDENCE OF TOWN PLANNING IN LATE SAXON WARWICK

AbstractThis paper discusses the results of an historical-topographical survey of the street plan of Warwick. This has been undertaken in conjunction with a review of the archaeological evidence and the results have been compared with similar evidence from other sites. The survey revealed a rectilinear street plan within defences of sub-rectangular shape. It is suggested that such a regular layout is the result of town planning in the late Saxon period, simultaneollsly with or shortly following the establishment of the burh by Aethelfleda, ‘Lady of the Mercians’, in 914.

Urban Planning in the Greek Motherland: Late Archaic Tegea

Greek urban planning in the Archaic period has essentially been a history of colonial foundations, mainly in Magna Graecia and Sicily. The Greek homeland has often been considered as a place where early cities developed by chance and without any regular layout before the Hippodamean revolution in the early Classical period. The newly discovered urban plan of Late Archaic Tegea in Arkadia challenges this view, showing that the art of urban planning was as well developed in Greece as in the colonies. This new evidence puts the Greek urban development in a new light and explains how the Classical achievements in urban planning were rooted in a tradition in the Greek homeland and not only in the colonies.

IV. The Etruscan City

About the internal topography of the Etruscan city we know sadly little. That it was very largely determined by the natural configuration of the ground there is little room for doubt. It is true that on the Piazza d'Armi Stefani found what may have been an open square with a straight street leading out of one corner of it and a second street running for a short distance at right angles to it. But the regularity of plan extends only a very short distance back from the main façade, and it bears all the marks of being a later rationalisation of an existing irregular plan; nor is there any suggestion of a regular layout elsewhere in the city. The main lines of the street-plan are clear enough, and these indicate a radial layout, with the city-centre occupying roughly the same site as the centre of the Roman town. This was, and still is, the natural focus of the plateau. Here the crest divides into two distinct ridges, the southern one running the full length of the promontory, right down to the Piazza d'Armi, the northern one bearing off to the left and then swinging right again towards the modern Casale Cabrioli, ending on the cliffs overlooking the Fosso della Valchetta, opposite the Vacchereccia tumulus. The layout of the south-eastern part of the town was very largely determined by the course of the roads which followed these two ridges and of a third road which probably ran down the bottom of the valley between them. Two other roads, those from the Formello and the Millstream Gates, converge directly on the centre, and that from the Capena Gate joined the northern ridge-road about 500 m. to the east. The Caere road probably joined the axial road some distance to the west of the centre.

Theatrum Mundi

IT IS difficult to find two elements in the Western tradition further apart in function and implication than the Christian idea of heaven and the Roman amphitheater—one a place of spiritual perfection, the other of mass passion and cruelty. It is also difficult to find two that are closer to each other in form. All that distinguishes the interior of amphitheaters—the vastness of their plan, their circularity, their regular layout, the horizontal rows of seats so superimposed as to suggest a hierarchy of rank—recurs in the image that Christianity formed of the habitations of the Blessed. When the circularity of the heavens is fully realized, as it is in Botticini's picture of Paradise (Fig. 1), the result is the likeness of an amphitheater, even though its inhabitants sit on thin strips of clouds rather than on marble seats.