The purpose of this paper reveal differences in Sukiya thought between Murano and Yoshida through Murano’s description. The analysis consists of three chapters. Chapter2 reveal elements that Murano ...uses to explain the designer. Chapter 3 identify the differences between the two as designer. Chapter 4 reveal the differences in Sukiya works． The results of this study reveal that Murano has common ground with his contemporaries and that we can find commonalities with other designers in his works. The elements are formed by his upbringing. Conversely, Yoshida created his “style” through creating that was strongly defined by his personal preference.
For patients with relapsed/refractory CLL, the MURANO research showed a significant progression-free survival (PFS) and overall survival benefit for fixed-duration venetoclaxrituximab (VR) treatment ...compared with bendamustine-rituximab. The study also showed that good PFS was associated with profound responses with undetectable minimal residual disease (uMRD). The Dedalo study was designed to test MRD from a multidisciplinary perspective (flow cytometry, molecular biology, and ultrasound), to evaluate MRD's predictive and prognostic value, to analyze the changes and reconstitution of cell-mediated immunity throughout the course of treatment and during the follow-up, and to investigate the significance of partial responses in an MRD negativity status. 19 patients have so far been included in the study; for each, the presence of TP53/del(17p) and the IGHV mutational status were examined. With a sensitivity of 10-4, the MRD status of 13 patients was evaluated by flow cytometry in peripheral blood (PB) after the first cycle (M1) and after the sixth cycle (M6) with VR. Additionally, flow cytometry was used to analyze PB granulocytes, monocytes, T and B lymphocytes, NK cells, CD4+ and CD8+ T naïve, central memory, and terminally differentiated effector memory subsets in all of the patients at each MRD evaluation checkpoint.
5 individuals had a TP53 mutation or del(17p) (26.3%), while 63.2% of patients had unmutated IGHV status. 12 patients have completed their twelfth month of therapy. 13 patients had their MRD status evaluated after the first cycle, 69% had PB undetectable MRD, 31% had low MRD positivity, and 0% had high MRD positivity. 13 patients had MRD status evaluated after the sixth cycle, and uMRD was detected in 77%.
Favorable MRD kinetics were seen in the VR scenario while all patients were still receiving therapy. After the first cycle of therapy, the majority of patients had PB uMRD, with a higher percentage after the sixth round. Research is still being done on the longevity of uMRD rates, their function in predicting PFS in real-world situations, the impact of genetic factors on the kinetics of MRD, the reconstitution and dynamics of T cells and cell-mediated immunity, and the relationship between MRD and clinical response.
The first Biennale opened in 1895 without a decorative arts section, which was a blow for the Venetian glass masters who hoped to take advantage of the new platform. In reaction to the successful ...1902 exhibition of decorative arts in Turin, the Biennale realized that excluding the decorative arts represented a loss in terms of profit and attractiveness. It therefore introduced a decorative arts section in 1903 and from 1909 Murano glass held a central position within the exhibition. Its status evolved and reached a climax with the opening of a dedicated space, the Padiglione Venezia (Venice pavilion) in 1932. This article investigates the influence exerted by the on the market for Murano glass. It also analyses how it acted as an international springboard for the local industry and the evolution of taste from reproduction to bolder, more modern pieces.
From celebrated gardens in private villas to the paintings and sculptures that adorned palace interiors, Venetians in the sixteenth century conceived of their marine city as dotted with actual and ...imaginary green spaces. This volume examines how and why this pastoral vision of Venice developed.
Drawing on a variety of primary sources ranging from visual art to literary texts, performances, and urban plans, Jodi Cranston shows how Venetians lived the pastoral in urban Venice. She describes how they created green spaces and enacted pastoral situations through poetic conversations and theatrical performances in lagoon gardens; discusses the island utopias found, invented, and mapped in distant seas; and explores the visual art that facilitated the experience of inhabiting verdant landscapes. Though the greening of Venice was relatively short lived, Cranston shows how the phenomenon had a lasting impact on how other cities, including Paris and London, developed their self-images and how later writers and artists understood and adapted the pastoral mode.
Incorporating approaches from eco-criticism and anthropology, Green Worlds of Renaissance Venice greatly informs our understanding of the origins and development of the pastoral in art history and literature as well as the culture of sixteenth-century Venice. It will appeal to scholars and enthusiasts of sixteenth-century history and culture, the history of urban landscapes, and Italian art.
Combined external milli-beam Particle Induced X-ray Emission (PIXE) and Prompt Gamma Activation Analysis (PGAA) analysis was applied to characterize the composition of paste and colorants from some ...fragments of Byzantine bracelets (10th–12th Centuries AD), late medieval (17th–18th Centuries AD) and modern Murano glass pieces.
As fluxes, PGAA revealed the samples are soda-lime glass, except four samples - two medieval vessel white shards and two dark Byzantine fragments of bracelets – which have potash flux. Aluminium was detected in various proportions in all samples indicating different sources for the added sand. The presence of Magnesium is relevant only in one bracelet fragment suggesting the use of plant (wood?) ash and confirming that the Byzantine bracelet is manufactured from the mixture of both types of glass (natron and plant ash based). PGAA also indicated the presence of low quantities of Cadmium, high level of Arsenic and Lead (possibly lead arsenate) in one medieval sample and of ZnO in Murano glass, and of CoO traces (maximum 0.1%) in all blue-colored Byzantine, late medieval to modern Murano glass artefacts. PIXE confirmed the use of small quantities of CoO for blue color, indicated Manganese combined with Iron for dark glass, Copper for green, Lead, Tin and an Arsenic compound (orpiment?) for yellow and in the case of modern Murano glass Selenium and Cadmium to obtain a reddish color. Despite PIXE – PIGE combination is probably the best one for glass analysis, our external milli-PIXE – PGAA methods proved to be adequate complementary tools to determine many chemical elements from glass composition – Si, Na, K, Ca, Al, Mg, various metallic oxides.
Whereas Picasso’s work in ceramics, wood and bronze is rather well known, the body of his sculptures in glass remains an object of little research. In fact, as a thorough analysis reveals, they ...rarely find mention in publications or catalogues on Picasso and seldom are included in exhibitions or retrospectives on the great Spanish artist. This may on the one hand be attributed to a still prevailing perception of glass as a medium for industrial, functional or everyday purposes—hence discounting the material in terms of artistic output—while on the other to controversies of authorship, related to the question of ideation versus creation. Unlike ceramics or bronze, the realisation of blown glass sculpture hinges on the involvement of the maestro vetraio as the mediator between thought and form—thus resulting in a distancing between artwork and artist conditioned by the nature of the medium. Against this background, the paper aims at a better understanding of Picasso’s vision of sculpture through an examination of his creations in the vitreous medium. On these grounds, a closer look at Picasso’s works in glass is meant to highlight his unique ‘hand’ in terms of idiom, line and form.
1. The purpose of this paper: is to reconstruct the design process of Yonago Public Hall (1958) and to reveal architects’ formal manipulations which must imply their strategic design thinking. 2. The ...study material: was the total 230 of original design sketches and drawings possessed by Kyoto Institute of Technology. 3. The methodology: was focused on the morphological tool used to solve the design tasks. The idea of transformability (potential transformation possibility which the designer thought at design) was proposed and explained which may appear as simultaneous formal variation or sequential formal changes. 4. The chronological order of the design sketches and drawings: was established by date inscriptions and formal matchings as Table 1 and 2. The partial processes called "study" were subdivided according to sketching and depicted shape identities. 5. The morphological analysis on transformability: was discussed as follows: Study 1 on building distribution on the site: shows dynamic variation as see in Fig. 4. Civic quarter was used as a connector bridging main and smaller halls and various shapes for exterior space were tested. Study 2 on sectional composition and the structure of the main hall: shows the transformations related to sight and projection lines and induced various structural modulations appeared in Fig. 5. Study 3 on integration attempt of the main hall and civic quarter: shows the elimination of the smaller hall and thus floorage reduced. The building form became integrated into a simple rectangle as see in Fig. 7. Study 4 on disintegration attempt of the civic quarter from the main hall: shows disintegration process of the civic quarter from the main hall. The civic quarter go laterally along the hall first, then it was displaced to the backside as see in Fig. 8. As the result, the interior volume of the hall was exposed and became the principal manifestation of the design. The structure of the main hall opened like fan shape, and final composition realized. Study 5 concluding schematic design: shows geometric adaptation and detailing attempt to finalize the schematic design as see in Fig. 9. A model was prepared for the presentation held at the Yonago-city on Dec. 1956 as see in Fig. 10. Perspective drawing of Fig. 11 was published in new year issue of Yonago-city news letter. Study 6 concluding working design: shows very limited changes as see in Fig. 12, which are: shell structure application to roof and side walls, direction change of outside evacuation staircase, and elaboration of the foyer column section. The working drawings were prepared in the end of Feb. 1957, although additional drawings were going to be issued even after the construction started in Apr. 1957. Total formal manipulation conducted by the architects: was charted as Table 3 and relevant notices were pointed as follows: 1）In the first 2 studies, the architect scanned wide range of transformability, yet it became more and more specific in late studies. 2）The dramatic formal change in the Study 4 was predicted in preliminary sketches in the early Study 1 and 2. 3）Design thinking in adopting to the requirements was observed such as: effective use of exterior space, continuity / separation of the main hall and civic quarter, ensuring appropriate sightline / evacuation route and constant reduction of floorage.
