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This article aims to demonstrate that building envelopes can be designed to improve the performance of public open space in Hong Kong. It investigates how such improvement can be used to negotiate between objective and regulation in planning standards. Addressing a research site with a publicly accessible pocket park in the Mong Kok area, the article explores generative potentials at the interface between the building envelope and the zoning envelope. The objective is to demonstrate that architecture can overcome the conflict between public and private interests in urban development by shaping profitable real estate that also promotes community welfare. The research methodology for this article adheres to design research.

This article uses Neil M. Denari’s HL23 condominium tower in West Chelsea, New York City, as the lens through which to focus on the architectural design pathway in discretionary reviews to negotiate architectural form and bulk restrictions. The argument states that creative architectural forms can appropriate an unorthodox site configuration in accord with planning objectives and that review procedures are needed to recognize and evaluate such attempts. The objective of this article is, therefore, to elucidate the way in which design in discretionary reviews can be used as a method to negotiate the complex relationships between architectural form and zoning constraints within an existing system. As the shape of HL23 evolved in response to a complicated constellation of site conditions and zoning amendments, relationships between architectural design and urban planning process combine to frame case study research on the zoning background and authorization procedure that issued design beyond zoning. Because hardened setback regulations dramatically limited the profitability ratio of the project, design was used to negotiate the complex relationships between architectural form and bulk restrictions. When elucidating the design pathway pursued to realize the building, flexibilities within zoning are unlocked. This article has been developed accordingly: It examines HL23’s complicated site; it contextualizes the zoning amendments that reduced the project’s profitability ratio; it explicates the shape of bulk restrictions; it analyzes the digression categories; it synthesizes form and digression through an analytical study of the design pathway; it demonstrates that design in discretionary reviews can be used as a method to negotiate the complex relationships between architectural form and zoning constraints; and it discusses flexibilities in zoning. Data for this article were collected through literature research, direct observation, archival research, drawing analysis, and interviews. The findings have bearing on research and practice in architecture, urban design, urban planning, and real estate.

The argument draws on a body of scholarship which demonstrates that prescriptive zoning codes resist external influences, and that new measures are needed in zoning to respond to the restructuring in community welfare and real estate economies (Dyckman, 1964; Barnett, 1982; Katz, et al., 2007). [...]the hypothesis put forth by this article that architecture supports practices for interconnecting real estate economies with those of community benefits. [...]the research plan was developed to measure the impact from existing building envelopes, as-of-right building envelopes, and building envelopes designed to unfold auxiliary to the climatological conditions at the ground level. Comprehensive zoning complies with Cartesian geometry, while the performative aspect of building form complies with topology (Lynn, 2004). [...]we may assume that building envelopes shaped beyond the Cartesian premises of zoning can improve TS through accelerated wind speeds and reduced solar radiation. While Autodesk Ecotect Analysis was deployed to measure solar radiation, it proved incapable of measuring wind data on cantilevering façades. [...]Autodesk Flow Design was deployed for computer simulations on the 20 high-performance building envelopes.

Ocean acidification threatens to disrupt interactions between organisms throughout marine ecosystems. The diversity of reef-building organisms decreases as seawater CO2 increases along natural gradients, yet soft-bodied animals, such as sea anemones, are often resilient. We sequenced the polyA-enriched transcriptome of adult sea anemone Anemonia viridis and its dinoflagellate symbiont sampled along a natural CO2 gradient in Italy to assess stress levels in these organisms. We found that about 3.1% of the anemone transcripts, but <1% of the Symbiodinium sp. transcripts were differentially expressed. Processes enriched at high seawater CO2 were linked to cellular stress and inflammation, including significant up-regulation of protective cellular functions and down-regulation of metabolic pathways. Transposable elements were differentially expressed at high seawater CO2, with an extreme up-regulation (> 100-fold) of the BEL-family of long terminal repeat retrotransposons. Seawater acidified by CO2 generated a significant stress reaction in A. viridis, but no bleaching was observed and Symbiodinium sp. appeared to be less affected. These observed changes indicate the mechanisms by which A. viridis acclimate to survive chronic exposure to ocean acidification conditions. We conclude that many organisms that are common in acidified conditions may nevertheless incur costs due to hypercapnia and/or lowered carbonate saturation states.

Poco pesante in the title is a type of notation that exemplifies the need for interpretive elements that the musician must obtain from outside the identification of the written notation. The musician’s richness of association provides a basis for including theoretical concepts related to cognition in the description of the interpretation process. Using an extension of Ogden’s semiotic triangle, keeping the arbitrary connection between symbol/notation and reference/sounding music, various layers of concepts can illuminate the consequences of the different starting points composers, analysts, and musicians have in their handling of music notation. Poco pesante u naslovu ovog članka tip je notacije koji predstavlja primjer potrebe za interpretativnim elementima koje glazbenik treba dobiti izvan identificiranja pisane notacije. Glazbenikovo bogatstvo asocijacija pruža temelj za uključivanje teorijskih pojmova vezanih uz spoznaju u opisu procesa interpretacije. Upotrebljavajući proširenje Ogdenova semiotičkog trokuta, a zadržavajući proizvoljnu vezu između simbola/notacije i reference/zvu-čeće glazbe, razni pojmovni slojevi mogu ilustrirati posljedice različitih polazišta što ih skladatelji, analitičari i glazbenici imaju u njihovu baratanju glazbenom notacijom.

Experiences from both academia and practice demonstrate that the legal instruments that comprise the primary tool for carrying out city planning in the U.S. have grown increasingly complex and abstract. Processing the universal rather than the specific aspects of urbanism, these zoning codes have a limited capacity to adapt to local significance and site-specific characteristics, to which architecture is much more responsive, and thus often constrain design innovation. Although various attempts have been made to improve the interconnection between the universal and the specific, we need a wider array of analytic frameworks within the discipline of architecture for evaluating the broader implications of the codes that regulate the form and use of buildings within the context of contemporary city planning. Taking architecture as an intermediary instrument, this study develops the notion of code manipulation as an analytical framework to be used for stimulating and evaluating designs beyond the constraints of code. Investigation of three housing projects, and the urban contexts from which they arise, expands our understanding of how the manipulation of zoning codes can be used as a generative material for the design of architecture, as well as how this procedure can both advance the production of disciplinary knowledge, and catalyse urban transformation. A loft conversion in Greenwich Village (1967-1970); an accessory dwelling unit in Venice, California (2006-2009); and a real estate development along the High Line in New York City (2005-2011) represent diverse attempts to employ code manipulation to mediate between the universal and the specific aspects of urbanism, while, at the same time, informing the making of cities through innovative design. Comparative analysis reveals how architects can explore solutions in opposition to zoning provision, and how code manipulation can serve to inform policy makers about lucrative potentials and tendencies being repressed by their own rules. Demonstrating a range of outcomes strengthens the argument that conventional zoning controls hamper architectural responses to the shifting premises of urban life. Seeking to reinforce architecture's role in the making of cities, this research explicates the potentials of code manipulation to establish new interconnections between universal and specific urban space.

Literacy in music has changed dramatically over the 11 centuries of music notation. Initially, music notation was used as a memory aid, emphasizing the importance of the text and the context of performance. Performance practice drove notation and bringing literacy to music had several consequences, especially the separation of the creator (composer) from the performer. In the eighteenth century, the idea of music as a work of art made a new separation between the performance and the work. This idea opened up a kind of literacy in music where the musical notation became only one of several written sources for knowledge that could contribute to the understanding of music, its works, and performances. The reliability of a performance in classical music has become connected to the performer's interpretation of the musical score and the literacy of that music. The fall of literacy in classical music is partly a result of the dominant factor the gramophone record have had on musical life in the twentieth century. This has given us a dissemination of classical music that goes beyond the traditional links between musical content and its social context and performance venues. The importance of the composer is reduced, the performer's role and the importance of expressive qualities in the performance are enhanced, and classical music is about to become a performance practice again. La connaissance de la musique a changé de façon spectaculaire au cours des 11 siècles de la notation musicale. Au début elle était utilisée comme un aide-mémoire, soulignant l'importance du texte et le contexte de l'exécution. Les interprétation ont influencé la notation musicale, la lecture et l'écriture ayant eu pour conséquence, entre autres, de séparer le créateur (le compositeur) de l'interprète. Au 18e siècle, l'idée de considérer la musique en tant qu'œuvre d'art opéra une nouvelle distinction entre l'œuvre et son interprétation. Cela déboucha sur une sorte d'alphabétisation de la musique : dès lors, la notation musicale ne représentai plus qu'une source écrite parmi d'autres pour la connaissance et la compréhension de la musique, de ses œuvres et de ses interprétations. Une exécution en public devint fiable par la relation établie entre l'interprétation de la partition par l'exécutant et la manière dont l'œuvre fut écrite et lue. Au 20e siècle, l'avènement du gramophone et ses conséquences sur la vie musicale a partiellement contribué au déclin de la connaissance de la musique classique. Cela nous a permis d'étendre la réflexion sur la musique classique au-delà des liens existants traditionnellement entre un contenu musical, son contexte social et ses lieus d'exécution. Le rôle du compositeur se trouve diminué, celui de l'exécutant et ses qualités d'expression accrues, remettant ainsi la musique à sa place en tant que pratique vivante. Die Fähigkeit, Musik zu lesen und zu verstehen, hat sich in den vergangenen elf Jahrhunderten schriftlich festgehaltener Musik grundlegend verändert. Ursprünglich war die Notation eher eine Gedankenstütze, was auf die Bedeutung des Textes und des Umfeldes der Aufführung schließen lässt. Mit der Weiterentwicklung der Aufführungspraxis musste auch die Notation Schritt halten, und die daraus resultierende Erweiterung der Musiklesefähigkeit hatte verschiedene Auswirkungen, insbesondere die der Trennung von Komponist und Ausführendem. Im 18. Jahrhundert brachte das Aufkommen der Vorstellung von Musik als Kunstwerk eine weitere Trennung, nämlich die zwischen der Aufführung und dem Werk selbst. Hierdurch entwickelte sich eine neue Art des Musikverständnisses, bei der die Notation nur noch eine der schriftlichen Quellen war, die zum Verständnis von Musik in der Form einzelner Werke und deren Aufführungen beitrugen. Die Seriosität einer Aufführung klassischer Musik ist verknüpft mit der Interpretation des Aufführenden und der gängigen Auffassung von dieser Musik. Zumindest teilweise ist der Niedergang des Musikverständnisses der klassischen Musik das Ergebnis des dominanten Einflusses, den Tonträger im 20. Jahrhundert auf das Musikleben hatten. Denn diese massenhafte Verbreitung klassischer Musik bescherte uns die Trennung der traditionellen Verbindung von musikalischem Inhalt, sozialem Kontext und den Aufführungsorten. Die Bedeutung des Komponisten ist reduziert; die Rolle des Ausführenden und dessen Ausdrucksqualitäten werden aufgewertet. Somit ist die Aufführungspraxis dabei, wieder die Oberhand in der klassischen Musik zu gewinnen.