Architecture and Memory

This paper presents an intelligent prefetching technique that significantly improves hybrid flash-disk storage, a combination of hard disk and flash memory. As a prefetching strategy, we adopt the sequential pattern mining, a variant of association rule mining. Our goal is to minimize overall I/O processing time of hybrid storage systems with using the Fully Associated Sector Translation (FAST) technique that

Network Processors: Origin of Species Niraj Shah, Kurt Keutzer University of California, Berkeley {niraj, keutzer}@ eecs. berkeley. edu Abstract Numerous programmable alternatives to network processing have emerged in the past few years to meet the current and future needs of ...

This paper analyzes the effect of choices in interventional design in architectural re-use projects on the collective memory of residents. From an architectural history viewpoint, it discusses how and why the aspect of design in the revitalization of historic structures impacts values and meanings of the occupants or users, whether they remain in the building or come to it as new residents.
The foundations of memory in relation to the physical environment can easily be problematic since they embody selection, interpretation and distortion. Thus the ‘memory’ of the building is a delicate issue, directly influencing the memory of those who interact with it. When changing the function in a building, the memory is physically transformed. This transformation can happen in various ways, such as narrativization, conventionalization and memorialisation, as will be demonstrated through the three case studies which illustrate certain problematics.

Durante los primeros meses de la dictadura en Chile encabezada por el general Augusto Pinochet, el arquitecto Miguel Lawner fue recluido en la isla Dawson, en el extre-mo austral de Chile. En ese tiempo, memorizó los planos del centro de detención y del campo de concentración en los que estuvo prisionero y realizó una serie de dibujos con el objeto de preservar la memoria de esos lugares y los hechos allí ocurridos. A partir del imperativo "no olvidaremos", que Lawner escribió en uno de los planos, este ensayo analiza la compleja trama gráfica de esos materiales a la luz de las antiguas técnicas del ars memo-riae y revela su función como dispositivos que elaboran, registran y ordenan contenidos de la memoria.
During the first few months of the dictatorship in Chile led by General Augusto Pinochet, the architect Miguel Lawner was held captive on Dawson Island, in the southernmost region of the country. During this time, he memorized the layout of the detention center and concentration camp at which he was imprisoned, and he created a series of drawings in order to preserve the memory of these places, as well as the events that occurred there. From the imperative of 'we will not forget', which Lawner wrote on one of the plans he drafted, this essay analyzes the complex graphic matrix of those experiences in light of the ancient techniques of ars memoriae and reveals their function as devices that elaborate , document and organize the contents of memory. Palabras clave ars memoriae; dibujos y planos de campos de concentración; isla Dawson; memoria; Miguel Lawner Keywords ars memoriae; Dawson Island; drawings and ground plans of concentration camps, memory; Miguel Lawner.

Accatino, S. (2019). Trazar un lugar en la memoria. Mnemotecnias en los planos, mapas y dibujos de isla Dawson de Miguel Lawner. Revista 180, 44, (3-16).

Architecture is always built out of architecture, there is no tabula rasa. This essay is built like the architecture it examines. It consists of fragments, interpretations, and intentions. An interplay of analogies, references, and influences emerges among the pictorial examples, written quotations, and short commentaries that bind them together. The various levels intersect and overlap – sometimes in contrast, sometimes with empathy. The reader is called upon to put the fragments together for himself or herself.

"Architectural heritage of Yugoslav-socialist character: ideology, memory and identity" studies the ability of architecture to represent political and cultural endeavors and developments in the period from 1945 until 1990 in territories which formed the Socialist Federative Republic of Yugoslavia. The thesis is divided into two parts: the first part analyzes how architecture, as a discourse per se and an ideological apparatus, was used for representation of Yugoslav socialist identity. The second part studies how the deconstruction of given identity, and its consequent dismissal in the process of re-construction of national identities has influenced the level of preservation of heritage of representative character found in territories which previously formed the SFRY. The hypothesis upon which the research is built, stating that the architectural significance of heritage of representative nature built in the socialist period and found in Yugoslav successor countries is dependent on (the assessment of) its cultural, social and historical character, has emerged from the perception of the second part of the problem. However, the larger part of the thesis is devoted to the study of how circumstances in SFRY influenced the character of following three categories of buildings and spaces: I) Governmental buildings and buildings of the League of Communist of Yugoslavia II) Institutions of educational-ideological character and memorial centers III) Memorials and memorial sites. With an objective to analyze how political and social occurrences in the SFRY in the period 1945-1990 influenced the processes of construction of above-listed representative buildings and spaces, the study approaches several important moments in development of architectural discourse in socialist Yugoslavia, such as: the appearance of modernist architecture in the Interwar period; the discussion on the socialist realist style; the influence of the political conflict between Tito and Stalin on architectural developments; architectural developments during the "Informbiro Period"; initiation of grandiose projects of representative character in the period 1956-1965; an impulse in erection of buildings and spaces of educational-ideological and cultural-memorial character in between 1966 and 1974; the appearance of the postmodernism; and finally the course of architectural developments after Josip Broz Tito's death in 1981 till the dissolution of Yugoslavia in 1990. The second part of the thesis researches how and why architectural works of representative character built in between 1945 and 1990 are neglected in the present. The objective of a critical and hermeneutical study is to perceive how the process of re-construction of national, cultural identities in the states reconstructed after the dissolution of Yugoslavia has influenced on the negative perception of the given architecture. The architectural works presented in the first chapter now are perceived as architectural heritage and analyzed as a cultural legacy of the uncomfortable nature. The discomfort towards the heritage built in the socialist period is approached through the study of the process of (re)interpretation of cultural memory. The analysis is conducted with the objective to perceive how the transformation in "collective frameworks of memory" has influenced "collective memory" of those societies and consequently the condition of architectural heritage of representative character found in the given territories. The research comes to an end with an insight into the level of preservation and state of condition of the representative heritage of Yugoslav-socialist character and concludes with recommendations for the improvement of protection mechanisms and suggestions on the modalities for its architectural and cultural revitalization.

A memória em arquitectura é a sopa primordial para o acto criativo e de concepção em arquitectura. As memórias do arquitecto funcionam como pilares e fundações de uma obra de arquitectura, e esta como um espelho das vivências e experiências do indivíduo criativo.
A presente tese, subordinada ao tema da memória em arquitectura, tem como objectivo demonstrar que o arquitecto utiliza‐se de uma “gaveta dos guardados”, que constrói de forma “viva” ou “fabricada”, dependendo do grau de presença do objecto, e que utiliza de acordo com memórias “inconscientes” ou “conscientes activas”, de acordo com processos fisiológicos, intrínsecos à sua maturação intelectual.
Foram utilizados dois casos de estudo para ilustrar a incedência da memória na arquitectura: Álvaro Siza Vieira e Oscar Niemeyer, que evidenciam a importância da casa primordial (as primeiras memórias da arquitectura) na concepção e a fragmentação e o uso inventado da ruína, como processos de procura e utilização de memórias existentes.
A dissertação encontra‐se dividida em três partes: a parte I refere‐se à teorética da memória e desta referida na arquitectura e a parte II aos casos de estudo, concluindo com a parte III. A arquitectura é um elo de ligação entre memórias passadas e futuras e, assim, não existe uma criação pura, espontânea.

Memory in architecture is the main ebb and flood river in the creative process and conception. Architect’s memories start the engines and work as foundations to an architectural frame, which acts as a mirror of the creative architect’s living experiences.
The present memory in architecture thesis attempts to establish the employment of a memory chest by the architect, built within a full‐duplex object’s presence or absence, and that he applies the knowledge through active unconscient or conscious memories, depending on both biological processes and intellectual repining.
Two case‐studies illustrate the power of memory in architecture: the vital importance of the primitive home (the very first memories in architecture) into the creative process, such as fragmentation, and the use of invented ruins in search of sturdily existent memories are explained by Oscar Niemeyer and Álvaro Siza Vieira.
This dissertation is divided in three different sections: part I is referred to memory and memory in architecture theoretical considerations; part II uncovers the study‐cases, and the final considerations are shown in part III. Architecture is a link between past and future memories and, therefore, there is no pure and spontaneous creation.


Palavras‐chave: Arquitectura, Memória, Criação, Identidade, Álvaro Siza, Oscar Niemeyer.

When the Palast der Republik was destroyed in 2006, former German Democratic Republic citizens denounced the demolition decision as a ‘purging’ of the legacy left by the now defunct GDR. Its opponents, on the contrary, qualified the building as a ‘Nostalgia temple’ and accused former GDR citizens of suffering from ‘GDR-Nostalgia’. Only two decades after the euphoria of German reunification, how do we explain this resistance to dismantling a building perceived as a symbol of a dictatorship? This work focuses on understanding what memories of the Palast informed the East Germans’ preservation movement and how they served East Germans to position themselves in the post-Wende context.

Following the destruction of the Second Temple, the Jewish Sages instituted a ban on plastering buildings, as a way of memorializing the sacking of Jerusalem and the razing of the Temple. This paper reviews the sources in rabbinic literature relating to this ban, examines the role plaster played in the architecture of Late Antiquity, and compares this prohibition with other decrees from the period. The paper identifies the intentions of the rabbis in limiting the use of plaster, and concludes that the rabbis were banning frescoes, rather than undecorated plaster.

"Architectural heritage of Yugoslav-socialist character: ideology, memory and identity" studies the ability of architecture to represent political and cultural endeavors and developments in the period from 1945 until 1990 in territories which formed the Socialist Federative Republic of Yugoslavia. The thesis is divided into two parts: the first part analyzes how architecture, as a discourse per se and an ideological apparatus, was used for representation of Yugoslav socialist identity. The second part studies how the deconstruction of given identity, and its consequent dismissal in the process of re-construction of national identities has influenced the level of preservation of heritage of representative character found in territories which previously formed the SFRY. The hypothesis upon which the research is built, stating that the architectural significance of heritage of representative nature built in the socialist period and found in Yugoslav successor countries is dependent on (the assessment of) its cultural, social and historical character, has emerged from the perception of the second part of the problem. However, the larger part of the thesis is devoted to the study of how circumstances in SFRY influenced the character of following three categories of buildings and spaces: I) Governmental buildings and buildings of the League of Communist of Yugoslavia II) Institutions of educational-ideological character and memorial centers III) Memorials and memorial sites. With an objective to analyze how political and social occurrences in the SFRY in the period 1945-1990 influenced the processes of construction of above-listed representative buildings and spaces, the study approaches several important moments in development of architectural discourse in socialist Yugoslavia, such as: the appearance of modernist architecture in the Interwar period; the discussion on the socialist realist style; the influence of the political conflict between Tito and Stalin on architectural developments; architectural developments during the "Informbiro Period"; initiation of grandiose projects of representative character in the period 1956-1965; an impulse in erection of buildings and spaces of educational-ideological and cultural-memorial character in between 1966 and 1974; the appearance of the postmodernism; and finally the course of architectural developments after Josip Broz Tito's death in 1981 till the dissolution of Yugoslavia in 1990. The second part of the thesis researches how and why architectural works of representative character built in between 1945 and 1990 are neglected in the present. The objective of a critical and hermeneutical study is to perceive how the process of re-construction of national, cultural identities in the states reconstructed after the dissolution of Yugoslavia has influenced on the negative perception of the given architecture. The architectural works presented in the first chapter now are perceived as architectural heritage and analyzed as a cultural legacy of the uncomfortable nature. The discomfort towards the heritage built in the socialist period is approached through the study of the process of (re)interpretation of cultural memory. The analysis is conducted with the objective to perceive how the transformation in "collective frameworks of memory" has influenced "collective memory" of those societies and consequently the condition of architectural heritage of representative character found in the given territories. The research comes to an end with an insight into the level of preservation and state of condition of the representative heritage of Yugoslav-socialist character and concludes with recommendations for the improvement of protection mechanisms and suggestions on the modalities for its architectural and cultural revitalization.

In 2001 Maltese journalist and comic book writer Joe Sacco began investigating the massacre of Palestinians in Khan Younis, Gaza, in 1956. While doing so he stumbled upon an occurrence in Rafah the same year where Israeli soldiers killed more than a hundred Palestinians in a screening operation for guerrillas and soldiers. Footnotes in Gaza is Sacco’s investigation into a collective repository of memory to try reconstructing what happened and saving the two under-documented incidents from oblivion.

In the theory of the collective memory, Maurice Halbwachs demonstrates how remembering is defined through the social, temporal, and spatial contexts. They form schematised representations in memory; frameworks that are shared by a social group and define the meaning of the past. These could be pictured in the common denominator of several memories: they happened in company of the same people, on the same day of the year, or in the same place.

This paper suggests that Sacco employs a similar thinking when investigating the Rafah incident in 1956. Interviewing survivors of the screening operation, the journalist obtains from their memory the spatial outlines of area where it took place. By finding the common spatial denominator in the numerous accounts, and comparing it to archival photographs, Sacco can recreate in graphic form what equals what Halbwachs calls the spatial frameworks of memory of the Rafah inhabitants. Comparable to the montage of a film, Sacco employs a number of representational techniques – maps, axonometric perspectives, bird’s-eye views, close-ups, details, first person views, as well as jumps between the present and the past in the same place – to visualise it for the reader, and against that background portray the course of action. Sacco thereby succeeds in externalising the spatial framework as an organising structure for the incident from the minds of the aging locals, disseminating it and saving it for the future.

This work discusses a 1024-point, memory-on-logic 3DIC FFT processor for synthetic aperture radar (SAR), sent to fabrication in the 180 nm MIT Lincoln Labs 3D FDSOI 1.5 V process(12) along with the design flow required to realize it with off-the-shelf commercial 2D tools. The work shows how the vertical dimension can be exploited for novel memory architecture tradeoffs that are not feasible in 2D, reducing the energy consumed per memory operation in the FFT by 60.3%. In comparison to its 2D counterpart, the SAR FFT processor exhibits a 53.0% decrease in average wire length, a 24.6% increase in maximum operating frequency and a 25.3% decrease in total silicon area.

Forced into exile and subsequently coming home, the émigré encounters a different place, often causing strong emotional reactions. Four accounts of displacement and return are discussed in terms of Maurice Halbwachs’s cadre spatial, the spatial framework of the collective memory that enables the distinction between a space remembered and its physical counterpart. On the basis of these accounts, the chapter argues that such situations give rise to, not one, but two or more, memory constructions of the home environment: spatial frameworks corresponding to pre-exile home, to the conflicted environment, and to the reconstructed or normalised environment, respectively. By differentiating between the place’s different temporal phases, it appears as if the returning person can access and reconstruct memories of events, people, emotions, etc., connected to each particular epoch. The term epochal-spatial framework is proposed to distinguish the separate spatial frameworks, each corresponding to a phase in the history of an environment, for the individual and his or her social milieu.

A seguito della Giornata Europea della Cultura Ebraica e dell’inaugurazione della mostra Tzachor/Ricorda, ancora allestita nella piazza coperta di Salaborsa, si terrà un ulteriore momento di approfondimento sui temi della Memoria in cui si racconteranno e si metteranno a confronto diverse esperienze europee e internazionali  Si percorrerà infatti una sorta di "viaggio" che partirà da Roma, passerà da Parigi e arriverà a Bologna.

Introduce
Daniele De Paz , Presidente Comunità Ebraica di Bologna

Saluti autorità
Patrizia Gabellini, Assessore Comune di Bologna
Massimo Mezzetti, Assessore Regione Emilia-Romagna
Dario Disegni, Presidente Fondazione Beni Culturali Ebraici in Italia
Pier Giorgio Giannelli, Presidente Ordine degli Architetti di Bologna

Ne parlano
Andrea Morpurgo, Storico dell’architettura, Consigliere FBCEI
Luca Zevi, Architetto, progettista del Museo Nazionale della Shoah di Roma
Laura Fontana, Mémorial de la Shoah di Parigi
SET Architects, Gruppo vincitore Memoriale della Shoah di Bologna

In the context of portable embedded systems, reducing energy is one of the prime objectives. Memories are responsible for a significant percentage of a system’s aggregate energy consumption. Consequently, novel memories as well as novel memory hierarchies are being designed to reduce the energy consumption. Caches and scratchpads are two contrasting variants of memory architectures. The former relies completely on hardware logic while the latter requires software for its utilization. Most high-end embedded microprocessors today include onchip instruction and data caches along with a scratchpad. Previous software approaches for utilizing scratchpad did not consider caches and hence fail for the prevalent high-end system architectures. In this work, we use the scratchpad for storing instructions. We solve the allocation problem using a greedy heuristic and also solve it optimally using an ILP formulation. We report an average reduction of 20.7% in instruction memory energy consumption compared to a previously published technique. Larger reductions are also reported when the problem is solved optimally. The scratchpad in the presented architecture is similar to a preloaded loop cache. Comparing the energy consumption of our approach against that of preloaded loop caches, we report average energy savings of 28.9% using the heuristic.

The contemporary model of the Design Studio is constantly being tested and revised, before a rising heterodoxy of programs and methods. As a key, it is proposed the retrieval of John Ruskin’s essay 'The Seven Lamps of Architecture'. Written in 1849, the seven principles aimed at rescuing, in an almost primitive way, Architecture as an Art that enlightens the remaining ones. It returns to the example of Venice’s medieval stones to go forward on the symbolic indefiniteness of the industrial age, alerted by Pugin when in 'Contrasts' (1836) the verticality of industrial chimneys competed with the towers of the cathedrals. Ruskin’s lamps would indicate the modern way for the total artwork by William Morris. With Morris, design would be a part of a single process from concept to work, anticipating Bauhaus’s Modern Design. To Ruskin, the light for architecture came from Sacrifice, Truth, Power, Beauty, Life, Memory and finally Obedience. Morality was the colour of Ruskin’s light. Sixteen years ago, the magazine 'Assemblage' dedicated an issue to Ruskin. As guest editor, Jennifer Bloomer started saying 'Ruskin is out of fashion' (1997, p.8). Accused of being anti-modern, ignoring spatial organization in favour of delirious ornaments, Ruskin is possibly still out of fashion. His distrust on progress, as a salvific end to happiness, positions him very close to the times we are living and perhaps that is why it is so compelling to revisit him. Following, we will risk 'Seven Lamps of Architectural Design'. Differently from Ruskin’s light, the light we propose is not meant to be absolute, or strictly ideological. Ultimately it justifies itself when the path of research into design is yet submerged in obscurity. The light of research by design is multi-coloured: is it individual, subjective, phenomenological, collective, analytical or even scientific? Hence, what research does the Architectural Design want?

Received February 19, 2004 Polytopic multiplexing is a new method of overlapping holograms that, when combined with other multiplexing techniques, can increase the capacity of a volume holographic data storage system by more than a factor of 10. This is because the method ...