New Geographies journal aims to examine the emergence of the “geographic,” a new but for the most part latent paradigm in design today—to articulate it and to bring it to bear effectively on the social role of design. Although much of the analysis of this context in architecture, landscape, and urbanism derives from social anthropology, human geography, and economics, the journal aims to extend these arguments to the impact of global changes on the spatial dimension, whether in terms of the emergence of global spatial networks, global cities, or nomadic practices, and how these inform design practices today. Through essays and design projects, the journal aims to identify the relationship between the very small and the very large, and intends to open up discussions on the expanded role of the designer, with an emphasis on disciplinary reframings, repositionings, and attitudes.

This book is a reflection on contemporary computational design thinking at the intersection of architecture, urban design, and landscape architecture, in a time marked by complex challenges like climate change, urbanization and population growth. Based on a critical rethinking of the notion of ground and the relation between the manmade and the natural environment, an understanding of architecture as regenerative practice is proposed. It aims at a built environment as landscape, at an architecture of prosthetic nature. The design approach is illustrated by a number of design experiments conducted within a studio setting and complemented by a series of conversations with leading experts on sustainable design and landscape architecture.

Geometric Taxonomy gets closer to the geometries of Carlos Ferrater and OAB that are present in timeless architecture, those that are explicit in the great treatises, those that dazzled us with “the correct and magnificent wise play of forms under the light”, the elemental forms that inspired modernity a hundred years ago.

This pages include the results derived during last ten years about both suppression and synchronization of chaotic -continuous time- systems. Along this time, our concept was to study how the intrinsic properties of dynamical systems can be exploited to suppress and to synchronize the chaotic behavior and what synchronization phen- ena can be found under feedback interconnection. Our findings have caused surprise to us and have stimulated our astonishing capability. Perhaps, reader can imagine our faces with opens eyes like children seeing around objects; which are possibly obvious for others and novel for us. A compilation of our surprises about these findings is being described along this book. Book contains both objectives to share our ama- ment and to show our perspective on synchronization of chaotic systems. Thus, while we were writing the preface, we discussed its scope. Thinking as a book readers, we found that a preface should answer, in few words, the following question: What can the reader find in this book?, reader can find our steps toward understanding of c- otic behavior and the possibility of suppressing and synchronizing it. We firstly show the chaos suppression form experimental domain to potential implementation in high tech system as a levitation system based on High Temperature Superconductors (HTS). This chapter is used as departing point towards a more complicated problem the chaotic synchronization. Then, reader travels by the synchronization of the chaotic behavior world throughout distinct feedback approaches.

Dynamic Patterns explores the role of patterns in designed landscapes. Patterns are inherently relational, and the search for and the creation of patterns are endemic to many scientific and artistic endeavors. Recent advances in optical tools, sensors, and computing have expanded our understanding of patterns as a link between natural and cultural realms. Looking beyond the surface manifestation of pattern, M’Closkey and VanDerSys delve into a multifaceted examination that explores new avenues for engagement with patterns using digital media. Examining the theoretical implications of pattern-making, they probe the potential of patterns to conjoin landscape’s utilitarian and aesthetic functions. With full color throughout and over one hundred and twenty images, Dynamic Patterns utilizes work from a wide range of artists and designers to demonstrate how novel modes of visualization have facilitated new ways of seeing patterns and therefore of understanding and designing landscapes.

Physical Laws of the Mathematical Universe: Who Are We? sets off from the first page on an arduous and ambitious journey to define and describe a comprehensive depiction of reality that embraces the rigors of physics, the elegance of mathematics, and the intricacies of human perception. Neeti Sinha brings to bear her extensive education and research as she pursues an explanation that unites these often disparate disciplines in service of a nuanced description of the wonders of the whole universe. In the course of its exploration of this topic, Physical Laws of the Mathematical Universe: Who Are We? unites insights from the fields of mathematics and physics in light of human perception to explain the contours of the universe and the origins of its parallel forms. The work also demonstrates how major scientific conundrums find their resolution when one adopts a holistic perspective. Finally, the author uncovers the profound foundations of human appreciation for truth and beauty in the aesthetics that bind together physics and mathematics. If you look at your life and the world and wonder about their true nature, then Physical Laws of the Mathematical Universe: Who Are We? will accompany you on a journey that may test the limits of your understandings of the universe while opening to your gaze vistas you previously had not imagined.