Scientific projects frequently involve measurements of thermophysical, thermochemical, and other related properties of chemical compounds and materials. These measured property data have significant potential value for the scientific community, but incomplete and inaccurate reporting often hampers their utilization. The present IUPAC Technical Report summarizes the needs of chemical engineers and researchers as consumers of these data and shows how publishing practices can improve information transfer. In the Report, general principles of Good Reporting Practice are developed together with examples illustrating typical cases of reporting issues. Adoption of these principles will improve the quality, reproducibility, and usefulness of experimental data, bring a better level of consistency to results, and increase the efficiency and impact of research. Closely related to Good Reporting Practice, basic elements of Good Research Practice are also introduced with a goal to reduce the number of ambiguities and unresolved problems within the thermophysical property data domain.
Suggests that with the increasing sophistication and complexity of Web sites, and the prospect of serious business being done through them, a review of the legal aspects of the site should be an integral part of the site design process. Discusses different ways of setting up a Web site, some of the legal consequences that attach to each and some ways of managing the risk of liability.
Emilio de Fabris's completion of the west front of Santa Maria del Fiore is the best-known of the architectural interventions carried out during the nineteenth century in the Piazza del Duomo and Piazza di San Giovanni in Florence. But this initiative was preceded by an earlier one that was more radical in character, insofar as it transformed the area around the Campanile and Duomo. A proposal of November 1823 by the architect Gaetano Baccani resulted in the demolition of a large part of the late medieval cathedral canonry and the creation of an extensive new piazza on the south side of Santa Maria del Fiore. This intervention introduced two issues that were to become fundamental to the notion of urban patrimony. On the one hand, it prompted consideration of the relationship between a historic monument and its ambience; on the other, it brought into focus the tension that was likely to exist between conservation and the creation of a modern urban environment. The present study publishes Baccani's formal submission to the Deputazione Secolare sopra l'Opera di Santa Maria del Fiore and draws on other documents preserved in the Archivio dell'Opera to construct a detailed history of the project. The study also introduces other literary and visual materials to establish the nature of Baccani's "systematization" of the Piazza del Duomo. Baccani's project is linked retrospectively to a Napoleonic plan for the modernization of Florence, but it is discussed also as a harbinger of later programs of urban renewal in Florence and in other Italian cities. The paper outlines the history of the canonry compound and places Baccani's reorganization of it in the context of the development of a new relationship between church and state in Florence. The piazza likewise is considered in relation to the transformation of Florence into a modern, orderly city, well-suited to the growing tourist industry. From Baccani's proposal to the Deputazione Secolare it is apparent that he wished it to be believed that his project was in keeping with the intentions of the original architects of the Duomo. The present study considers Baccani's project in this light, while also assessing the extent to which his plans were rooted in his own time. In particular, Baccani's conception of the area around the Duomo is discussed in relation to other urbanistic projects that were planned in Florence, Milan, and Rome during the Napoleonic period. Finally, Baccani's scheme is considered in relation to recent studies of the area around the Duomo by Piero Sanpaolesi, Margaret Haines, and Marvin Trachtenberg. The paper establishes that Baccani's intervention fundamentally changed the manner in which Santa Maria del Fiore and the Campanile could be seen, revealing an "ideal" view of the two buildings in juxtaposition. Baccani's vision is discussed in relation to a widespread nineteenth-century wish to consecrate the individual monument. The study concludes by introducing a number of unfamiliar images of the Campanile and Duomo and proposes that they lent authority to Baccani's concept of a "best" general view of these monuments.
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