We studied effects of therapeutic riding on the development of children with autism. Experiments in walking is appropriate for assessing the coordination of movement and for following the changes. We found that therapeutic riding should be considered as a new form of rehabilitation. Twenty-six pupils (12 boys and 14 girls) of a special needs school participated in therapeutic riding. We analyzed walking twice during a school-term: full body analyses each time before and after one-month therapy. The research included a non-riding control group. All together 104 analyses were performed. We measured mental skills using Pedagogical Analysis and Curriculum (PAC) test consisting of four parts being communication, self care, motor skills and socialization. The Gait Cycle Analysis consists of the time-series analysis, the analysis of part of the gait cycle and the measurement of joint angles in each plane. We found significant differences between before and after the therapy in the length of the gait cycle that became more stable in the sagital plane and concluded that our results proved that horse therapy may be successfully used as an additional therapy for children with autism, and it may be a form of rehabilitation in cases when other therapies are not successful.
Transparent glass facades dominate much contemporary high-to mid-rise urban residential architecture. This article takes a closer look at life behind glass facades in contemporary surveillance culture. The aim is to illuminate how the material culture of contemporary architecture together with surveillance practices and technologies contribute to a remodelling our notions of the visible and the invisible. Whereas the architecture is determined by conditions and possibilities of what it means to be living behind glass facades, the novel Die 120 Tage von Berlin by the German author Lukas Hammerstein explores the complexities that this mode of living cause on a socio-psychological level. Through this dual track analytical strategy a complex set of connotations governing our understanding of visibility and invisibility will be uncovered.Imagine yourself in any larger European city. You are in the touristic centre with quaint old buildings, shops and cafes on street level, the odd museum tucked into the dense urban fabric. You gradually move away from the throngs of tourists and shoppers and reach, often without having to walk all that far, one of the city's most recently developed districts, an area filled with new buildings, typically a mix of high-end dwellings and offices. These areas are, more often than not, built on sites that have been left over from the industrial period. They leave you with a very uniform impression caused by the predominance of one architectural aesthetic: tall, potent, freestanding buildings and an almost omnipresent use of glass and steel.One of the main characteristics of this architecture is the tendency towards extensive openings into the interior spaces through large windows or even glass facades. It is an aesthetic which makes one think of the modernist architecture of the early twentieth century. It does so by simultaneously drawing on two apparently contradictory aesthetic expressions. On the one hand, the buildings evoke the utopian glass architecture which can be found in the drawings of the expressionists and in modernist icons by architects such as Mies van der Rohe. It is an architecture which is elitist and radical and has mainly been realised in office buildings in high-rise areas. On the other hand, they call on the general modernist reform credo of air, light and sun for a new residential architecture in direct opposition to the dense block structure of the traditional urban core. During the last two decades, this double aesthetic paradigm has become more and
A cultural history of gigantism in architecture and digital culture, from the Eiffel Tower to the World Trade Center. The gigantic is everywhere, and gigantism is manifest in everything from excessively tall skyscrapers to globe-spanning digital networks. In this book, Henriette Steiner and Kristin Veel map and critique the trajectory of gigantism in architecture and digital culture—the convergence of tall buildings and networked infrastructures—from the Eiffel Tower to One World Trade Center. They show how these two forms of gigantism intersect in the figure of the skyscraper with a transmitting antenna on its roof, a gigantic building that is also a nodal point in a gigantic digital infrastructure. Steiner and Veel focus on two paradigmatic tower sites: the Eiffel Tower and the Twin Towers of the destroyed World Trade Center (as well as their replacement, the One World Trade Center tower). They consider, among other things, philosophical interpretations of the Eiffel Tower; the design and destruction of the Twin Towers; the architectural debates surrounding the erection of One World Trade Center on the Ground Zero site; and such recent examples of gigantism across architecture and digital culture as Rem Koolhaas's headquarters for China Central TV and the phenomenon of the “tech giant.” Examining the cultural, architectural, and media history of these towers, they analyze the changing conceptions of the gigantism that they represent, not just as physical structures but as sites for the projection of cultural ideas and ideals.
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