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This paper aims to detail the reactive flow simulations of a LOX/CH4 multi-element rocket engine. The work has been conducted within the framework of the HYPROB-BREAD project whose main objective is the design, manufacture and testing of a LOX/LCH4 regeneratively cooled ground demonstrator.

Numerical simulations have been carried out with both commercial software and CIRA software developed in house. Two sets of boundary conditions, nominal and experimental, have been applied from which a code-to-code validation has been effected with the former and a code-to-experiment validation with the latter.

The results presented include both flow data and heat fluxes as well as parameters associated with engine performance, and indicate an excellent agreement with experimental data of a LOX/CH4 multi-element rocket engine.

The research is unique as the CIRA code Numerical Experimental Tool (NExT) has been validated with the commercial software FLUENT as well as with experimental values from the firing of the LOX/CH4 rocket engine demonstrator.

This paper aims to reconstruct the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War.

The paper reconstructs the process that led to the appropriation of history – of a particular historical period, the Renaissance – as an intangible asset in the promotion of Italian fashion on the international market after the Second World War.

The successful debut of Italian fashion in the fifties can be explained through an intelligent marketing campaign which placed it directly in the centre of a well-known, appreciated, not to say indisputable, tradition of “good taste”: that of the Renaissance. Connecting Italian fashion with Renaissance Italy meant in fact introducing a kind of ante litteram guarantee of provenance – a “country branding” - recognized throughout the world, which, at the same time, evoked the splendour of a period in which Italian taste was a model to follow and imitate.

The studies on the history of the Italian fashion business have accepted the association of Italian fashion with Renaissance tradition as an element to be taken for granted, without inquiring into the historical legitimacy of such a coupling (either in the way in which it was produced or why it had such an important role). This paper dismantles the consistent rhetorical sedimentation with which the subject is encrusted and provides a new insight, showing that such continuity did not exist; on the contrary, it was the product of a marketing strategy.

Giambattista Piranesi's disturbing images of fantasy prisons set out in his Carceri d'Invenzione have had a profound impact on cultural sensibilities. The chapter explores Piranesi's distinctive visual language and situates it in an eighteenth-century penchant for ruins and what they might signify. The macabre fantasy structures bear little relation to actually existing prison buildings, but they do herald a new aesthetic combining both terror and beauty to sublime effect. The chapter examines the relationships between narrative and visual methods by considering that scholarship in art history which has sought to address the relationships between ‘word’ and ‘image’.

Much of it belongs to what was once the ‘new art history’ in the 1970s, and which had become critical of how conventional approaches in the discipline had tended to see art as the visualisation of narrative. For example, Norman Bryson's (1981) study of French painting in the Ancien Régime explored the relationships between ‘word’ and ‘image’ by examining the kind of stories pictures tell, drawing a distinction between the ‘discursive’ aspects of an image (posing questions on visual art's language-like qualities and relationships to written text) and those ‘figural’ features that place the image as primarily a visual experience – it's ‘being-as-image’ – that is entirely independent of language.

The focus on language is symptomatic of the ‘linguistic turn’ that has had such a profound influence on intellectual thought since the 1960s, and this chapter will concentrate on one strand in it. In particular, it will introduce the approach Jacques Derrida developed and defined as ‘deconstruction’, which in some important respects revealed the limitations of language, and seeks to create the effects of ‘decentring’ by highlighting how signification is a complex, often duplicitous, process. The chapter then situates Piranesi's images in an account of landscape, not least since he was a leading exponent of the veduta (a faithful representation of an actual urban or rural view) that had achieved the status of a distinctive and popular genre by the eighteenth century.

Given the broad scale and fundamental transformations occurring to both the natural environment and human condition in the present era, what does the future hold for vernacular architecture studies? In a world where Capital A (sometimes referred to as ‘polite’) architectural icons dominate our skylines and set the agenda for our educational institutions, is the study of vernacular architecture still relevant? What role could it possibly have in understanding and subsequently impacting on architectural education, theory and practice, and in turn, professional built environment design? Imagine for a minute, a world where there is no divide between the vernacular and the ‘polite’, where all built environments, past and present are open to formal research agendas whereby the inherent knowledge in their built histories inform the professional design paradigm of the day – in all built settings, be they formal or informal, Western or non-Western. In this paper, the author is concerned with keeping the flames of intellectual discontent burning in proposing a transformation and reversal of the fortunes of VAS within mainstream architectural history and theory.

In a world where a social networking website can ignite a revolution, one can already see the depth of global transformations on the doorstep. No longer is there any excuse to continue intellectualizing global futures solely within a Western (Euro-American) framework. In looking at the history of VAS, the purpose of this paper is to illustrate that the answers for its future pathways lie in an understanding of the intellectual history underpinning its origins. As such, the paper contends that the epistemological divide established in the 1920s by art historians, whereby the exclusion of so-called non-architect architectures from the mainstream canon of architectural history has resulted in an entire architectural corpus being ignored in formal educational institutions and architectural societies today. Due to this exclusion, the majority of mainstream architectural thinkers have resisted theorizing on the vernacular. In the post-colonial era of globalization the world has changed, and along with it, so have many of the original paradigms underpinning the epistemologies setting vernacular environments apart. In exploring this subject, the paper firstly positions this dichotomy within the spectrum of Euro-American architectural history and theory discourse; secondly, draws together the work of scholars who have at some point in the past called for the obsolescence of the term ‘vernacular’ and the erasure of categorical distinctions that impact on the formal study of what are perceived as non-architectural environments; and finally, sets out the form by which curricula for studies of world architecture could take.