This book discusses the effect of different school building rehabilitation strategies on the classroomsrsquo; indoor environmental quality (IEQ) and presents a multi-objective methodology for school building enclosure optimization combining artificial neural networks and lifecycle costs. The special features of this book are that it (a) presents the state-of-the-art in school building rehabilitation; (b) covers the IEQ assessment of several school buildings; including non-rehabilitated and rehabilitated according to different strategies; and (c) proposes a multi-objective optimization procedure.The rehabilitation of a school building should be regarded as a procedure combining a number of (sometimes conflicting) variables and objectives; including energy; IEQ and costs (initial; operational and maintenance); in the search for an ldquo;optimum solution.rdquo; The main benefit of the book is that it discusses the main topics related to school building rehabilitation; presents results of the IEQ assessment on 9 school buildings and launches a discussion on how the ldquo;in-userdquo; performance of schools is key to understanding how designed performance is actually experienced. It maps the most commonly used multi-objective algorithms and artificial neural network architectures and proposes a methodology for combining these numerical tools with dynamic building simulations and lifecycle cost analysis to optimize school building enclosures. This methodology will be of value to scientists and engineers alike; while also addressing a variety of related disciplines; such as civil and mechanical engineering; architecture and mathematics.
#1534270 in eBooks 1985-07-01 1985-07-01File Name: B00Y7PK8K6
Review
1 of 1 people found the following review helpful. Oddly unfocused and rather slightBy R. M. PetersonNumerous operas have been based on plays of Shakespeare. Giuseppe Verdi composed three: "Macbeth"; "Otello"; and "Falstaff". Curiously; they are; by todays standards; the most successful and most performed operas of Shakespeare plays (along with Benjamin Brittens "A Midsummer Nights Dream".) In VERDIS SHAKESPEARE; Garry Wills writes about those three pairings of Shakespeare and Verdi.In his first chapter; Wills discusses the "comparative dramaturgies" of Shakespeare and Verdi. Among his points is that both were "men of the theater" and engaged to an unusual extent in the production of their works and the coaching of the actors/singers. In some instances; both "wrote" characters with certain performers in mind. Wills then turns; seriatim; to "Macbeth"; "Otello" (Shakespeares "Othello"); and "Falstaff" (which is based primarily on Shakespeares "The Merry Wives of Windsor"). In each discussion; Wills offers some interpretive or critical commentary of both the play and the opera. Overall; he pays more attention to Verdis renditions than Shakespeares. With each; the matter that interested me the most was how Verdi and his librettist (Arrigo Boito in the case of "Otello" and "Falstaff") went about streamlining and otherwise modifying the Shakespeare plays.I have seen only one of the three Verdi operas ("Falstaff") and that was long ago; so from that perspective I have little basis for evaluating how insightful Wills is. I have read all three Shakespeare plays relatively recently; and while Wills did provide some insights; I do not agree with several of his interpretations or readings.My principal complaint; though; is that VERDIS SHAKESPEARE is oddly unfocused. It seems likely to me that Wills had a few scattered notions or opinions about Verdis treatment of the three Shakespeare plays; and then went about trying to make an entire book out of them. The product not only is somewhat scattershot; it is a rather slight book. And; at times (especially the analysis of Verdis "Macbeth" and the account of the casting of "Otello"); a boring one. It probably would be of moderate interest to enthusiastic devotees of Verdi and the three operas in question; but I cant conceive other readers finding it particularly rewarding.29 of 31 people found the following review helpful. Viva Verdi ShakespeareBy Walter P. SheppardLovers of Verdi or Shakespeare or -- one hopes -- both should revel in Willss discussion of these men who were creatures of the theaters of their time. He describes the conditions under which playwrights worked in Elizabethan times and opera composers worked in 19th century Italy; and then he concentrates on the three plays made into operas by Verdi: "Macbeth;" "Othello;" and "The Merry Wives of Windsor." He offers original insights into the plays themselves and then into the operas; with particular attention to the subtle ways in which emphasis and even meaning changed when Verdi and his librettists adapted them. Willss style is lucid and uncluttered; and the reader needs no technical knowledge of poetry or music to follow his arguments. This is a book to be savored by anyone who loves these works.Incidentally; the description Willis gives of Elizabethan theater practice puts one more spike into the arguments of those who tell us Shakespeare didnt write his plays. Wills shows that no one not up to his elbows in the workings of a theater on a daily basis could have written them; and men who also had full time positions in society couldnt have managed it.4 of 6 people found the following review helpful. Only one complaint: Wish it were longer and more in-depthBy J. HundleyWell; Im kind of surprised in retrospect that it took me this long to get to this. I love Verdi. I love Shakespeare. I love the other Wills books Ive read. Im not surprised that I love this; too.This is pretty much what it says it is: a look at Verdis Shakespeare operas in the context of the plays themselves and the theater at the time each man was working. It is particularly edifying when discussing the framework and limitations of times; conventions and physical realities they had to deal with. We; and by "we" I mean "I"; tend to forget that what we / I think of as timeless works of art were created in very specific times and the men who created them wrote them with very specific audiences and casts in mind. We / I forget that Shakespeare wrote his plays for a specific theatre troop and that he wrote to their strengths and away from their weaknesses. He wasnt writing for a dream cast - he wrote for the cast at hand. And so did Verdi; who at least had more sway and say in who would sing his work; but still had to tailor parts to the available voices and acting talents.Among other things.In short; this is a terrific little volume; more for the Verdi fan; of course; than the Shakespeare. It is a great companion to the operas themselves; Wills previous book on MacbethWitches and Jesuits: Shakespeares Macbeth (Oxford Paperbacks); and my favorite Verdi biographyVerdi: A Biography. It also mentions and cites some recordings / performances of the three operas that Id like hear.My only real complaint; if thats what it is; is that I wish there were more the book. I couldve read on and on.
