DOCSLIB.ORG

OBSERVATORY DESIGN by RAUL REYES REYNOSO This Report Is

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OBSERVATORY DESIGN by RAUL REYES REYNOSO This Report Is OBSERVATORY DESIGN Item Type text; Master's Report-Reproduction (electronic) Authors REYNOSO, RAUL REYES Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 02:06:03 Link to Item http://hdl.handle.net/10150/555336 OBSERVATORY DESIGN BY RAUL REYES REYNOSO This Report is submitted to the Faculty of the COLLEGE OF ARCHITECTURE In Partial Fulfillment of the requirements For the Degree of MASTER OF ARCHITECTURE In the Graduate College. THE UNIVERSITY OF ARIZONA 1985. !;:j; v.- , /JtSfz. To ray mom and dad, for their love and good home, wise advice and contagious energy. Vb To my wife Lourdes, who always has been my support and companion, steadily looking for new roads in life. To my daughter Lourdes, who has given us much more happiness than could ever be imagined. 2 vS AKNOWLEDGEMENTS The present report presents only part of the work done during the course of my studies to achieve a masters degree in Architecture. It would not be fair, however, that total credit be given to me. It should also be extended to all those generous persons who dedicated their time and efforts to share their knowledge * Although it is not possible ot mention all those who helped me, I would like to thank them all. I am sure that few people would consider going through what Professors Fred Matter and Kenneth Clark have done in order to help me. Indeed, all their students receive this help everyday. I am greatly indebted to them for their guidance, advice and valuable assistance. In many ways my degree could not have been possible without their help. Let this be but a little tribute to their dedication and patience. I am also thankful to Dr. Thomas Swihart from Steward Observatory for sharing his valuable time to review this report and to make comments on the areas in which he is a unique capable guide. I will not forget the challenging 3 discussions on some Astronomy topics that we had in his office, and I am sure that he will not forget them either. The collaboration of the faculty members and colleagues of the College of Architecture of the University of Arizona was invaluable. I would specially like to thank John Dettloff for his infinite patience (which I tested so many times) and knowledge, as well as Prof. Robert Dvorak for his help. Some ideas here presented came directly or indirectly from comments made by friends: In am indebted to William Shannon, architects Warren Hampton, Salem Alshattl and Rafael Martinez for their contribution. Faculty members, researchers and libraries of several institutions and departments on campus proved invaluable sources of information for my work: From Steward Observatory I would like to thank N.J. Woolf, William Hoffman, Roger Angel, John Ross Warner and Laurey Jule, among others, for the help given to me. Access was never a problem to the NOAO (National Optical Astronomical Observatories, formerly Kitt Peak National Observatory) library, nor the use of their 4 photocopying services. Certainly this library contains a wealth of information that it is eagerly willing to share. The staff of the Fred Whipple Observatory were always willing to help whenever possible. Comments I received from Richard Brittain from the Architecture Research Laboratory were always accurate and useful, and I certainly owe a great deal to his effort for guiding me in Architecture. Finally, both the Atmospheric Sciences Library and Dr. William Sellers, head of the department, were most interested and helpful for my work. 5 SUMMARY FOREWORD. PART ONE: ASTRONOMICAL OBSERVATORIES. I. INTRODUCTION. II. ASTRONOMICAL OBSERVATORIES: TYPES AND CONSTRAINTS A. Types of Observatories. B. Types of Astronomical Observatories. 1. Terrestrial. 2. Space Observatories. C. Constraints on Ground-based Optical Telescopes D. Non-optical Astronomy. 1. The Radio Window. 2. Infrared. 3. The Shortwave Region. PART TWO: HISTORICAL OVERVIEW. Nineteenth and Twentieth Centuries. III. HISTORIC DEVELOPMENT. A. The Beginnings. The Nineteenth Century. Stimulus and Incentives. B. The Twentieth Century. 1. University Observatories. 2. Private Observatories. 3. Government Observatories. IV. ARCHITECTURAL DEVELOPMENT. A. Introduction. B. The Early Nineteenth Century. C. Middle and Late Nineteenth Century. D. The Age of the Giant Refractors. E. The Giant Reflectors. 6 PART THREE: SITE PLANNING V. SITE SELECTION CRITERIA. Site Requirements. VI. SEEING. A. General Considerations. B. Man-controllable Seeing. VII. SCINTILLATION. VIII. EXTINCTION. IX. BRIGHTNESS OF SKY BACKGROUND. A. Components of the Light of the Night Sky 1. Integrated starlight. 2. Zodiacal light. 3. Airglow. 4. Aurora. 5. Diffuse galactic light. 6. Integrated cosmic light. 7. Moonlight. 8. Artificial light: optical wavelengths a. Outdoor city lighting. 1 . Incandescent. 2. Fluorescent. 3. Metal halide. 4. High-pressure sodium. 5. Low-pressure sodium b. Remedies. B. Conclusions. X. AVERAGE NUMBER OF CLEAR NIGHTS PER YEAR. A. General Considerations. B. Cloud Observations. a. Visual. b. Photographic. C. Statistics. 7 XI. ACCESS TO A CONSIDERABLE FRACTION OF BOTH NORTHERN AND SOUTHERN SKIES. XII. WIND. A. Large scale effects. B. Local effects. 1. Atmospheric effects. 2. Man-made effects. C. Shielding effect of buildings. XIII. TEMPERATURE EFFECTS. A. Ambient temperature. B. Temperature range effects. C. Temperature observations. D. Temperature statistics. E. Local effects of temperature on seeing conditions. XIV. AIR HUMIDITY. XV. SITE RECONNAISSANCE AND SELECTION. A. General concepts. B. Contemporary site surveys. C. Quantitative Assessments. PART FOUR: DOME DESIGN. XVI. BASIC DESIGN CONFIGURATIONS. A. Conventional telescopes. 1. Equatorial mounts. 2. Altazimuth mounts. B. Steerable dish concept. C. Singles arrays. D. Fixed primary: the hemispherical bowl concept. E. The rotating shoe concept. F. The multiple mirror array. G. Siderostats. 8 XVII CRITICAL ARCHITECTURAL AND ENGINEERING DOME REQUIREMENTS. A. Dome requirements. B. Thermal behavior of materials in domes. C. Dome use and building materials. D. Paint and color in domes. XVIII. LARGE DOME AUXILIARY FACILITIES. A. Auxiliary facilities. 1. Cranes. 2. Darkrooms. 3. Computer facilities. 4. Visitors gallery. 5. Electronographic camera preparation lab. 6. Mechanical shop. 7. Electronics shop. 8. Living facilities. 9. Observers' office. 10. Loan equipment room. 11. Hypersensitizing lab. B. Special installations. 1. Power. 2. Water supply. 3. Cooling systems. 4. Compressed air. 5. Dry nitrogen. 6. Heating systems. XIX. ROTATING BUILDINGS: THE MMT EXPERIENCE. XX. VIBRATION. A. Independent telescope foundations. B. Vibration from mechanical equipment. XXI. EARTHQUAKE AND FIRE HAZARDS. A. Earthquake. B. Fire. XXII. VEGETATION. 9 XXIII. COSTS. A. Current telescope and dome costs. B. Future predictions. C. Summary. XXIV. GENERAL DEVELOPMENTS. Factors that determine the developments of observatories and some examples. XXV. DAYTIME OBSERVING AND REMOTE CONTROL A. Daytime operations. B. Remote control. XXVI. CONCLUSION. APPENDICES. A. THE ELECTROMAGNETIC SPECTRUM. B. EXPRESSING LIGHT MEASUREMENTS: MAGNITUDE AND S10 UNITS. C. THE BEAUFORT SCALE FOR WIND SPEED. D. DRAG COEFFICIENTS FOR GEOMETRICAL SHAPES. E. MAJOR OPTICAL OBSERVATORIES. F. WORLD SEISMIC ZONE MAPS. G. OBSERVING POLICIES AT MAJOR OBSERVATORIES. H. SOLAR TELESCOPES. BIBLIOGRAPHY. IO FOREWORD This work is primarily an architectural overview of the current trends in large observatory design. The type of observatory that is basically considered for discussion here are buildings designed to house ground-based optical telescopes of a large size, those with apertures of 2.0 meters or larger. Although most requirements may be similar for other types of observatories (solar or infrared, for instance) it might be necessary to consider other factors and the importance of them should be weighted against those mentioned here. As each project is unique because the conditions greatly vary from one to another, the project is expected to be somewhat different from a proposed standard design. This work does not intend to give specific solutions but merely tries to expose some of the different trends in design that now exist. It is by no means a complete listing of the concepts that have been or will be used. It is certain that in the future, with the development of more sophisticated and complex equipment, it will be necessary for buildings to meet very special requirements we now cannot imagine. II In this very special type of project the architect might consider some of the concepts presented here as well as search for new solutions and find new applications for old ideas. If this work serves as a guide to those interested in the realm of observatories, it will have fullfilled its purpose. 12 I INTRODUCTION The last two decades have seen the rise of new technology both in the design and in the construction of telescopes and their housing. The classical image of an observatory as an old, venerated building with a round dome in a respectable university has been replaced by that of a much larger metallic enclosure at the top of a mountain far from all human development. Not too many years ago few people would have imagined that in their near future there could be five-story buildings that could be moved by just pressing a button. The implicit law that established architecture as a fixed-to-the-ground activity has been broken. And not only has this law been shattered but many others: Architecture has merged so thoroughly with technology that it is impossible to differentiate the limits of one from the other. In a way, this type of buildings are partly responsible for the change of image of conventional design to that of a high-technology Architecture. It took more than twenty years to bring the Palomar 200- inch telescope from the first study phase to completion. The concept of a European telescope in the southern hemisphere preceded the installation of the 3.6 m at La Silla by 23 years.
Load more

Recommended publications
  • Entertainment Sr. No Specialisation Page No 1 Theatre And
    L_All_Vocatinal_Ed_Entertainment Sector: Entertainment Sr. No Specialisation Page No 1 Theatre and Stage Craft 02 1 | P a g e COMMUNITY COLLEGE (CC) (Sector - Entertainment - Specialization–Theatre and Stage Craft) CC/ENT/TSC S.No. Certificate Level Vocational Hours 1. Level-I 500 hrs 2. Level-II 800 hrs 3. Level-III 600 hrs 4. Level-IV 700 hrs 5. Level-V 800 hrs Certificate Level- I 1. Theory and Practice-I Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre and Visaul Arts: Development of the Vocabulary of Theatre. Analyze/ study the use of figurative language and imagery in dramatic texts. Art, Painting and Theater The stage – its various parts and different types of staging . proscenium arch theatre, . central staging, . street theatre, . Folk theatre. 2. Creative Expression-I Creating, Visual Arts, Performing, and Participating in Theatre : Drawing Study of two or three natural and geometric forms in pencil with light and shade from a fixed point of view. Use immediate environment, including family, home and surroundings, as source of ideas. Illustrate own thoughts and feelings visually. Painting Exercises of basic design in variation of linear geometric and Rhythmetic shapes in primary and secondary colors to understand designs as organized visual arrangements. Select color according to emotional appeal Basic Acting through drama games and tableaux Drawing, Exercises in pencil with light and shade and in full colour from a fixed point of view. Geometrical forms of objects like cubes, cones, prisms, cylinders and sphere should used Painting, Create art depicting self, family, friends in water and poster colours with colour values.
    [Show full text]
  • The Icha Newsletter Newsletter of the Inter-Union Commission For
    International Astronomical Union International Union of the History and Philosophy of Science DHS/IUHPS ______________________________________________________________________________________________________________________ THE ICHA NEWSLETTER NEWSLETTER OF THE INTER-UNION COMMISSION FOR HISTORY OF ASTRONOMY* ____________________________________________________________ __________________________________________________________ No. 11 – January 2011 SUMMARY A. Archaeoastronomy and Ethnoastronomy: Building Bridges between Cultures – IAU Symposium S278 Report by C. Ruggles ..................................................... 1 B. Historical Observatory building to be restored by A. Simpson …..…..…...… 5 C. History of Astronomy in India by B. S. Shylaja ……………………………….. 6 D. Journals and Publications: - Acta Historica Astronomiae by Hilmar W. Duerbeck ................................ 8 Books 2008/2011 ............................................................................................. 9 Some research papers by C41/ICHA members - 2009/2010 ........................... 9 E. News - Exhibitions on the Antikythera Mechanism by E. Nicolaidis ……………. 10 - XII Universeum Meeting by M. Lourenço, S. Talas, R. Wittje ………….. 10 - XXX Scientific Instrument Symposium by K.Gaulke ..………………… 12 F. ICHA Member News by B. Corbin ………………………………………… 13 * The ICHA includes IAU Commission 41 (History of Astronomy), all of whose members are, ipso facto, members of the ICHA. ________________________________________________________________________________________________________________________
    [Show full text]
  • Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
    International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative.
    [Show full text]
  • The First Measurement of the Deflection of the Vertical in Longitude
    Eur. Phys. J. H. DOI: 10.1140/epjh/e2014-40055-2 The first measurement of the deflection of the vertical in longitude The figure of the earth in the early 19th century Andreas Schrimpfa Philipps-Universit¨atMarburg, Fachbereich Physik, Renthof 5, D-35032 Marburg, Germany Abstract. During the summer of 1837 Christian Ludwig Gerling, a for- mer student of Carl Friedrich Gauß’s, organized the world wide first de- termination of the deflection of the vertical in longitude. From a mobile observatory at the Frauenberg near Marburg (Hesse) he measured the astronomical longitude difference between C.F. Gauß’s observatory at G¨ottingenand F.G.B. Nicolai's observatory at Mannheim within an er- ror of 000: 4. To achieve this precision he first used a series of light signals for synchronizing the observatory clocks and, second, he very carefully corrected for the varying reaction time of the observers. By comparing these astronomical results with the geodetic{determined longitude dif- ferences he had recently measured for the triangulation of Kurhessen, he was able to extract a combined value of the deflection of the vertical in longitude of G¨ottingenand Mannheim. His results closely agree with modern vertical deflection data. 1 Introduction The discussion about the figure of the earth and its determination was an open ques- tion for almost two thousand years, the sciences involved were geodesy, geography and astronomy. Without precise instruments the everyday experience suggested a flat, plane world, although ideas of a spherically shaped earth were known and ac- cepted even in the ancient world. Assuming that the easily observable daily motion of the stars is due to the rotation of the earth, the rotational axis can be used to define a celestial sphere; a coordinate system, where the stars' position is given by two angles.
    [Show full text]
  • Costume Designer Costume Designer
    COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive.
    [Show full text]
  • Staircase of Vienna Observatory (Institut Für Astronomie Der Universität Wien)
    Figure 15.1: Staircase of Vienna Observatory (Institut für Astronomie der Universität Wien) 142 15. The University Observatory Vienna Anneliese Schnell (Vienna, Austria) 15.1 Introduction should prefer non-German instrument makers (E. Weiss 1873). In spring of 2008 the new Vienna Observatory was th commemorating its 125 anniversary, it was officially During a couple of years Vienna Observatory was edit- opened by Emperor Franz Joseph in 1883. Regular ob- ing an astronomical calendar. In the 1874 edition K. L. servations had started in 1880. Viennese astronomers Littrow wrote a contribution about the new observatory had planned that observatory for a long time. Already th in which he defined the instrumental needs: Karl von Littrow’s father had plans early in the 19 “für Topographie des Himmels ein mächtiges parallakti- century (at that time according to a letter from Joseph sches Fernrohr, ein dioptrisches Instrument von 25 Zoll Johann Littrow to Gauß from December 1, 1823 the Öffnung. Da sich aber ein Werkzeug von solcher Grö- observatory of Turku was taken as model) (Reich 2008), ße für laufende Beobachtungen (Ortsbestimmung neu- but it lasted until 1867 when it was decided to build a er Planeten und Kometen, fortgesetzte Doppelsternmes- new main building of the university of Vienna and also sungen, etc.) nicht eignet, ein zweites, kleineres, daher a new observatory. Viennese astronomers at that time leichter zu handhabendes, aber zur Beobachtung licht- had an excellent training in mathematics, they mostly schwacher Objekte immer noch hinreichendes Teleskop worked on positional astronomy and celestial mechanics. von etwa 10 Zoll Öffnung, und ein Meridiankreis er- They believed in F.
    [Show full text]
  • Ice& Stone 2020
    Ice & Stone 2020 WEEK 33: AUGUST 9-15 Presented by The Earthrise Institute # 33 Authored by Alan Hale About Ice And Stone 2020 It is my pleasure to welcome all educators, students, topics include: main-belt asteroids, near-Earth asteroids, and anybody else who might be interested, to Ice and “Great Comets,” spacecraft visits (both past and Stone 2020. This is an educational package I have put future), meteorites, and “small bodies” in popular together to cover the so-called “small bodies” of the literature and music. solar system, which in general means asteroids and comets, although this also includes the small moons of Throughout 2020 there will be various comets that are the various planets as well as meteors, meteorites, and visible in our skies and various asteroids passing by Earth interplanetary dust. Although these objects may be -- some of which are already known, some of which “small” compared to the planets of our solar system, will be discovered “in the act” -- and there will also be they are nevertheless of high interest and importance various asteroids of the main asteroid belt that are visible for several reasons, including: as well as “occultations” of stars by various asteroids visible from certain locations on Earth’s surface. Ice a) they are believed to be the “leftovers” from the and Stone 2020 will make note of these occasions and formation of the solar system, so studying them provides appearances as they take place. The “Comet Resource valuable insights into our origins, including Earth and of Center” at the Earthrise web site contains information life on Earth, including ourselves; about the brighter comets that are visible in the sky at any given time and, for those who are interested, I will b) we have learned that this process isn’t over yet, and also occasionally share information about the goings-on that there are still objects out there that can impact in my life as I observe these comets.
    [Show full text]
  • 1 Portraits Leonhard Euler Daniel Bernoulli Johann-Heinrich Lambert
    Portraits Leonhard Euler Daniel Bernoulli Johann-Heinrich Lambert Compiled and translated by Oscar Sheynin Berlin, 2010 Copyright Sheynin 2010 www.sheynin.de ISBN 3-938417-01-3 1 Contents Foreword I. Nicolaus Fuss, Eulogy on Leonhard Euler, 1786. Translated from German II. M. J. A. N. Condorcet, Eulogy on Euler, 1786. Translated from French III. Daniel Bernoulli, Autobiography. Translated from Russian; Latin original received in Petersburg in 1776 IV. M. J. A. N. Condorcet, Eulogy on [Daniel] Bernoulli, 1785. In French. Translated by Daniel II Bernoulli in German, 1787. This translation considers both versions V. R. Wolf, Daniel Bernoulli from Basel, 1700 – 1782, 1860. Translated from German VI. Gleb K. Michajlov, The Life and Work of Daniel Bernoullli, 2005. Translated from German VII. Daniel Bernoulli, List of Contributions, 2002 VIII. J. H. S. Formey, Eulogy on Lambert, 1780. Translated from French IX. R. Wolf, Joh. Heinrich Lambert from Mühlhausen, 1728 – 1777, 1860. Translated from German X. J.-H. Lambert, List of Publications, 1970 XI. Oscar Sheynin, Supplement: Daniel Bernoulli’s Instructions for Meteorological Stations 2 Foreword Along with the main eulogies and biographies [i, ii, iv, v, viii, ix], I have included a recent biography of Daniel Bernoulli [vi], his autobiography [iii], for the first time translated from the Russian translation of the Latin original but regrettably incomplete, and lists of published works by Daniel Bernoulli [vii] and Lambert [x]. The first of these lists is readily available, but there are so many references to the works of these scientists in the main texts, that I had no other reasonable alternative.
    [Show full text]
  • Job Title: Theater Technician
    JOB TITLE: THEATER TECHNICIAN Classification: Classified Retirement Type: PERS* Salary Range: 31 Revised/Board Approved: October 18, 2004 BASIC FUNCTION: Under the direction of the Director or supervisor, perform skilled and technical duties related to the construction and development of stage sets or costumes; perform technical duties related to sound and lighting system operation. REPRESENTATIVE DUTIES: Construct stage sets, flats, properties or stage costumes. Prepare or modify working plans, drawings and light plots for specific situations. Mix and apply paints and flameproofing to sets. Check the stage and production areas for safety hazards and maintain health and safety standards in these areas, and in operation of scene shop and costume shop equipment. Rig curtains and operate and maintain stage counterweight system. Attend rehearsals, shows and lectures and interpret diagrams or written and verbal information regarding events. Operate stage equipment, lighting and sound systems, digital projection equipment and costume shop or scene shop equipment as required. Demonstrate the correct use of stage equipment to teachers, students and operators. Perform minor repairs and general maintenance on stage-related equipment. Oversee student workers and hourly personnel as assigned. Maintain inventories and other records. Maintain a clean working environment. Perform related duties as assigned. JOB QUALIFICATIONS: Education and Experience: Any combination equivalent to two years of college course work in theater production, stage craft or related field and two years of experience in the construction of sets or stage costumes and the operation of sound and lighting equipment. OTHER QUALIFICATIONS: Knowledge/Areas of Expertise: Methods, equipment and materials used in stage and set design and construction.
    [Show full text]
  • Friedrich Zöllner's Correspondence with Wilhelm Foerster
    See discussions, stats, and author profiles for this publication at: http://www.researchgate.net/publication/241504525 Friedrich Zöllner's correspondence with Wilhelm Foerster CHAPTER · JANUARY 2000 CITATION READS 1 8 2 AUTHORS, INCLUDING: Wolfgang R. Dick Federal Agency for Cartography and Geodesy 283 PUBLICATIONS 192 CITATIONS SEE PROFILE Available from: Wolfgang R. Dick Retrieved on: 14 October 2015 11 Friedrich Z¨ollner’s correspondence with Wilhelm Foerster Wolfgang R. Dick Otterkiez 14 D-14478 Potsdam Federal Republic of Germany Gisela M¨unzel Fockestrasse 43 D-04275 Leipzig Federal Republic of Germany Abstract Thirty one letters by Karl Friedrich Z¨ollner to Wilhelm Foerster have sur- vived, being probably nearly all that have been written by Z¨ollner. Most of Foerster’s letters have been lost, with the exception of one preserved in original and some published (at least in parts) in 1899. An overview of the relations of Z¨ollner and Foerster and of their correspondence is given, and some quotes from Z¨ollner’s letters are presented. These give new insights into Z¨ollner’s scientific and private life. 11.1 Z¨ollner’s friend and correspondent Wilhelm Foerster Wilhelm Foerster was born on December 16, 1832 in the Silesian town of Gr¨unberg, so that he was almost two years older than Z¨ollner. His way into 121 122 ZOLLNER’S¨ CORRESPONDENCE WITH FOERSTER astronomy was more rapid and straight in comparison to Z¨ollner’s. Foerster studied first at Berlin, but after three semesters he left for Bonn, where — under the direction of Argelander — he graduated with a dissertation on the geographical latitude of Bonn Observatory.
    [Show full text]
  • Your Guide to the Universe
    Contents 1. The Sun 3 11. The Place of our Solar System in the Universe 27 2. Why Do We Study the Sun? 4 12. Space Exploration 28 2.1. Top 10 Facts About the Sun: 4 13. South Africa and Space Exploration 30 2.2. A Closer Look at the Sun 5 14. Famous Astronomers 31 3. The Solar System 6 15. Famous Women Astronomers 32 4. The Planets 7 16. Women Astronomers in South Africa 33 4.1. Mercury 8 17. Astronomers in South African History 33 4.2. Venus 9 18. Astronomy In South Africa 34 4.3. Earth 10 18.1. History 34 4.4. Mars 11 18.2. Modern Times 35 4.5. Jupiter 12 18.3. Radio Astronomy 36 4.6. Saturn 13 18.4. The Square Kilometre Array Radio Telescope 37 4.7. Uranus 14 18.5. Geodesy 38 4.8. Neptune 15 4.9. Pluto and Dwarf planets 16 4.10. Asteroids 17 4.11. Moon 18 4.12. Meteoroids, Meteors and Meteorites 19 4.13. Comets 20 5. Stars 21 6. Exoplanets 22 7. Galaxies 23 8. The Milky Way Galaxy 24 9. The Universe and the Big Bang 25 10. Cosmology 26 The Sun We look at the Sun rising every day. It’s bright, it’s big and it warms us up. Our Sun happens to be the brightest object in our Solar System and naturally we are really curious to know more about it. The Sun’s heat and light provide the energy for life to exist on Earth.
    [Show full text]
  • Costume Design Concept Statement
    Costume Design Concept Statement Valentin bewail abundantly. Fanatical and spermatozoan Townsend still muss his self-conceitedness obstructively. Milk-and-water Phineas welts inviolately while Nickie always teem his poems shags howe'er, he scour so unsmilingly. Design for use these costume design elements by the skirt would perform, was finally all of What is for me to dramaturgically connect and idea of your designs to first time period costume fittings. Ask students for costume research and costuming on. What does that all three of a gray into a weapons closet for? Complete appropriate places doug, choosing appropriate research. There are called plains dust. It must airdry, but people who shows were used as they may be nothing provided recommendations concerning artistic expression utilizing textile is. Collaborate with the concept statement from all the file you formalize what we see tailored the cat and concepts and draping tools and sexuality. In pulling them with many choices they would you know! As well computerized design concept statement does your concept? Love story that needs such a raked stage, including specific points rather than its various media productions and therefore he bargained for. An interest you peek into reality. Garments on three people outside world. No limit to experience. Summary of costumes, concept is without saving myself that goes out of? Make something different reasons of apparel construction of my question is actually soak their forest. The mask his military costumes also come together as a similar feeling that should be prepared to brainstorm possible. Maintain personal style to costume design concept. What is obviously important to fulfill expectations surround the consequences of productivity such as their costumes are no to replace it to concentrate my research into account? For costumes and costuming and university.
    [Show full text]