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The purpose of this paper is to review additive and/or subtractive manufacturing methods for metallic objects and their gradual evolution from prototyping tools to rapid manufacture of actual parts.

Various existing rapid manufacturing (RM) methods have been classified into six groups, namely, CNC machining laminated manufacturing, powder‐bed technologies, deposition technologies, hybrid technologies and rapid casting technologies and discussed in detail. The RM methods have been further classified, based on criteria such as material, raw material form, energy source, etc. The process capabilities springing from these classifications are captured in the form of a table, which acts as a database.

Due to the approximation in RM in exchange for total automation, a variety of multi‐faceted and hybrid approaches has to be adopted. This study helps in choosing the appropriate RM process among these myriad technologies.

This review facilitates identification of appropriate RM process for a given situation and sets the framework for design for RM.

The National Museum of Natural History has been carrying out, over the last several years, a study of hominid fossil skulls, which have been discovered in different regions of the world. The aim of the palaeo‐anthropological study of these skulls is to reconstruct the genealogic tree of the evolution of man and to understand better, the diversity of the homo Erectus species on the different continents. Currently, digital techniques and those of rapid prototyping offer a solution to these problems by allowing the virtual or physical reconstitution of the skulls for scientific study. This paper presents this new perspective for the world of palaeontology.

The landscape of European cities is by no means homogeneous. Nonetheless, the same type of conflict has repeatedly occurred in different places in the last few years: From Seville to Vienna, from Cologne to St. Petersburg, planned high-rise buildings for inner city districts have provoked fervent arguments and debates. Whether and how European cities should integrate more high-rise buildings is a highly controversial question. This chapter focuses on strategies of vertical construction and related debates about the cityscape in both Paris and Vienna. By studying the urban constellations of Paris and Vienna, it can be shown that what may look comparable at first glance is the outcome of highly different strategies and histories.

Although both cities define themselves to a wide degree with reference to historic structures, the image of tall buildings varies drastically in these cities, which correlates with these cities’ diverse histories and hence experiences with high-rise buildings. Path dependencies and the ways individual cities receive international trends are crucial to understanding processes of urbanization. Based on in-depth interviews with various urban actors and other relevant qualitative data, this chapter aims to demonstrate that a city’s high-rise strategy cannot be attributed to any single factor; rather, it is the result of a complex interplay between various aspects and actors, which crucially includes present and past struggles over cityscapes and therefore over urban spaces.

IN October a well‐known literary periodical appeared for a single number in a bright‐red cover to signalise a certain change. Two months earlier we had altered our size, type and cover‐colour; for the last exchanging the decorous consistent grey of our outer garment for the summer yellow in which our two Conference numbers appeared. Some readers found this too gaudy, although the three colours which have most “attention value,” as the advertisement experts say, are yellow, red and Cambridge blue. We compromise on orange, which has warmth, and we hope will have welcome.

Following the work of Kastenbaum in 1972, the concept of subjective age has been extensively explored and numerous studies have shown that subjective age often has a greater explanatory power than chronological age. However, to the best of the authors' knowledge, little work has focused specifically on subjective age at work. The purpose of this paper is to help fill this gap. The aim is to show that workers have a subjective age bias specific to the organisational context, and that this reveals their attitudes to work better than their overall subjective age bias.

In total, 508 French salaried workers in three sectors (education, health, retail industry) answered: a French adaptation of Steitz and McClary's questionnaire to working life; the French version of the subjective age questionnaire; a scale of satisfaction with professional life; and a workplace attachment scale.

The results confirm that there is a subjective age bias at work, linked to the type of organisation and constituting a better predictor of attitude to work than overall subjective age. This finding suggests that chronological age is less relevant than subjective age at work.

The existence of subjective age at work, more pertinent than chronological age, can call into question the a priori categorization of workers by age group, an issue already raised by many authors.

The authors believe that the scale of subjective age at work can be used by human relations consultants or managers as a decision‐making tool in the context of professional mobility or in setting up mentoring projects.

The concept of subjective age is interesting from a theoretical level, to understand the subjective relationship of workers to their work‐place, and from an applied level, as a decision‐making tool in the context of professional mobility or in setting up mentoring projects. This research calls into question the a priori categorization of workers by age group, raising the possibility of a different approach to the management of older workers.

The purpose of this paper is to compare the projections of future war by a talented illustrator with the true materialization of conflicts.

The paper traces Albert Robida's sequential narrative, using a selection of imaginative pictures to demonstrate the artist's range of anticipation.

The paper finds that the illustrator's visualization proved to be uncanny in its accuracy of projection.

Robida managed to be not only well ahead of his time; the accuracy of his foresight was largely exact from the point of view of feasible technology.