ucla engineer fall 2009 kakoulli w cover
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8/8/2019 Ucla Engineer Fall 2009 Kakoulli w Cover
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fall 2009, issue no. 22
uCLA EnginEEr3.1415926535 8979 323846 2643 383279 5028841971 6939937510 5820974944 59230 78164 0628620899 8628034 825 3421170679 8214808651 32823066 47 09384460 95 5058223172 5359408128 4811174502 8410270193 85211
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At the UCLA Henry Samueli School o Engineering and
Applied Science, we are committed to interdisciplinaryscholarly work in emerging areas. And throughout the
school, more and more o this work is happening outside
o traditional engineering disciplines.
This commitment is highlighted by two eature stories
in this issue. The cover eature on Demetri Terzopoulos
introduces his many years o progress in human simulation and computer
modeling — work that was rst popularized as special eects in
Hollywood lms earning Terzopoulos an Oscar, but now has applications
in medicine, security and other elds. A second eature on Ioanna Kakoulli
details her research and analysis o ancient art and artiacts using
advanced engineering techniques.
One o my priorities as dean has also been to increase diversity in both
the student population and among aculty at UCLA Engineering. In the
past ew years, we have recruited some exceptional women to the aculty
and some o their work has been included in this issue. Terri Hogue is
leading an outreach program that helps to get young students excited about
science; Yu Huang received a 2009 PECASE Award, the nation’s highest
honor or young researchers, or her work in renewable clean energy;
Diana Huaker has created a leadership program in clean technology;
and I have already mentioned the eature on Ioanna. Also, o our six new
aculty hires or 2009, three are women.
Engineering has historically been a male-dominated eld. But this is
changing. And we are proud to be playing a signicant role in this move-
ment, with women who set the highest standards or excellence in the
classroom, in innovative research, and in serving the community.
Sincerely,
Vijay K. Dhir
Dean
DeAn
Vijay K. Dhir
AssoCiAte DeAns
Richard D. Wesel
Academic and Student Aairs
Jane P. Chang
Research and Physical Resources
AssistAnt DeAn
Mary Okino
Chie Financial Ofcer
DepArtment ChAirsTimothy J. Deming
Bioengineering
Harold G. Monbouquette
Chemical and Biomolecular Engineerin
Jiun-Shyan (J.S.) Chen
Civil and Environmental Engineering
Adnan Darwiche
Computer Science
Ali H. Sayed
Electrical Engineering
Jenn-Ming Yang
Materials Science and Engineering
Adrienne Lavine
Mechanical and Aerospace Engineering
uCLA engineer ADvisory BoArD
Timothy J. Deming
Vijay K. Dhir
William Goodin
Adrienne Lavine
Mary Okino
Richard D. Wesel
externAL AffAirs CommuniCAtions
Matthew Chin
Communications Manager
Wileen Wong Kromhout
Director o Media Relations
and Marketing
Joseph Donahoo
Executive Director o Development
offiCe of externAL AffAirs
310.206.0678
www.engineer.ucla.edu
design: Leslie Baker Graphic Design
from thE dEan
uCLA
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ADvAnCeD teChniques
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These labels are oten only or convenience. UCLA is
home to innovators who cross disciplines, combining
advanced technology with classical scholarship to create
new knowledge.
One great example o this type o scholar is Ioanna
Kakoulli, who works in the emerging eld o archeometry,
an integration o science and archeology.
Kakoulli is an associate proessor o materials science
and engineering, with a joint appointment at the UCLA/
Getty Archaeological and Ethnographic Conservation
Program and the Cotsen Institute o Archeology.
Kakoulli’s research includes the continuing study o an-
cient Greek painting and color technology, using advanced
analytical techniques and synchrotron light source to
decipher the materials ancient artists used.
At the height o the Late Classical to Hellenistic Period
(~400 to 100 BC), painting was particularly signicant,
since it was not conned to a specic area, nor to a specic
ethnic group. Art became the lingua ranca among dier-
ent groups o people, rom the Balkans to the Levant, and
as ar as India, throughout which ideas and goods fowedreely. Greek painters had perected techniques and manu-
acturing o materials that resulted in lasting, beautiul art.
Painting during this period went beyond the alluring
composition o beautiul colors. Pliny the Elder (1st Cen-
tury AD) provides the most signicant insight in ancient
Greek art, mentioning Agatharchos rom Athens (5th
Century BC) as the rst artist to introduce perspective in
painting, and Apollodoros, a vase painter, as the one who
expressed realism and introduced shading that was
extensively used by acclaimed Greek painters, Zeuxis
and Apelles.
“Pliny urther reers to Polygnotus rom Thasos ‘...wh
rst depicted women with see-through clothing...’ Scien
tic studies o surviving examples rom this period have
shown how pictorial representations — something like
what we understand o paintings today — was born in t
period,” said Kakoulli.
“Using modern technology, we are unmasking the
secrets o ancient Greek painters and explaining, both in
fEaturE
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to study anCiEntCiVilizationsMatthew Chin
Ioanna Kakoulli, at the Getty Conservation Institute inMalibu, standing over UCLA students’ class projects threcreate, deteriorate, and then restore examples o anciephoto by Todd Cheney
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historical and technical terms, the development o pictorial
means, such as, the use o shading, three-dimensionality,
spatial perspective, transparency, and gilding - innovations
that characterize the Hellenistic period.”
Creating these works required more than just a keen eye
and skilled hand. Scientic techniques have revealed these
ancient artists used local and imported natural minerals,
dyes and plant gums, because o their luster and material
characteristics. They also used articial composites such as
high red ceramics glass rits and organo-metallic complexes
with the desired properties.
One o the works Kakoulli has analyzed extensively is the
marble throne that decorates the tomb o Eurydice Sirra,
Queen o Macedonia in the 4th Century BC, and better
known as the grandmother o Alexander the Great.
The ree-standing throne is the most outstanding eature
o the tomb. The legs and armrests are decorated with emale
gures, lions and deer, and mythological creatures like gri-
ns. The most impressive part o the throne is the painted
‘picture panel’ representing a painting o Pluto and Perse-
phone on a our-horse chariot.
“For the study o this unique and archaeologically signicant
artiact, a variety o techniques were used. These included,
broadband imaging rom the ultraviolet to near inrared; opti-
cal and electron microscopy; inrared and x-ray spectroscopy,
as well as chromatographic techniques,” said Kakoulli.
According to Kakoulli, the analysis has shed new light
on the technology o ancient painted monuments, including
highly sophisticated techniques using a variety o natural
(local and imported) and synthetic materials.
Though the technology o the ancient Greeks remains Ka
oulli’s primary research interest, she also collaborates with
other UCLA researchers.
She is the co-director o a project that examines Pre-
Columbian mummied human remains in Northern Chile’s
Tarapaca Valley. This project incorporates modern medicin
as well as natural and orensic science to examine organic
materials — to the molecular level — that can deduce the
types o diseases they may have had, and the types o drugs
they may have used.
More recently, she is leading a research project on unique
12th Century Byzantine murals at the monastery o St. Neo
phytos in Paphos, Cyprus.
Kakoulli teaches students in the UCLA/Getty conservatio
program and in the materials science department through
hands-on research projects.
“Our students are really very ortunate to have access to
state-o-the-art acilities with advanced instrumentation at
UCLA and the Getty Villa. Undoubtedly, UCLA and the
Getty oer a unique educational and research platorms tha
enable and enhance learning and discovery. Our approach
exposes students to critical and creative thinking that helps
prepare them or successul careers,” said Kakoulli.
More inormation on Ioanna Kakoulli’s research is availab
online at: http://www.sscnet.ucla.edu/ioa/archaeogroup/
Details rom the painting decorating the throne in the ’Tomb o Eurydice’at Vergina, Greece.let: A photomicrograph o a mauve color used in the painting. The stratigraphy o the sampleshows the precipitation o the organic colorant on calcite crystals.middle: The painter used gum arabic as thebinding medium, and lakes (organometalliccomplexes) to create the illusionistic eect o transparency, clearly visible in the area where the
gold bracelet is.right: This photo was taken with obliqueillumination, enhancing the surace texture o
the painting. photos courtesy o Ioanna Kakoulli
810975 6659334461 284756482 3 3786783165 2712019091 456485669 2 3460348610 45432664 82 1339360726 0249141273 7245870066 0631558817 4881520920 9628292540 9171536436 789259036 0 0113305305 488204 6652