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1
Ferron, Hélène. "Au 182, rue de l’Université : un journaliste américain à la Porte de l’Enfer d’Auguste Rodin." Romantisme 202, no. 4 (December 11, 2023): 65–78. http://dx.doi.org/10.3917/rom.202.0065.
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En 1889, Truman Howe Bartlett, journaliste américain, publie une dizaine d’articles consacrés à la figure d’Auguste Rodin dans le journal The American Architect and Building News . Richement documentés, ils sont issus des visites successives de l’homme au sein des ateliers du boulevard Vaugirard et au dépôt des marbres de la Rue de l’Université où le sculpteur élabore La Porte de l’Enfer . L’article se propose d’étudier la manière dont Bartlett se sert de l’espace physique de l’atelier comme scène d’énonciation et en renouvèle le topos littéraire alors en vogue. Le journaliste présente l’artiste dans son élément et rend accessible au public américain une œuvre encore interdite à ses contemporains en France. C’est ainsi grâce aux visites de l’atelier et à sa description que le chef-d’œuvre de la Porte et le mythe qui s’y rattache prennent progressivement corps.
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Abreu e Lima, Daniele. "Max Rosenfeld, The Home Architect." Architectural History Aotearoa 5 (October 31, 2008): 13–22. http://dx.doi.org/10.26686/aha.v5i0.6761.
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1949 marks the beginning of a radical change in the relation between New Zealanders and their homes. The new government at that time began encouraging home ownership in opposition to the existing policy of renting state houses. In those days, one of the most influential architects in the country was Max Rosenfeld, a Czech immigrant who became known mainly through the Auckland magazine The Weekly News. Rosenfeld hadn't produced any iconic building or brought any revolutionary aesthetic style. Nevertheless his contribution to New Zealand domestic architecture was tremendous, though today he is hardly ever mentioned. This paper proposes to shed light on the work of this architect focusing on his participation in The Weekly News publication which started in 1949. For almost a decade Rosenfeld became known as the "Home Architect" following the name of his magazine column. His ideas and architectural advice became very popular and his publications inspired owners and helped builders to familiarize themselves with the Modern way of living and building. Rosenfeld is mainly quoted in reference to the popularization of New Zealand plan books, a kind of publication renowned for containing projects made to fit just about any taste, budget and site. Seen with disdain by some, those books were, nevertheless, the most efficient vehicle for the dissemination of architecture into the everyday life of ordinary Kiwis. In that sense Rosenfeld can be seen as one of the essential contributors to the modern building practice we find in New Zealand, which decisively influences the way Kiwis live today.
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Joch, Andreas. "Community Eludes the Architect? German Architect Planners, American Democracy, and the Question of Community Building in Transatlantic Perspective." Journal of Urban History 42, no. 6 (October 27, 2016): 1029–43. http://dx.doi.org/10.1177/0096144216675041.
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Gitler, Inbal Ben-Asher. "Reconstructing Religions: Jewish place and space in the Jerusalem YMCA Building, 1919-1933." Zeitschrift für Religions- und Geistesgeschichte 60, no. 1 (2008): 41–62. http://dx.doi.org/10.1163/157007308783360543.
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AbstractThis paper discusses the representation of Jewish religion and culture in the architecture of the YMCA Building in Jerusalem, a prominent edifice built by the New York architect Arthur Loomis Harmon for the American YMCA. Within it, Jewish place and space were reconstructed as part of an architecture planned to promote Jewish, Christian and Moslem co-existence through an American secular cultural curriculum and a Christian vision of peace.
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Bhattacharjee, Suparna. "Nation Building in Indonesia: Role of President Sukarno." Spectrum: Humanities, Social Sciences and Management 7, no. 1 (December 15, 2020): 21–31. http://dx.doi.org/10.54290/spectrum/2020.v7.2.0003.
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Nation building became a challenge for many nations of Asia, Africa and Latin America. It was not only a process of a political economic or social restructuring of an erstwhile colony-it was much more to do with creating an identity of a sovereign nation. In post-colonial societies, nation building implies that its citizens have formally been bestowed with nationality. The nationality or nation-ness of a sovereign nation is the cultural artifacts of a particular kind (Anderson, Benedict, 1883). It needs delicate handling as it involves a process of integration and reconstructing of a new sense of unity and belonging. In a multi-cultural society, the issue of integration assumes complexities as it entails integration and accommodation of diverse entities into a common framework. Many nations have failed in that process. Indonesia is one such country which is diverse in every sense of the term. On top of that its vast geographical spread posed serious challenges before the process of nation building. The article is an attempt to examine the issues that came across before the architect of modern Indonesia-president Sukarno and how he had cope up with that. How Indonesia was able to curve out a mechanism to deal with its multi-ethnic, multi-cultural and multi-religious realities, is what the paper seeks to explore.
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Balmori, Diana. "George B. Post: The Process of Design and the New American Architectural Office (1868-1913)." Journal of the Society of Architectural Historians 46, no. 4 (December 1, 1987): 342–55. http://dx.doi.org/10.2307/990273.
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This article deals with an American architect, George B. Post, and the organization of his office. Post's practice was one of the earliest to be conducted as an office rather than an atelier. It was also the first large architectural practice based on what came to be considered the prototypical American building, the office tower. The article examines the organization of Post's office, the way work was done, the building types designed, and the nature of its clients. It concentrates on the design process of one particular building, the Western Union Telegraph Building in New York, which was pivotal not only for this practice but for American architecture. The Western Union Telegraph Building was an early example of the national corporate headquarters and, if it was not the first skyscraper, then it certainly was its immediate precursor.
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Miscamble, Wilson D. "Rejected Architect and Master Builder: George Kennan, Dean Acheson and Postwar Europe." Review of Politics 58, no. 3 (1996): 437–68. http://dx.doi.org/10.1017/s0034670500020143.
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This article uses the relationship between George Kennan and Dean Acheson as a lens to track a classic debate over the main lines of postwar American foreign policy, especially in regard to Europe and over such related issues as negotiations with the Soviets, German unification, and the size of and necessity for American conventional and nuclear forces. It clarifies that Kennan did not play the role of powerful architect whose planning provided the blueprint and instructions for building the structure of U.S. policy in Europe. Dean Acheson proved the essential builder of the structures which provided the framework for American foreign policy for four decades. In the process, this article clarifies the nature of the personal and professional dealings of the two men over the period from the end of World War II until Acheson's death in 1971.
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Myjak-Pycia, Anna. "Forgoing the architect’s vision: American home economists as pioneers of participatory design, 1930–60." Architectural Research Quarterly 25, no. 1 (March 2021): 17–30. http://dx.doi.org/10.1017/s1359135521000142.
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The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).
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Amarouch García, Ismael. "La Embajada de Estados Unidos en Madrid y la arquitectura moderna de posguerra." VLC arquitectura. Research Journal 8, no. 2 (October 29, 2021): 61–89. http://dx.doi.org/10.4995/vlc.2021.14640.
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Between 1950 and 1955, the United States Embassy in Madrid was planned and built on the former Huerta de Cánovas estate. This building has already been studied in its pioneering and controversial implementation in the Paseo de la Castellana. Some reference has also been made to the link between Mariano Garrigues, the Spanish architect who directed the construction works, and North America. This article goes deeper, however, into some issues that have not yet been explained; in particular, the aim is to reveal how a prototype of the International Style was adapted to local circumstances. For this purpose, both foreign sources related to the North American architectural office (Foreign Building Operations, FBO) and local sources related to the Spanish architect are used. Likewise, graphic analyses are carried out to complement the available information and to focus on aspects of the site, construction, and spatial organization. The analysis is not limited to the general aspects of the building. Its link with post-war modern architecture is increased with considerations of site, structure and furnishing. The final assessment falls somewhere between absolute adherence to modern ideals and local mediation.
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Choudhury, Bayezid Ismail. "Jatio Sangsad Bhaban or National Assembly Building and Sustainability." Journal of Engineering Science 11, no. 2 (December 22, 2020): 127–32. http://dx.doi.org/10.3329/jes.v11i2.50904.
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Designed by American architect, Louis I. Kahn, the Jatio Sangsad Bhaban (JSB) or National Assembly Building of Bangladesh is a world-renowned iconic building situated in Bangladesh. Louis I. Khan was commissioned to design the JSB during the period before the term ‘sustainable’ was coined. In sustainable term it has controversial standing due to its cost, social and participatory aspects. However, it still stands as one of the masterpieces that represent hope and aspiration of the people of Bangladesh. This paper intends to look at the JSB through the lens of ‘sustainability’ to ascertain the degree of sustainability it has or has not achieved considering three tenets of sustainability, namely environmental, social and economic.
Journal of Engineering Science 11(2), 2020, 127-132
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García Sánchez, Carmen. "A Pavilion in the Danish forest by Vilhelm Wohlert; Tradition and Modernity." Ge-conservacion 11 (June 30, 2017): 95–101. http://dx.doi.org/10.37558/gec.v11i0.458.
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Danish architect Vilhelm Wohlert (1920-2007), after a stay as a guest teacher at Berkeley University, designs his first building. Created in a period of a flourishing architecture,, it achieves a balance between Danish tradition and modernity, where international references -American architecture and Japanese tradition- are significant. Its ability to fit into the circumstances, sets a model for the buildings of the future. There is a dialogue with the surrounding nature, her careful observation; establishing a great connection, where the Danish attitude towards her is not a domination. The architect knows the material and uses it in harmony with its essence. The study suggests that the vernacular may be a process that evolves and transforms over time involving a significant level of modernity, and that a look at it could be an answer to prevent the loss the identity of architecture.
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Marinic, Gregory, and Ziad Qureshi. "Interstitial Occupancies: From Industrialization to Informal Urbanism in Monterrey, Mexico." Perspectives on Global Development and Technology 16, no. 4 (August 9, 2017): 461–77. http://dx.doi.org/10.1163/15691497-12341444.
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As the third largest city in Mexico, Monterrey is a manufacturing hub that offers a provocative counterpoint to industrial cities in developed countries. Suburban sprawl, political instability, violence, social injustice, and de-industrialization illustrate increasing fragmentation—or terrain vague—where the conventional urban fabric unravels and less formal occupancies unfold. Defined by Catalan architect and theorist Ignasi Solà-Morales, terrain vague is expressed through obsolescence and various organic practices that react to depopulation and under-productivity. Investigating production and city-building, this article positions post-industrial Monterrey as a place of difference reflecting hybridized Latin American and American normative conditions. It surveys processes of industrialization and changing technology to situate iconic European and American architectural and urban precedents as forerunners of similar conditions in Monterrey.
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Cruz, César A. "Henry Klumb: Puerto Rico’s critical modernist." Architectural Research Quarterly 23, no. 1 (March 2019): 33–46. http://dx.doi.org/10.1017/s1359135519000095.
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In February 1944 a thirty-nine-year-old itinerant architect named Heinrich ‘Henry’ Klumb [1] (1905–1984), moved to the Caribbean island of Puerto Rico for what was supposed to be a short-term, public works job with the island’s provincial government, that is, a territorial government that had been established and was largely supervised by the American federal government. At the time of his arrival on the island, Klumb was a one-time German immigrant, a former protégé of Frank Lloyd Wright, Louis Kahn’s occasional design and business partner during the mid-to-late 1930s, and a moderately successful designer of a variety of projects and building types. These early projects and building types included residences, prototype prefabricated buildings and houses, museum exhibits, furniture pieces, and a number of housing and urban master plans. Over the next forty years he would emerge as Puerto Rico’s most locally well-known and prolific modern architect. His major successes on the island consisted of his public works, university buildings, churches, residences, and office buildings. Outside of Puerto Rico, his association with Frank Lloyd Wright has also generated a measure of interest.
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Shanken, Andrew. "Architectural Competitions and Bureaucracy, 1934–1945." Architectural Research Quarterly 3, no. 1 (March 1999): 43–56. http://dx.doi.org/10.1017/s1359135500001743.
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The 1930s in the United States marked a turning point in the relationship of the architectural profession to both the government and corporations. The federal government and large corporations, began to hold design competitions to stimulate the building industry during the Depression. This caught the American Institute of Architects unprepared and led to the transformation of the profession from one grounded in the ideal of the architect-artist to one whose survival depends, in part, upon business acumen, technical competence, and public relations skill.
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Jiménez Caballero, Inmaculada. "Unos dibujos de Le Corbusier perdidos en Londres." EGA. Revista de expresión gráfica arquitectónica 22, no. 29 (March 28, 2017): 200. http://dx.doi.org/10.4995/ega.2017.7349.
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Este artículo presenta cinco dibujos –dos de ellos inéditos– de Le Corbusier para la conferencia a los alumnos de la Architectural Association de Londres en diciembre de 1947, en la celebración de su centenario; también fragmentos del texto original en francés, grabado y luego transcrito. Una versión adaptada fue publicada en Architect & Building News de 2 de enero de 1948 y en Irena Murrey and Julian Osley Le Corbusier in Britain. An Antology. en 2009, junto con dos de las imágenes. El texto original según la grabación y dos de las imágenes permanecían inéditos.
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Pelkki, Matthew, Gabrielle Sherman, Tamara Walkingstick, and Kenneth Wallen. "Architect Familiarity and Perceptions Surrounding Sustainable Design, LEED, and Engineered Wood Products in Arkansas." Journal of Sustainable Architecture and Civil Engineering 27, no. 2 (November 5, 2020): 16–31. http://dx.doi.org/10.5755/j01.sace.27.2.25104.
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The sustainable building design movement has gained momentum within the United States in recent years. This has led to a proliferation of green building certification programs like Leadership in Energy and Environmental Design (LEED) and the development of engineered wood products (EWP) like cross laminated timber (CLT). Often, architects serve as the conduit between green building construction material and their use in construction. There is need to investigate the perceptions and practices of architects on the topic of green building certification and EWPs. In partnership with the American Institute of Architects (AIA), this study surveyed registered architects practicing in Arkansas to a) examine interest in and application of LEED certification and b) beliefs related to sustainability, affordability, and availability of EWPs. Results suggest a majority of architects surveyed have interest in the LEED program and have previously earned LEED-certification for a building design. Respondents rated the importance of improving human health and well-being as especially high but appear to doubt the ability of EWP to contribute to sustainable design. Analysis revealed that CLT use is significantly lower than that of more typical EWPs such as plywood panels and glue laminated timber. Architects also indicated that the affordability and availability of modern EWP represent significant barriers to their utilization within the state. To increase the rate of sustainable development, it will be necessary to highlight benefits to human and environmental health and generate interest amongst architectural clientele.
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Choudhury, Bayezid Ismail. "Jatio Sangsad Bhaban: Aspiring to be a UNESCO World Heritage Site." Journal of Social and Development Sciences 11, no. 4(S) (March 21, 2021): 1–6. http://dx.doi.org/10.22610/jsds.v11i4(s).3158.
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The Jatio Sangsad Bhban (JSB) or the National Assembly Building of Bangladesh is an internationally renowned architectural masterpiece designed by eminent 20th-century American architect Louis I. Kahn. Its unique Architectural merit makes it one of the most significant buildings of the 20th century. The impact of this iconic building encompasses all spheres of Bengal life including culture, heritage, ethos and lifestyle. Its architectural values also evoke national identity, symbolizing the hopes and aspirations of the people of Bangladesh. However, despite its international and national material, social and human significance, it is yet to be nominated as a UNESCO World Heritage Site (WHS). This paper argues for the potential of the JSB to become a WHS.
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Choudhury, Bayezid Ismail. "The Duality of Jatio Sangsad Bhaban and the Notion of Nationalism." Journal of Social and Development Sciences 4, no. 9 (September 20, 2013): 412–24. http://dx.doi.org/10.22610/jsds.v4i9.780.
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Jatio Sangsad Bhaban or Nation Assembly Building or Capitol Complex of Bangladesh, is an iconic building designed by American architect Louis. I. Kahn. It is regarded as the national emblem and the national identity of Bangladesh. It has assumed a symbolic role in the nationalist movement of the Bangladeshi people which lead to the emergence of independent Bangladesh. Drawing on Peter Alter’s theory of nationalism, this paper will argue that his construct of the dual positive and negative character of nationalism aptly fits the role the Jatio Sangsad Bhaban has played from its outset, representing as his four aspects of nationalism: oppression, and at the same time emancipation, the repository of danger, and opportunity.
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Knight, George. "The Yale Center for British Art: a Building Conservation." Louis I. Kahn – The Permanence, no. 58 (2018): 50–59. http://dx.doi.org/10.52200/58.a.8ah55zai.
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The Yale Center for British Art was designed by acclaimed American architect Louis I. Kahn to house a collection of British art on the campus of Yale University. The Center, Kahn’s third and final museum building, was designed between 1970 and 1974 and opened its doors to the public in 1977. By 2002 it was evident that the building was fast approaching a crossroads: finishes had reached the end of their lives, program space was in desperate demand, patron amenities and life safety measures no longer met contemporary standards and, worst of all, infrastructural systems strained to sustain the environments demanded to protect the collections. The integrity of Kahn’s architecture was in jeopardy. What follows is the story of what came next: how the building was painstakingly researched and analyzed, and how a series of projects ensued to re-equip the Center to present and protect its collection for decades to come.
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Eldal, Jens Christian. "Ny arkitektur for nordmenn i Iowa. Arkitekt C.H. Griese, Luther College og kirker i 1860-årene." Nordlit, no. 36 (December 10, 2015): 31. http://dx.doi.org/10.7557/13.3696.
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<p>The Norwegian Evangelical-Lutheran Church in America decided in 1861 to build their first college close to the western frontier of The Upper Midwest. The site chosen was a bluff above Upper Iowa River, highly visible from Decorah, a small town founded only 12 years earlier, few years after the first settlers arrived. The college building became a relatively vast structure erected between 1862 and 1865, completed to its originally planned symmetrical composition in 1874. The building style and its composition were common among American colleges and universities further east in the US. It is also demonstrated how the Luther College building façade in composition and detailing shows clear influences from a specific German building. This particular building has been designated as especially typical of the German <em>Rundbogenstil</em> (<em>S</em>tyle of the Rounded Arch) with its great mix of various stylistic elements.</p><p>The architect was known as C. H. Griese from Cleveland, Ohio. He is identified as Charles Henry Griese (1821–1909), who immigrated from Germany about 1850 and was known as a mason and contractor, from now on also as an architect. In 1869, Griese also designed the three Norwegian Lutheran churches of Washington Prairie, Stavanger and Glenwood in rural Decorah. They represented a Neo Gothic style which was new to the area, and had an evident architectural character contrasting the more ordinary vernacular churches in the area. They signify a change of style and, like the college building, they demonstrate architectural ambitions new to these Norwegians, giving insight also into the general architectural and vernacular development in the area.</p>
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Piccinini, Ranieli. "Casa Daros Library: a nascent Latin American contemporary art library in Brazil." Art Libraries Journal 39, no. 4 (2014): 21–26. http://dx.doi.org/10.1017/s0307472200018514.
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In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.
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Muhammed, Maha Thair, and Esraa Jalal Jawad. "Place and Conflicting Powers in David Greig’s The Architect." Al-Adab Journal 2, no. 144 (March 15, 2023): 55–68. http://dx.doi.org/10.31973/aj.v2i144.4066.
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There is a reciprocal connection between a place and its inhabitants who attempt to shape it according to their aspirations and needs. This may result in the emergence of conflicting powers that struggle to control the place and decide its policies that, in return, affect people's lives and careers. This paper focuses on David Greig’s The Architect. The play is concerned with the conflict between Leo Black, an architect who is commissioned by the government to design Eden Court, and the tenants of the building who are represented by Sheena Mackie. The setting symbolizes Scotland and Sheena Mackie and the tenants represent the new generation in Scotland and their aspiration for change. The play will be telescoped through the lense of the Thirdspace theory by the American theorist Edward Soja (1940-2015). According to his theory, space is classified into three levels: the firstspace which represents reality as it is, the secondspace that embraces people's perspectives about the place they occupy, and the thirdspace which combines both of the above-mentioned spaces. The purpose of the study is to show how a place can be determined by the power that succeeds in envisioning a third space combining first and second spaces.
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Witt, John Fabian. "A Lost Theory of American Emergency Constitutionalism." Law and History Review 36, no. 3 (August 2018): 551–91. http://dx.doi.org/10.1017/s0738248018000317.
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In the wake of the Civil War, Columbia Law School professor Francis Lieber, architect of some of the Lincoln administration's most important legal strategies, set out to write a definitive text on martial law and the emergency power. Lieber's text would have summed up his view of the legal lessons of the Civil War. Lieber died in 1872, leaving an unfinished manuscript to his son, Guido Norman Lieber, soon to become the Judge Advocate General of the Union Army. Norman Lieber worked on the manuscript but never finished it. Hidden deep in the younger Lieber's papers in the National Archives, the manuscript summarizes a strand of thinking about constitutional emergencies that first emerged in the controversies over slavery, then animated Emancipation and the broader legal strategy of the Lincoln White House, before running headlong into the post-war backlash signaled by the Supreme Court's 1866 decision inEx Parte Milligan. Building on debates over martial law in Anglo-American empire, the Liebers’ thinking embraced a forceful but constrained approach that made a cabined form of necessity the central principle of emergency governance in the modern state.
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Lasker, Shamima. "BBS News." Bangladesh Journal of Bioethics 8, no. 3 (February 14, 2018): 33. http://dx.doi.org/10.3329/bioethics.v8i3.35610.
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Training programme on “Research Methodology”Planning, Monitoring & Research Division of DGHS with technical support of Bangladesh Bioethics Society (BBS) and American University of Sovereign Nation (AUSN, USA) organized a three days Training programme on “Research Methodology” on 3-5 December, 2017 at Conference Room, DGHS (1st floor, Old Building). Graduation Ceremony: Following Members of BBS have been graduated from AUSN, USA in 2017 and honored by BBS through a programme.PhD (Bioethics, Sustainability and Global Public Health)Prof Shamima Parvin Lasker, Professor & Head of Anatomy, MH Samorita Medical College, Dhaka – She is the 2nd PhD holder and 1st Female PhD from AUSN. Master of Bioethics and Global Public Health Dr Tonmoy BiswasTanya AhmedTamjida Ahmed
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Choudhury, Bayezid Ismail, and Peter Armstrong. "The Multiple Meanings of Jatio Sangsad Bhaban." Journal of Social and Development Sciences 11, no. 1(S) (November 12, 2020): 36–42. http://dx.doi.org/10.22610/jsds.v11i1(s).3110.
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Jatio Sangsad Bhaban, the National Assembly Building of Bangladesh, is an iconic building and architectural landmark designed by American architect Louis I. Kahn. Jatio Sangsad Bhaban was constructed between 1962 and 1983 and is located in the heart of Dhaka, the nation’s capital. The extant literature on Louis I. Kahn’s work suggests that Jatio Sangsad Bhaban is a significant architectural masterpiece. One of its most notable features is its architectonic quality, providing it with the grandeur of a modern monumental building. In this context, this paper aims to examine the underlying multiple meanings, that is, socio-political, cultural, historic and philosophical meanings of the Jatio Sangsad Bhaban building By constructing and summarising meanings, rather than exploring the physical building itself, this paper supports the notion of multidimensional perspectives of monumental architecture. —The multiple meanings of icoic architecture through the lens of societal issues has been endorsed by many architectural critic. Accordingly, this paper considers the cultural, political, ethical and historical meanings of Jatio Sangsad Bhaban. Revealing and summarising other aspects apart from its architectonic dimensions is a new approach to understanding a widely acclaimed iconic building like Jatio Sangsad Bhaban
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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (December 13, 2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.
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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.
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Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (November 15, 2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.
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Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectural philosophy was deeply influenced by modern art. During that era, New York City was known as the center of modern art. Among them, abstract expressionism, conceptualism and minimalism were on full display here. Many famous artists held grand exhibitions here and established their own studios. I.M. Pei spent most of his life in this place. When American modern art reached its peak in New York, many architects decided to use primitive forms to convey a concise and powerful artistic language, which also became their iconic design style. I.M. Pei's design philosophy is global. He emphasized: "In the architectural design process, there are three key aspects that require special attention: the first is the integration of the building with its environment; the second is how to handle space and form; and finally, from the user's point of view, to correctly solve functional problems. In this paper, the study analyzes the structural features of 12 architectural spaces of art museums designed by I.M. Pei in the context of the time line. It compares the similarities and differences in the spatial structure of the architecture of art museums built in the same time period as well as between different historical eras. The study focuses on analyzing the form and content of space and draws on the theoretical framework of contemporary architecture, namely the concepts of space within modernism. As a result of the analysis, two key characteristics of Pei's architecture are highlighted: sculptural and geometric.
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Hanlon, W. Walker. "Skilled Immigrants and American Industrialization: Lessons from Newport News Shipyard." Business History Review 92, no. 4 (2018): 605–32. http://dx.doi.org/10.1017/s0007680519000023.
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In the late nineteenth century, American shipyards started building modern metal ships, a sector dominated by the British. But, they faced a challenge: a shortage of domestic workers with the skills to fabricate large metal ships. Using census of population data, this article describes how one important U.S. shipyard, Newport News Shipbuilding, overcame the shortage of skilled domestic workers to assemble an effective labor force. The results show that skilled immigrants, mainly from Britain, played an important role in the shipyard's early life while, over time, native workers were trained to fill skilled occupations.
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Klein, Richard. "The Delcourt House: the last house by Richard Neutra." Modern Houses, no. 64 (2021): 50–57. http://dx.doi.org/10.52200/64.a.7bzrgwww.
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The only French building by the architect Richard Neutra (1892-1970), Delcourt house, built in Croix near Roubaix, France, is frequently forgotten in publications on his work, and is generally considered to be of little significance in the largely American career of its designer. At the end of the 1960s, Marcel Delcourt (1923-2016), a young Chief Executive Officer at the head of the mail order company Les Trois Suisses, was attracted to the American way of life. As the final work of Richard Neutra, the Delcourt residence is a fragile heritage, the result of complex and fruitful exchanges between Europe and the United States of America (USA), between architects and the client, but also between the customized design of most of the features and the use of sophisticated techniques, products that the interior finish industry was able to supply at the end of the 1960s. The edifice now stands as a repository of domestic architecture techniques.
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Arch. Dennis L Estacio. "Bulacan capitol building: A reconnaissance survey of art deco heritage structure designed by Arch. Juan M. Arellano." Global Journal of Engineering and Technology Advances 10, no. 3 (March 30, 2022): 052–64. http://dx.doi.org/10.30574/gjeta.2022.10.3.0056.
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The Capitol building of the Province of Bulacan in the town of Malolos, erected in 1930. Bulacan Capitol Building is an Art Deco Style Architecture. The entrance of the building has Portico with Octagonal Concrete Columns with decorative concrete torch. It has three entrances of wooden frame door accentuated with wrought iron grills with design of rising Sun. Upon entering the lobby, you will be welcomed by Grand double return staircase. The façade of the building is of massive walls and columns with simplistic design painted with purely white color. The Bulacan Capitol Building was designed by Architect Juan Marcos Arellano. JUAN MARCOS ARELLANO (y de Guzman), one of the Philippines' founding fathers of architecture, was born on this day in Tondo, Manila. Among his most famous works are Manila's Metropolitan Theater (1935), Legislative Building (1926) (now the National Museum of the Philippines), the Manila Central Post Office Building (1926), and Jones Bridge. The researcher utilized Reconnaissance Survey Methodology, an extensive study of an entire area that might be used for analysis. Its purpose is to eliminate those buildings or site elements which are impractical or unfeasible and to identify the more promising buildings or site elements. The result showed that one of the famous landmarks in Bulacan is its Provincial Capitol Building. The building, erected in 1930, was destroyed during the Second World War. It was rebuilt in 1950 with the assistance of the American government. During the administration of President Corazon C. Aquino, the building was renovated and expanded. The building is a Cultural Heritage Property.
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Bryant, Marsha, and Charlie Hailey. "Thirteen Tactics for Teaching Poetry as Architecture." Humanities 11, no. 1 (January 19, 2022): 19. http://dx.doi.org/10.3390/h11010019.
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What if encounters between modernist poetry and architecture exceed inspiration, imagery, and allusions? These two modes of making have crossed boundaries for over a century, from Walt Whitman’s ecstatic stanzas on Manhattan skyscrapers to architect John Hejduk’s poetry of memory and place. Buildings become materials for poetry, and poems become material for building. When a literary critic and an architect build on overlaps they have discovered in syllabi for American Poetry and Architecture Studio courses, their teaching collaboration becomes a sustainable maker-space for student work—and for the Humanities more generally. We found that linking a literature survey to an architectural design studio brings materiality and resourcefulness to working with poems and that interacting with the Humanities demonstrates praxis (theory + practice) from the perspective of architectural pedagogy. Our classes also engaged each other through The Repurpose Project, a community space that promotes reuse and diverts waste from the local landfill. The profusion of readily available materials at Repurpose afforded students with a rich sampling of architectural textures and languages, opening new possibilities for thinking and making. In an academic climate that groups literary studies and architecture as “not-STEM,” we designed sustainable and resilient pedagogies that go beyond problem solving. Finding the same quality of renewable resourcefulness in Wallace Stevens’s “Thirteen Ways of Looking at a Blackbird,” we offer 13 tactics for teaching poetry as architecture.
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Johnson, Bob. "Globalizing the Harlem Renaissance: Irish, Mexican, and ‘Negro’ renaissances in The Survey, 1919–1929." Journal of Global History 1, no. 2 (July 2006): 155–75. http://dx.doi.org/10.1017/s1740022806000118.
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This essay situates the Harlem Renaissance in a world-historical context by building on the global perspective offered by the architect of that renaissance, Alain Locke. It demonstrates that contemporaries like Locke saw the Harlem Renaissance to be a local episode in a broader phenomenon of racial and national renaissance that included post-war developments in Ireland and Mexico. The core argument is that American progressives found in these renaissances three distinct models for defining the proper relationship between race and nation: in the Irish case, a racially homogeneous nation-state premised on a repudiation of the colonizer and his culture; in the Mexican case, a syncretic nation-state based on the cultural and biological fusion of the colonizer and colonized; and in the Harlem case, a pluralist nationstate that held in balance otherwise relatively autonomous races.
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Mubarrok, Noor Zakiy. "‘DISPLACEMENT’, KRITERIA DEKONSTRUKSI PETER EISENMAN." Jurnal Arsitektur KOMPOSISI 11, no. 3 (April 1, 2016): 149. http://dx.doi.org/10.24002/jars.v11i3.1238.
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Abstract: The implementation of deconstruction in architecture presents an extraordinary building, that no rarely lob the name of the designer, no exception for an American architect and theorists, Peter Eisenman. ‘Displacement’ is the notion of Peter Eisenman contains some criteria to implement deconstruction in architecture. The purpose of this research is to explore the thoughts and views of Peter Eisenman about deconstruction in architecture, especially about the notion of ‘displacement’, and its application in the design.Keywords: architecture deconstruction, displacement, peter eisenman Abstrak: Penerapan dekonstruksi dalam arsitektur, menghasilkan karya arsitektur yang luar biasa, yang tak jarang melambungkan nama perancangnya, tak terkecuali Peter Eisenman, seorang arsitek dan teoritikus kebangsaan Amerika. Displacement, merupakan ide yang dicetuskan Peter Eisenman berisi kriteria-kriteria yang harus dipenuhi sebagai upaya menerapkan dekonstruksi dalam arsitektur. Tujuan dari penelitian ini adalah untuk mengeksplorasi pemikiran serta pandangan Peter Eisenman tentang dekonstruksi dalam arsitektur terutama tentang ide Displacement, serta aplikasinya pada rancangan.Kata kunci: dekonstruksi dalam arsitektur, displacement, peter eisenman
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Lucey, Conor. "Owen Biddle and Philadelphia's Real Estate Market, 1798–1806." Journal of the Society of Architectural Historians 75, no. 1 (March 1, 2016): 25–47. http://dx.doi.org/10.1525/jsah.2016.75.1.25.
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The Philadelphia architect and master builder Owen Biddle (1774–1806) contributed to the making of some of the early Republic's most important buildings and is best known as the author of one of the first American-authored architectural books. During the course of his relatively brief career, Biddle's achievements in architecture and theory were profoundly shaped by Philadelphia's distinctive, Quaker-influenced economic and artistic culture. Focusing on two hitherto unknown row houses built by Biddle between 1798 and 1801, Conor Lucey reveals for the first time the business and property interests of this important if enigmatic figure. Viewing Biddle's work against the socioeconomic backdrop of Federal-era Philadelphia, and drawing on previously unexplored archival material, Owen Biddle and Philadelphia's Real Estate Market, 1798–1806 situates Biddle's real estate ventures within the context of the city's early nineteenth-century building world. This study of Biddle's career as builder-developer expands our knowledge of his professional life and our understanding of the formation of his ideas.
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Mentel, Klaudyna, and Zbyszko Bujniewicz. "Analysis of functional program of the building designed for pupils on the autism spectrum disorder, case study of Acland Burghley Resources Centre, London." IOP Conference Series: Materials Science and Engineering 1203, no. 2 (November 1, 2021): 022116. http://dx.doi.org/10.1088/1757-899x/1203/2/022116.
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Abstract The article is a case study for Acland Burghley Resources Centre designed by Christopher Beaver and GA Architects for up to 20 pupils on the autism spectrum disorder. This is the inclusive regular school for 1265 students in London, built in 2011. The small part of the building was designed according to the theory developed by Beaver for students on ASD. The school was classified in third place according to Autism ASPECTSS Scores (Mostafa, 2015, p. 67) developed by Magda Mostafa, professor at the American University of Cairo. The case study is based on the diagrams presented in the article which were prepared on the basis of project documentation and photos of the building provided by the architectural office. These materials were prepared to survey opinions of autism therapists on the impact of individual building elements on people on ASD. Pupils on the autism spectrum have problems with the perception of many stimuli such as light, acoustic, aromatic, and tactile stimuli. It is important that autistic students who cannot cope with the mainstream school have an independent part of the building with the outdoor decking, social area, learning spaces, 1 to 1 activity rooms, seating spots, and escape personal spaces. The architect designed a calm space in which students feel sensory comfort and can improve their cognitive abilities. These were achieved with indirect light, neutral colours, matte textures, and curved walls. The interdisciplinary research proves that the functional and spatial solutions which are provided in Burghley Resources Centre are appropriate for the therapeutic purpose and support the therapy.
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Martínez Molina, Javier. "Juan Bautista Casabona, un indiano en la Zaragoza de la Ilustración: estudio de su casa-palacio (1768-1769), obra del arquitecto Agustín Sanz." Cuadernos de Estudios del Siglo XVIII, no. 23 (October 20, 2013): 101–28. http://dx.doi.org/10.17811/cesxviii.23.2013.101-128.
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Este artículo se ocupa de la casa-palacio de Juan Bautista Casabona en Zaragoza (1768-1769), un indiano enriquecido que regresó a su ciudad natal tras muchos años en América trabajando al servicio de José Antonio Manso de Velasco, virrey del Perú. El edificio fue diseñado y construido en la época de la Ilustración por el importante arquitecto aragonés Agustín Sanz Alós, siendo una de las obras más destacadas de su etapa de afianzamiento profesional, que se desarrolló entre 1762 y 1775. En este escrito, se estudian aspectos tales como: los antecedentes del inmueble, su proceso de encargo, diseño y construcción, o su devenir posterior. También se describe y analiza el edificio desde un punto de vista artístico. La biografía de Juan Bautista Casabona se estudia de manera breve al principio del artículo.PALABRAS CLAVEArquitectura, Ilustración, Barroco Clasicista, Zaragoza, casa-palacio, Juan Bautista Casabona, Agustín Sanz, indiano, Virreinato del Perú, José Antonio Manso de Velasco. This paper is about the Palace-house of Juan Bautista Casabona in Zaragoza (1768-1769), a prosperous Spanish-American who came back to his native city after having spent many years in America working at the service of José Antonio Manso de Velasco, Vice-King of Peru. The building was designed and constructed in the Age of Enlightenment by the well-known Aragonese architect Agustín Sanz de Alós and it is one of the most prominent works of his professional consolidation period, which has developed between 1762 and 1775. The paper addresses aspects such as the history of the building, its ordering, design, and construction processes, or its later evolution. The building is also described and analysed from an artistic viewpoint. The biography of Juan Bautista Casabona is briefly studied at the beginning of the paper.KEY WORDSArchitecture, Enlightenment, Classical Baroque, Zaragoza, Palace-house, Juan Bautista Casabona, Agustín Sanz, Spanish-American, Vice-Kingdom of Peru, José Antonio Manso de Velasco
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Cervero Sánchez, Noelia. "El dibujo. Primera construcción de la arquitectura de Paul Rudolph." VLC arquitectura. Research Journal 6, no. 1 (April 30, 2019): 67. http://dx.doi.org/10.4995/vlc.2019.10967.
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<p>The American architect Paul Rudolph (1918-1997) conceded drawing a fundamental role in his creative process, which corresponded to a highly emotional conception of architecture. During his training and first years of work, he acquired a type of representation that allowed him to convey his personal vision of each project. His relentless will to overcome the International Style was based on six determinants: environment, natural conditions, materials, function, psychological demands of the space and spirit of times, which guided him in the search for answers and marked his work until the end of the sixties, when he achieved his creative maturity. Taking the drawing as the axis of the investigation, we analyse how these factors intervene in his residential projects in Florida, whose tectonics he conceived based on the spatial unit; in his collective housing projects, whose social facet he channelled towards urban modular groups; and in his projects of a monumental scale, whose materiality he imagined and defined accurately. In all of them spatial and constructive decisions relate intimately to his method of representation, establishing a continuous parallelism between drawing and building.</p>
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Barroso del Toro, Alberto, Laura Vivas Crisol, and Xavier Tort-Martorell. "Comparing the Impacts of Sustainability Narratives on American and European Energy Shareholders: A Multi-Event Study Analysing Reactions to News before and during COVID-19." Sustainability 14, no. 23 (November 28, 2022): 15836. http://dx.doi.org/10.3390/su142315836.
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This study analysed how positive, neutral, and negative sustainability news impacted the share prices of American and European energy companies, focusing on short-term market reactions. Our goal was to understand whether or not the sustainability narrative had similar effects on share-holder behaviour in both markets, and whether the COVID-19 pandemic changed the way shareholders invested as they faced uncertainty. We used the event study methodology to analyse the cumulative average abnormal returns (CAAR). We gathered 2134 event studies according to the type of energy source (renewable, fossil fuel or nuclear) and news sentiments. We analysed all global and digital news on sustainability from 2017 to 2020 using the GDELT news database as a source of information, which contains 295,093 viral news stories (high-volume news). The results showed notable differences between the American and European market reactions. The American market was much more optimistic, particularly during the pandemic. At the same time, the European market was more negative, showing declines in prices even in the face of positive news about nuclear and renewable energy. Nevertheless, both markets agreed that nuclear power was still on investors’ agenda. Finally, fossil fuels were less penalised by investors following negative or neutral news than other types of energy and were equally or more rewarded following positive news. So, it could be concluded that fossil fuel investors were less impacted by negative news about the energy market before and during COVID-19. These results could be relevant for policy makers in the context of changing the current shareholders’ narratives and incentives towards an effective sustainable energy transition through the use of new incentives/legislations.
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Wood, Peter. ""... from teat-jerk to quidnunc": A.R.D. Fairburn and the Formation of an Ideology of Architectural Nationalism in New Zealand." Architectural History Aotearoa 3 (October 30, 2006): 44–51. http://dx.doi.org/10.26686/aha.v3i.6799.
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In 1934 ARD Fairburn published the essay "Some Aspects of N.Z. Art and Letters" in the journal Art in New Zealand. In it he criticized Alan Mulgan's book Home: A Colonial's Adventure, which had been first published in 1927, and was reprinted in 1934. It was, in Fairburn's view, an account unacceptably steeped in romantic melancholy for a distant motherland that was no longer as germane as it had once been. Instead he proposed looking to the American Transcendentalists Twain and Thoreau for direction.
Also published in 1934 was a small book from the New Zealand Institute of Architects called Building in New Zealand. In it the NZIA made a case for the professional and social responsibilities of the architect in New Zealand and it is best described as conservative. However it is pertinent that this book was edited by Alan Mulgan. Here the role of the architect in cast in practical terms that bear direct comparison to the code of practice issue for the Royal Institute of British Architects. Mulgan's contribution to discussion on New Zealand architecture is limited to this publication, and it is likely his editorship of Building in New Zealand was motivated more by depression economics than architectural interest. However this book is still an important summary of the profession at that time, and it links architecture to Mulgan's romantic writings though the reiteration of a colonial fountainhead. By contrast Fairburn would go on to champion a national voice for New Zealand's writers, artists, and architects. Moreover he established a close relationship with Vernon Brown, and was to associate with Bill Wilson and the Architectural Group. Indeed, the limited writings available from these architectural associates often echo Fairburn's 1934 call for an antipodean "honesty" in "our" buildings.
It is in the immediate post war period that the emergence of a national architectural expression in New Zealand is most celebrated, being lead in Auckland by Brown, Wilson, and the Architectural Group. However an examination of the writings by Fairburn and Mulgan shows that the elements of the debate were already in place well before then. I conclude that the antecedent for the emergence of debate on a national architectural character appears, however unintentionally, in the 1934 writings of Fairburn and Mulgan. Critical to this is discussion on we mean by "honest" architectural work.
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Kim, Sei-Hill, and Matthew W. Telleen. "Talking About School Bullying: News Framing of Who Is Responsible for Causing and Fixing the Problem." Journalism & Mass Communication Quarterly 94, no. 3 (June 27, 2016): 725–46. http://dx.doi.org/10.1177/1077699016655756.
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Our content analysis examines how American news media have framed the question of who is responsible for causing and solving the school bullying problem. We identified presence of considerable victim blaming in news coverage. Among potential causes examined, victims and their families were mentioned most often as being responsible. When talking about how to solve the problem, the media were focusing heavily on schools and teachers, while bullies and their families—the direct source of the problem—were mentioned least often. We also found that liberal newspapers were focusing more than conservative papers on social-level responsibilities, while conservative papers were more likely than liberal papers to attribute responsibility to individuals, suggesting that the political orientations of news organizations can affect which level of responsibility will be highlighted. Drawing upon the notion of frame building, we discuss in detail how several internal and external factors of news organizations can affect their selective uses of frames.
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Rodger, Johnny. "Putting Holl and Mackintosh in multi-perspective: the new building at the Glasgow School of Art." Architectural Research Quarterly 17, no. 1 (March 2013): 24–36. http://dx.doi.org/10.1017/s135913551300033x.
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The announcement that American architect Steven Holl had won the competition to design a new building for the Glasgow School of Art opposite Charles Rennie Mackintosh's original (built 1897–1909), and the revelation of his plans to the public, provoked plenty of criticism about the possible relationship between the two buildings. Professor William Curtis first wrote on the topic in the Architects' Journal almost a year from the announcement, and his opinions on the relationship were forthright: ‘Rather than dialogue’, he argued, ‘there is a dumb lack of articulation in construction and material.’ A response came in the following issue of the AJ from David Porter, then Professor at the Mackintosh School of Architecture. He disagreed with Curtis, claiming that the new building will have ‘an extraordinary spatial richness’ and that ‘the original sketch Curtis saw in Glasgow last December has progressed very rapidly’, for it was but an early stage in ‘a design strategy driven forward with a mixture of poetics and ruthless pragmatics: qualities that are singularly appropriate in this context, and developed with artistry and skill’.Curtis subsequently wrote a further open letter to ‘the Governors, the Director, the Faculty, Students, Staff, Alumnae and Alumni’ of Glasgow School of Art, which was published in facsimile in the Architects' Journal on 3 March 2011:What a disappointment then to contemplate Steven Holl's proposed addition. It is horrendously out of scale, it dominates Mackintosh, it does not create a decent urban space, it fails to deal with the context near and far, it is clumsy in form and proportion, it lacks finesse in detail, has no relationship to the human figure, and is a stillborn diagram dressed up in Holl clichés such as ‘iceberg’ glass.
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Choi, Won-joon. "Reformation of the American Architectural Institution under the Ethos of Mass Production:The Institutional Project of ″The Architect and the Industrial Arts″ Exhibition (1929)." Journal of Asian Architecture and Building Engineering 6, no. 2 (November 2007): 229–36. http://dx.doi.org/10.3130/jaabe.6.229.
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Li, Yongjie. "A Cross-cultural Study on Female Image Building in Political News—a Case Study of Chinese and American Newspapers." Creativity and Innovation 6, no. 3 (2022): 55–65. http://dx.doi.org/10.47297/wspciwsp2516-252715.20220603.
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Lanosga, Gerry, and Jason Martin. "Journalists, sources, and policy outcomes: Insights from three-plus decades of investigative reporting contest entries." Journalism 19, no. 12 (December 28, 2016): 1676–93. http://dx.doi.org/10.1177/1464884916683555.
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This study of American investigative reporting from 1976 to 2012 examines a random sample (N = 757) of prize contest entry materials created by journalists. This novel data source and methodology allow for analysis of the dynamics of journalistic process rather than relying on assumptions drawn from published news content. The results provide a fuller and more sophisticated explanation of how investigative journalism is related to democratic governance, including fresh insight into journalist/source relationships, story triggers, policy outcomes, and agenda-building relationships among journalists, sources, and policymakers. A model for predicting policy agenda-building in investigative journalism is proposed and tested based on attributes of the reporting process, policy results, and other actions by public officials produced by journalists’ investigations. While the analysis indicates a key role for sources in the origination of investigative news stories, it also reveals a more prominent place for journalistic enterprise than previously acknowledged. At the same time, investigative stories that are initiated by tips from sources and that have a more diverse array of sources are more likely to achieve substantive policy results. Overall, the findings point to a greater degree of interdependence among investigative reporters and policymakers that challenges conceptions of journalists as passive recipients of information but also reveals the limitations of news organizations’ ability to independently spark policy change.
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Cabeza-Lainez, Joseph, Jose-Manuel Almodovar-Melendo, and Inmaculada Rodríguez-Cunill. "The Search for Sustainable Architecture in Asia in the Oeuvre of Antonin Raymond: A New Attunement with Nature." Sustainability 14, no. 16 (August 18, 2022): 10273. http://dx.doi.org/10.3390/su141610273.
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The American architect Antonin Raymond carried out intense work in Japan from 1920 to 1970. Firstly, coming to Japan to collaborate with Frank Lloyd Wright in the Imperial Hotel almost as an apprentice; unexpectedly, he was to change the game for Nipponese design and construction arts, creating at the same time the path to what currently stands out as a key example of modern environmentally conscious architecture. Due in part to his advanced stance in the profession, architects who now seem pivotal to the rising of a progressive movement in the island-nation were related to Raymond’s wake and influence, including Junzô Yoshimura, Kunio Maekawa, and Kenzô Tange. For these reasons, and given the fact that most of the building typologies he designed were previously nonexistent, his oeuvre caused a great impact and consideration, straddled as it is between nature and culture. Such prominent and visionary work, ahead of stylistic Western postulates, often related to mere abstraction, has not been sufficiently recognized in the history of building design. Consequently, the authors propose to settle in this article some of the most significant developments of Raymond’s work through his projects and ideas that intended to preserve the environment, such as integrated landscape and orientation to benefit from the sun and breezes, favoring ventilation through adroit design and extensive use of local material left untreated. These hard to assimilate notions would show that Raymond embodied in his work a profound respect for nature and traditions, rooted by its part in Daoism and Shintoism, which paved the way for subsequent innovations of early sustainability in the architectural domain.
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Díaz Castillo, Jorge Nelson. "Aragón en Sevilla. El sentir identitario aragonés a través del pabellón de Aragón de la Exposición Iberoamericana de Sevilla de 1929: obra del arquitecto Pascual Bravo Sanfeliú." Artigrama, no. 37 (June 30, 2023): 331–61. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379221.
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Resumen
Este artículo se ocupa del análisis del pabellón de Aragón de la Exposición Iberoamericana de Sevilla de 1929 como reflejo del sentir identitario aragonés del primer tercio de la pasada centuria. Su proyecto fue suscrito, en 1928, por el arquitecto Pascual Bravo Sanfeliú (Zaragoza, 1893-Madrid, 1984), quien lo concibió como un conjunto unitario en el que continente y contenido participarían en el propósito de representar ‘vigorosamente el espíritu aragonés’. De hecho, su alianza permitió ofrecer una imagen de Aragón expresiva de que, al mismo tiempo que estaba comprometido con su herencia histórica, tenía también presente su potencial modernidad. De acuerdo con ello, nuestro objetivo se centra en la contextualización de este edificio y de la muestra exhibida en su interior en el panorama cultural coetáneo para, así, concretar su contribución a la definición de la identidad aragonesa durante el período referido.
Abstract
The purpose of this article is to analyze the Aragon pavilion at the 1929 Ibero-American Exposition in Seville as a reflection of Aragonese identity in the first third of the XX century. The project was designed in 1928 by architect Pascual Bravo Sanfeliú (Zaragoza, 1893-Madrid, 1984), who conceived it as a unitary whole in which container and content would participate in the purpose of representing ‘vigorously the Aragonese spirit’. In fact, their alliance made it possible to offer an image of Aragon that expresses the fact that, while being committed to its historical heritage, it was also mindful of its potential modernity. Accordingly, our objective focuses on the contextualization of this building and the exhibition displayed inside it in the contemporary cultural panorama in order to determine its contribution to the definition of Aragonese identity during the period under study.
Keywords
Pascual Bravo, Aragonese architecture, Regionalism, Ibero-American Exposition, Cultural identity.
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Lawrence, Eric, John Sides, and Henry Farrell. "Self-Segregation or Deliberation? Blog Readership, Participation, and Polarization in American Politics." Perspectives on Politics 8, no. 1 (March 2010): 141–57. http://dx.doi.org/10.1017/s1537592709992714.
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Political scientists and political theorists debate the relationship between participation and deliberation among citizens with different political viewpoints. Blogs provide an important testing ground for their claims. We examine deliberation, polarization, and political participation among blog readers. We find that blog readers gravitate toward blogs that accord with their political beliefs. Few read blogs on both the left and right of the ideological spectrum. Furthermore, those who read left-wing blogs and those who read right-wing blogs are ideologically far apart. Blog readers are more polarized than either non-blog-readers or consumers of various television news programs, and roughly as polarized as US senators. Blog readers also participate more in politics than non-blog readers. Readers of blogs of different ideological dispositions do not participate less than those who read only blogs of one ideological disposition. Instead, readers of both left- and right-wing blogs and readers of exclusively leftwing blogs participate at similar levels, and both participate more than readers of exclusively right-wing blogs. This may reflect social movement-building efforts by left-wing bloggers.
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SERDALI, B. K. "WAYS TO PUBLISH PUBLICATIONS." Iasaýı ýnıversıtetіnіń habarshysy 125, no. 3 (September 15, 2022): 316–25. http://dx.doi.org/10.47526/2022-3/2664-0686.28.
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Decades ago, people hurried to read newspapers. He was ready to count to the last penny in order to buy an interesting edition. At that time, the format and size of the newspaper were different, external beauty was not paid much attention to, it was strict, standard, gray. There were long columns and sloppy lyrics. However, the public was interested in the abundance of news on the pages of the publication. It is not easy to please the modern reader. Television, radio, computers, various CD-MD-DVD players, satellite and cable TV channels attract audiences and make periodicals uncompetitive. However, editors of newspapers and magazines tend to compete and consider different ways to meet the needs of the reader. Undoubtedly, there is room for an attractive design of the publication. The designer and layout designer of a newspaper can be compared to an architect and a builder, and the main elements of the design of a newspaper can be compared to the bricks from which a building is being built, that is, a newspaper issue. Designers and layout designers solve a complex of problems related to the plan of this construction – with the composition of numbers and bands, with the placement of materials, etc. The composition of the pages depends on the composition of the entire issue of the newspaper, which in turn is determined by the content of the published materials and their nature. In almost every newspaper, a more or less stable composition is gradually taking shape, which means the design of the pages, the main sections and headings characteristic of this publication. The article discusses some methods of layout of newspapers and magazines.
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Kucharzewska, Joanna. "Architektoniczny eksperyment u podnóża Chińskiego Muru." Art of the Orient 1, no. 1 (2012): 73–88. http://dx.doi.org/10.15804/aoto201204.
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At the foot of the Great Wall of China, near the town of Badaling, SOHO Small Office – Home Office in 2000 started constructing 59 detached guesthouses. Each of them was to be equipped with extensive cultural, entertainment, and business facilities. The creators of the project, the owner of the design office, Mr. Shiyi and his wife Mrs. Zhang Xin, invited 12 renowned architects to their endeavor, and gave them total freedom of creation. Although the project was charged with a high level of risk, and its final shape was difficult to predict, it became an unprecedented success, even though available only for a narrow group of affluent residents of the Middle Kingdom, as well as curious tourists from Western Europe and North America. The edifices, constructed over a period of 10 years, are probably more recognized in the western world than in China; it can be attributed to the exhibition of the design at the Venice Biennale in 2002, during which it was honored with a special prize. Additionally, the names of architects, brands in themselves, attracted the attention of critics and experts in architecture, who were particularly interested in the outcome of the encounter of great architectural individualities while creating Commune by the Great Wall. Three Japanese architects took part in the project. Kengo Kuma called his edifice Great Bamboo Wall (2000-2002), from the type of material employed for creating external-wall cladding as well as internal partitions; Shigeru Ban in his design, Bamboo Furniture House, used bamboo veneer lumber to create furniture to be prefabricated and used as the main component in addition to the exterior and interior walls. Finally, Nobuaki Furuya’s Forest House aimed at carrying out his own concept of architecture as a place of safety (asylum). Kanika R’kul, who carries out her designs mainly in Taiwan, presented Shared House that was its form similar to the practice of American modernism. A significant factor turned out to be the education in architecture that R’kul obtained at one of Californian universities, and her familiarity with American modernism as well as the activities of so-called “New York Five”. The motive behind the activities of another architect, Cui Kai, was primarily to obtain different views from inside the house, which was highlighted by the name of the project, See and Seen House. Antonio Ochoa Piccardo from Venezuela, the only author of non-Asian origin, though connected with Asian world for many years via designing edifices for SOHO office, also tried to provide variety of visual experience for the audiences of another guesthouse, Cantilever House. On the one hand, via employing raw concrete, Béton brut, it was homage to Le Corbusier, on the other hand, it expressed respect to the surrounding nature, articulated with using sienna pigment as wall dye. Rocco Yim from Hong Kong, the author of Distorted Courtyard, in a veiled mode drew from the traditions and practices of a typical house with a courtyard, and Kay Ngee Tan from Singapore subjected his design, The Twins, to surrounding nature, using local stone as his building material. The name of another guesthouse, Split House, contains the original design idea of a Chinese architect, Yung Ho Chang. The building was made with one piece that was cut and its parts were diagonally spaced. Two following projects were born from a desire to experiment in the field of mass solutions or the arrangement of the interior; they became an unique interjection of the local landscape and forced the audiences to change their habits. The first, Airport House by Chien Hsueh-Yi from Taiwan, resembled a section of an airport building. The second, the now famous Suitcase House by Gary Chang from Edge Design Institute, allowed for creating multiple spatial combinations with mobile walls and corners hidden under the floor. The crowning element of Commune by the Great Wall is a multi-functional clubhouse designed in 2001 by a world-renowned South Korean architect, Seung H-Sang of the Iroje Architects & Planners design office. As the concept of Commune by the Great Wall developed and new guesthouses were constructed, the clubrooms also enlarged. In 2005 Seung H-Sang returned to the project. The Commune by the Great Wall project supported by SOHO Studios combines pavilions that are extremely modern with more traditional ones; others constitute a subtle link between local color and a playful functionalism. The eleven edifices presented above constituted prototypical solutions, followed by numerous replicas across the land. Currently, Commune by the Great Wall is an exclusive leisure and entertainment area subject to the Kempinski hotel brand with appropriate promotion and an extensive marketing program, e.g. advertisements on websites and in prestigious journals, such as Business Week. A bold experiment from a Chinese developer has become an alternative for tourists from around the world, looking in China not only examples of centuries-old culture, but also the visual signs of a developing country that follows modern trends.
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Krason, Stephen M. "Liberal Authoritarianism." Catholic Social Science Review 28 (2023): 203–8. http://dx.doi.org/10.5840/cssr20232838.
Full textAbstract:
In this article, SCSS President Stephen M. Krason examines the increasingly authoritarian trend present in American liberalism, particularly with regard to the matter of free speech. Once firm supporters of the ideal, today’s liberals are increasingly against it. The author provides a number of examples of this trend, citing suppression via government overreach and officially-issued mandates, the stifling of alternative news media outlets, and the worrisome pattern of censorship on university campuses across the country. This ongoing program of suppression constitutes a form of tyranny, and makes hypocrites of those engaging in it. There are also signs that there may be a backlash building against this trend, but it will take some effort on the part of the defenders of free speech to make it happen.