Academic literature on the topic 'Architectonic space'
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Journal articles on the topic "Architectonic space"
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Wagner, Kirsten, and Jonathan Blower. "Animating Architecture: Empathy and Architectonic Space." Art in Translation 6, no. 4 (December 2014): 399–435. http://dx.doi.org/10.1080/17561310.2014.11425537.
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Kapliński, Oleg. "ON MORPHOLOGY OF BUILT-UP SPACE." Engineering Structures and Technologies 11, no. 2 (October 14, 2019): 74–77. http://dx.doi.org/10.3846/est.2019.10495.
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Kacmaz Erk, Gul, and Blayne Fulton. "Cinematic and Architectonic Space in Tarkovsky's "Solaris"." International Journal of Arts Theory and History 7, no. 3 (2013): 27–38. http://dx.doi.org/10.18848/2326-9952/cgp/v07i03/36226.
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Margenot, John B. "Architectonic Space in Jesus Fernández Santos’Los bravos." Studia Neophilologica 63, no. 1 (January 1991): 107–12. http://dx.doi.org/10.1080/00393279108588065.
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Sun, Z. B., X. W. Zou, W. Guan, and Z. Z. Jin. "The architectonic fold similarity network in protein fold space." European Physical Journal B 49, no. 1 (January 2006): 127–34. http://dx.doi.org/10.1140/epjb/e2006-00026-0.
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KLEIN, GEORG. "From the sound installation to the sound situation: on my work transition – berlin junction eine klangsituation." Organised Sound 8, no. 2 (August 2003): 187–93. http://dx.doi.org/10.1017/s1355771803000098.
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Since mid-1999 I have been working on an expanded concept of musical space not only incorporating space according to its spatial characteristics in the narrow sense (acoustic, architectonic, sculptural, perspective and ambient). Beyond this my installation works conceive of space in its site-specificity, usually existing in several layers: a social layer, a historical-political layer and a situational layer. This concept of space is thus not limited to interior spaces and architectonic-formal relationships, a position which naturally also defines my working methods: only subjective, on-site research yields the theme and concept of an installation. I call such installations sound situations, following the ‘conscious creation of situations’ conceived by Guy Debord (International Situationists) in the 1950s. This means first that I open myself up to situations – usually in public spaces – in order to sense their site-specific tensions and to draw them out in all their possible relationships. Secondly, I alter these situations in order to make them more dense through intensification. The concept can be defined as articulating the space, the site; for this reason I prefer to work with site-specific acoustic and visual material found at the site, but also introduce foreign material when it serves to reinforce communication with the site and its occupants and visitors.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.
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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Vasov, Miomir, Dragan Cvetkovic, Veliborka Bogdanovic, and Igor Bjelic. "Assessment of reliability predictions of the reverberation time by using the architectonic software package Ecotect." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 359–70. http://dx.doi.org/10.2298/fuace170808022v.
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Contemporary architectonic design mostly relies on the software tools which enable the engineers to analyze multiple factors affecting a space, and to timely detect and correct certain errors in designing, resulting from attempting to satisfy certain aspects of a space at the expense of others. Those tools which apart from architecture itself also consider other fields of science, depending on the function of these areas are important; thus in the lecture halls designing process, adequate software for analysis is used. In addition to a number of acoustic parameters characterizing the acoustic response of a room, in terms of design, one of the most important factors affecting the acoustics of the indoor areas is reverberation time, which is characterized by the architectonic parameters: room volume (dimensions), shape (form) and materialization (finish material). In this paper, for the purposes of acoustic analysis of the A amphitheater, the parametric values obtained in two ways, by experimental measuring and by software - Autodesk Ecotect and Autodesk Revit Architecture are compared. The software is increasingly used in contemporary architectonic software because of the option to analyze acoustics of indoor space, so there is a need to analyzed the values provided by the software and compare them with actually measured reverberation time.
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Jovanovic, Goran. "Flexible organization of floor composition and flexible organization of dwelling space as a response to contemporary market demands." Facta universitatis - series: Architecture and Civil Engineering 5, no. 1 (2007): 33–47. http://dx.doi.org/10.2298/fuace0701033j.
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The paper presents the application of the principle of flexibility of architectonic space on the concrete example of flat composition. This example demonstrates that with a proper choice of structural spans dimensions and regular arrangement of sanitary and ventilation vertical assemblies, a structure with high flexibility in terms of flat space organization and floor space organization, can be achieved.
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Voet, Caroline. "The poetics of order: Dom Hans van der Laan's architectonic space." Architectural Research Quarterly 16, no. 2 (June 2012): 137–54. http://dx.doi.org/10.1017/s1359135512000450.
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The Dutch architect and monk, Dom Hans van der Laan (1904–1991) leaves us with a legacy of architectural writings and realisations arising from his search for fundamental principles of architecture. His 1977 manifesto Architectonic Space aims to combine spatial philosophical concepts with practical design tools [1, 2]. The book is a series of fifteen lessons linking concepts, such as the relationships of inside-outside or mass-space, to his proportional series which he refers to as the Plastic Number. This article aims to offer an understanding and critical assessment of Dom van der Laan's poetics of order by unravelling how his buildings are made and how they are perceived [3]. I focus on the case study of the Jesu Moder Marias Convent in Tomelilla, Sweden.
Dissertations / Theses on the topic "Architectonic space"
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Pflumm, Bernd A. "Kine ti um : an architectonic artefact." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033634.
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The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception.Department of Architecture
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Dickson, Erin. "The quirks of intimate space : architectonic art practice translated through digital technology in glass." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6496/.
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This research explores aspects of architectural phenomenology as evidenced in the ‘quirk’, described here as a peculiarity or idiosyncrasy of a building’s personality. Using digital technology, this study frames and contextualises a body of sculpture, performance and installation in glass that interprets personal ideas of home through social, cultural and emotional connections. The research is focused on exposing the quirk to anthropomorphise the site, expressing its familiar and intimate nature. Previous research in creative glass has used digital design and manufacturing technology in studies that contribute primarily to the practical advancement of CAD/CAM processes. This new research applies such techniques, but is instead focused on their capacity to record, translate and realise ideas in relation to the quirk of the architecture. This approach translates quirks through data capture to visualise aspects of architectural phenomenology, which is defined in this context as the embodied, personal and sensory experience of space. A methodology which adapts architectural practice has been applied to provide a creative, flexible framework of site selection, discovery of the quirk and its translation, realisation and analysis. The four bodies of work described in this PhD include a monumental architectonic sculpture, a series of ‘window’ panels created using photographic imagery, a kinetic subterranean installation and a time-based performance of the experience of sleeping on glass. The contribution to knowledge can be claimed through a model of practice that utilises phenomenology through the translation of the architectural quirk to create a unique and diverse body of artwork; and the development of original working methods for waterjet cutting and kiln-forming to produce architectonic sculpture and imagery in glass. This PhD offers an example of the application of architectural phenomenology for those wishing to use architecture as inspiration for artwork.
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Vieira, Júlio Luiz. "Vias de aproximação para uma leitura da condição espacial na arquitetura." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-11092015-085047/.
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O objeto de estudo desta tese é o conjunto de fatores que determina uma condição para a vitalidade dos espaços na arquitetura, em particular, nos edifícios inseridos no meio urbano. Para caracterização e registro desta condição, empreendeu-se um conjunto de leituras espaciais tendo como objeto oito obras emblemáticas pertencentes à cultura arquitetônica internacional. Os elementos conceituais que deram suporte às leituras, chamados de \'vias\', foram formulados tendo como base um referencial teórico que trata da análise do espaço na arquitetura e de seus recursos gráficos. A hipótese subjacente é a de que a leitura da arquitetura por meio do exame de suas representações gráficas, quando conduzida com base metodológica, tem a capacidade de revelar aspectos essenciais de sua condição espacial. O objetivo foi compreender a relação entre os conceitos pensados para os espaços na arquitetura e as formas espaciais decorrentes destes. O estudo indicou que a estrutura temática sugerida e os recursos gráficos que dela derivaram não apenas revelaram-se ferramentas de auxílio importantes às leituras mas também se mostraram fundamentais para muitas demonstrações empreendidas concernentes à condição espacial arquitetônica.The object of this thesis is the set of factors that determines a condition for the vitality of the spaces in architecture, in particular in buildings inserted into the urban environment. To characterize and record this condition, undertook a set of spatial readings on eight emblematic works of the international architectural culture. The conceptual elements that supported the readings, called \"ways\", were formulated based on a theoretical framework that deals with the analysis of space in architecture and its graphics. The underlying assumption is that the architecture reading by examining their graphical representations, when conducted on a methodological basis, has the ability to reveal key aspects of spatial condition. The objective was to understand the relationship between the concepts on the spaces in architecture and their resulting spatial forms. The study indicated that the thematic structure suggested and its graphics features not only proved to be important tools to aid readings but were also critical to many demonstrations undertaken concerning the architectural space condition.
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Cousineau, François. "Architectonie : espace sacré /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
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Kenniff, T. "A dialogical investigation into the architectonics of designing public space at Barking Town Square." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1400390/.
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This thesis is an exploration of identity, public space and design in the town of Barking, London England, where a new Town Square was produced between 2000 and 2010. Designed by muf architecture/art (public realm) and Alford Hall Monaghan Morris Architects (buildings), the Barking Town Square, as will be seen in this research, is a telling moment of urban and public space development of its period. Consequently, the project raises significant questions about the evolving identity of its participants and publics, the value of public space in the contemporary city, and the relationship between design authority and public participation. It develops the concept of dialogue, from the Bakhtinian theory of dialogism, as a conceptual paradigm for identity, public space and design, recasting the initial investigation into an exploration of alterity (individuals and publics cannot be conceived outside of their situated relations to others), spatial heteroglossia (public space as a production of different discourses) and practical ambivalence (the blurring of boundaries to activate the social and political potential of design). The thesis thus investigates, in Bakhtinian terminology, how different voices inflect the polyphonic landscape of public space, particularly in the context of urban regeneration and the relationship between ideal projections (of publics, of public spaces, of design concepts) and their challenge in the everyday use and management of such places. Furthermore, the inherent ambivalence of dialogue—particularly its openness and the way it allows contradictions to co-exist—is traced throughout as a common thread uniting the questions raised by the Barking Town Square project and those of theory. The methods of investigation emphasise interviews, participant-observation and fieldwork, capturing a project that existed for the duration of my research in a state of becoming.
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Křenková, Anna. "Architektonická studie sakrálního objektu Brno - Líšeň." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414265.
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The assignment of this diploma thesis is design proposal of a new roman catholic church and parsonage with parish centre inside stabilised existing development of slab block housing estate in Nová Líšeň, Brno. The need for church has emerged shortly after completion of the housing development and intensified alongside the growth of believer community created around Salesian centre that has been active in the area since 90’s and focuses on upbringing of youngsters through Don Bosco’s educating methods. Masses have been held so far in the gym of the Salesian centre with about 250 Sunday visitors. The church ought to be designed near the centre and dedicated to Holy spirit so that it serves both community and wider range of believers at the housing estate. The thesis deals with church, parsonage with parish centre and housing development relationship. It’s attempting to answer the question how the church connects to the housing estate and communicates its mission to its surroundings. The design proposal is based on urban context analysis, analysis of Salesian congregation and conditions of the building plot. The composition consists of two functional parts that are connected. First part consists of the church building design with 300 seated and 100 standing visitors capacity per mass and technical support areas. Second functional part is made of the parish centre with community hall for 100 people, educational room, parish offices and accommodation for members of congregation. The design content is supplemented with design of semi-public space, solution to traffic service and parking and design of parish orchard.
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Tanzi, Neto Adolfo. "Arquitetônica social escolar: um estudo sócio, histórico e cultural sobre as relações de poder e controle nos espaços, artefatos e discursos." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19527.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Conselho Nacional de Desenvolvimento Científico e Tecnológico
This doctoral thesis, situated in the field of Applied Linguistics, seeks to address the role of language in different school settings. Through the study of three distinct schools of the Brazilian public education, a more traditional one, another full-time with experimental involvement projects with students and the last one with democratic principles without walls, classes, grading or classification. The present research pursues to answer how the relations of power and control in social positions and discursive mediation artefacts constitute a specific school space and thus, influence the conscience formation of its participants. The research also investigates how a school space, and its relationship with a distinct physical space, contributes to different possibilities of social positions of psychological tools and discursive artefacts. Therefore, based on a socio historical cultural research, exploring the concept of mediation [oposredovanie] Vygotsky (1978, 1981, 1987, 2009 [1934]), we seek to understand how the human cultural development is being performed and how participants of this culture are mutually shaped, for being social, cultural and institutionally situated. From the reflections of Bakhtin (2010 [1924]) and Bernstein (2003 [1990], 1996, 1999, 2000) other aspects are analysed. The first author bolsters this research with studies on the architectonic form, aesthetic and genre, in which we attempt to understand the verbal-visual mass of an architectonic whole and thus, understand their interdependencies, its dialogical and axiological positions in architectonic form that governs the construction of a verbal-visual mass. The second contributed with studies on the relations of power and control within an institution that tend to govern the forms of communication or open spaces for different forms of communication to be materialised. This research indicated that it is possible to break the boundaries of power and control, discourses and regulatory practices of more traditional physical and social school spaces and therefore, break the invisible barriers, offering a more horizontal space of social positions, exchange, identities and voices of its participants. In this sense, we believe that it is possible to reconfigure the architectonic form of any physical and social space in order to propose different relationships between agents, hierarchical rules etc. To this end, we note the importance of the verbal-visual productions in different school spaces, which favoured the voice of the student, reconfiguring their dialogic and axiological positions in the architectonic form of the school social space. Thus, even in a more traditional organizational and pedagogical space context, we found that the social basis, the voice and identity of students, when privileged, generated a school closer to students, which engendered feelings of belonging and school recognition relationship as a change agent for achievement of future dreams
Esta tese de doutorado, situada no campo da Linguística Aplicada, nasce da necessidade de discutirmos o papel da linguagem em diferentes contextos escolares. Por meio do estudo de três escolas distintas da rede pública brasileira de ensino, uma mais tradicional, outra com projetos experimentais de envolvimento dos alunos e período integral e outra com princípios democráticos sem paredes, aulas, seriação ou classificação, a pesquisa busca responder como as relações de poder e controle nos posicionamentos sociais e nos artefatos discursivos de mediação constituem-se em um espaço escolar específico e, assim, influenciam na formação da consciência dos seus envolvidos. A pesquisa investiga, também, como um espaço escolar e sua relação com um espaço físico distinto contribuem para diferentes possibilidades de posicionamentos sociais, de ferramentas psicológicas e de artefatos discursivos. Para tanto, embasados em uma pesquisa de cunho sócio, histórico e cultural, explorando o conceito de mediação [oposredovanie] de Vygotsky (1978, 1981, 1987, 2009 [1934]), buscamos a compreensão de como se dá o desenvolvimento cultural humano e como os participantes dessas culturas são mutuamente modelados, por estarem social, cultural e institucionalmente situados. A partir das reflexões de Bakhtin (2010 [1924]) e de Bernstein (2003 [1990], 1996, 1999, 2000) outros aspectos são analisados. O primeiro autor ampara esta pesquisa com os estudos sobre forma arquitetônica, estética e gênero, nos quais buscamos entender a massa verbo-visual de um todo arquitetônico e, assim, compreender as suas interdependências, suas posições dialógicas e axiológicas na forma arquitetônica que governa a construção de uma massa verbo-visual. O segundo contribui com os estudos sobre as relações de poder e controle dentro de uma instituição, que tendem a governar as formas de comunicação ou a abrir espaços para que diferentes formas de comunicação insurjam. Esta pesquisa apontou para o fato de que é possível quebrar as fronteiras de controle e poder, de discursos e práticas reguladoras de espaços físicos e sociais escolares mais tradicionais e, assim, romper com as barreiras invisíveis, oferecendo um espaço de posicionamentos sociais mais horizontal, de troca, de identidades e vozes de seus participantes. Nesse sentido, entendemos que é possível reconfigurar a forma arquitetônica de qualquer espaço físico e social, de modo a propor diferentes relações entre agentes, regras hierárquicas etc. Para tanto, notamos a importância das produções verbo-visuais, nos diferentes espaços escolares, que privilegiavam a voz do aluno, reconfigurando suas posições dialógicas e axiológicas na forma arquitetônica do espaço social escolar. Assim, mesmo em um contexto de organização de espaços e orientação pedagógica mais tradicional, constatamos que a base social, a voz e a identidade dos alunos, quando privilegiadas, geram uma relação mais próxima de pertencimento escolar e de reconhecimento da escola como agente de mudança para conquista de sonhos futuros
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HSI, SHIH-PIN, and 席時斌. "The architectonic sculpture-a study about structure and space." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/s4xemk.
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碩士國立臺北藝術大學
造形研究所
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Creation Theoretic Abstract： The architectonic in sculpture - it is defined as: “Those kinds of construction relating to the systematic of all knowledge in the formation of sculpture.” Main targets are behavioral pattern & methodology used in artistic creations. The term “architectonic” originated in the book “Critique of Pure Reason, 1781) by Immanuel Kant; the author attempted to probe into correlative phenomenon between structure & space. Main topic is segmented into basic foundations of “physical structure” & “psychic place”; departing from the angle of rationalistic systemized knowledge, encompassing development between sculpture & schools of mathematics, engineering, and anatomy. In this investigative study on formation process of 3-dimentional artistic creations, the author will employ basic observation structures of “phenomenology” & “post-structuralism”; probing from the angles of “mechanic” & “social function”, varying from bodily function of individual works through to “collective form” vis-à-vis individual works vs. cluster groups. Interpretation & reference shall be provided for the creator’s theoretic description, when compared to the actual piece. In latter sections of the study, description of recent trials in artistic creations which attempt to synthesize both structural space & poetic language will be provided, explaining interconnectivity between structural form relevant to creator’s inherent linguistics, in relations to exogenous field of the human spirit. Such data shall suggest verified direction for continuant creations in the future. During the scripting of the summary, the author shall use personal interpretation of “architectonic” vis-à-vis structural description; under “assimilation” & “dissimilation” assumptions, probe & observe correlation between present day phenomenon of sculpture & digitalization, as well as sculpture & architecture. Via the extension of present day elements, hopefully providing alternate referential value, through redefining material, structure, and space.
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Proença, Carolina Dos Santos Silva Almodôvar. "Entre as Folhas: O Homem, os Monstros e os Animais Verdes na Arte Medieval Portuguesa (Séculos XII-XV)." Master's thesis, 2021. http://hdl.handle.net/10362/123175.
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Contrariando a produção historiográfica internacional, a historiografia da arte em Portugal ainda não se concentrou a fundo no tema iconográfico geralmente designado como green man, apesar de a sua presença ser bastante substancial na arte medieval portuguesa. Com este estudo pretendemos dar arranque à análise da referida temática, partindo de uma metodologia que se quis o mais englobante possível a nível cronológico dentro dos limites do que é considerada a Baixa Idade Média, e também geográfico, dentro da totalidade do território nacional. Para começar, foi necessário esclarecer a pluralidade de tipologias e valências da grande família constituída por este tema iconográfico, uma vez que esta levanta muitas questões e ainda se encontra no processo de discussão e definição. Assim, a iconografia em causa acaba por adoptar diversas nomenclaturas conforme o que é representado e como é representado. Orientámos a nossa investigação no sentido de traçar uma cronologia de evolução da iconografia que está no cerne deste trabalho, no território que é actualmente Portugal, através da recolha de exemplares por todo o país. Esta tarefa guiou-se igualmente pelo propósito de compreender a génese do tema do homem verde neste território, e perceber, também, se se verificou ou não a importação da mesma. Se sim, a partir de que outras geografias, ordens monásticas ou correntes estéticas. Tentámos com este exercício verificar em que locais o green man era representado com maior incidência, dentro do espaço sagrado ou dentro do espaço disponível nos suportes onde é representado, e que implicações essas diversas localizações teriam a nível da intenção simbólica com que a iconografia foi produzida nos seus vários contextos. Acabámos por chegar à conclusão de que a máscara de folhagem, como também é chamada, não se trata de uma iconografia tão marginal como se possa à partida pensar. A posteriori, ao atentarmos nesta diacronia que foi construída, facilmente damos conta da divergência entre predominâncias de tipologias de representação na transição entre o auge da arte românica e o início da arte gótica, bem como novas localizações dentro do espaço sagrado, e noutros suportes, nos anos do Gótico. Concluímos, através desta averiguação espacial, que o homem verde se comporta de uma maneira ligeiramente díspar em termos simbólicos, entre as cronologias do que vulgarmente designamos por Românico e Gótico. Tentámos, de igual modo, apreender a diferença operada nestas duas fases artísticas no que respeita a esta iconografia a nível internacional, e com esta perspectiva contextual propusemo-nos a encontrar distinções entre os casos portugueses e os estrangeiros, no que se refere a preferências, regionalismos, diferenças cronológicas, eventualmente inovações específicas do território onde focamos o nosso estudo. De modo a alcançarmos o objectivo enunciado, optámos por afunilar o exame da iconografia em seis estudos de caso paradigmáticos, que nos permitiram explorar as diversas questões colocadas em casos práticos. Concluímos, finalmente, através destes estudos de caso, que as cabeças foliáceas em Portugal se revestem de uma presença e expressão muito particulares, acabando por se moldar às especificidades da arte e arquitectura neste país.Unlike the international historiographic production, the art historiography in Portugal has not yet focused profoundly on the iconographic theme generally known as green man, despite its presence being substantial in Portuguese medieval art. With this dissertation we aim to analyze this theme, starting from the most global methodology possible in terms of chronology within the limits of the Late Middle Ages, and geography within the border of the national territory of Portugal. Firstly, we felt the need to illustrate the typological plurality of this big family, constituted by the theme of the green man, since it raises many issues and is still being discussed and defined. As such, the present iconography ends up adopting a diversity of names according to what is represented and how it is represented. We chose to guide our investigation in a way that would enable us to produce a chronological evolution of the mentioned iconography, in the territory that is today considered Portugal, through the collection of samples throughout the whole country. The former task was guided by the purpose of understanding the genesis of the theme of the green man in this territory, and to understand if we can see if there was an importation, or not, and if there was, from which geographical areas, monastic orders or aesthetic movements. With this exercise we attempted to establish what were the places in which the green man was represented more frequently: within the sacred space or within the available space in the media in which it was imprinted, and what symbolic implications these diverse locations have in the multiple contexts where the green man was represented. We came to the conclusion that the foliate mask, as it is also called, is not so much a marginal iconography as one would possibly consider at first glance. A posteriori, by observing this built diachrony, we easily notice the divergence between typologies of representation in the transition between the epitome of the Romanesque art and the beginning of the gothic art, as well as the new locations within the sacred space, and in other media, in the years of the Gothic. We concluded, with this spatial examination, that the green man behaves in a slightly different manner in the symbolic field, between the chronologies that we usually call the Romanesque and the Gothic. We tried, in an equal manner, to apprehend the difference operated in these two artistic phases in the international conjuncture, and with this contextual perspective we propose to find the distinctions between the Portuguese examples and the foreign ones, in terms of preferences, regionalisms, chronological differences, and eventually, specific innovations of the territory where we decided to site our work. To reach the goal, we opted for restricting our analysis of the iconography in six paradigmatic cases of study, which enabled us to better explore the various questions we proposed to answer in a more practical manner. Finally, we concluded, through these case studies, that the foliate head in Portugal ‘wears’ a very particular presence and expression, ending up adapting itself to the specificities of the art and architecture in this country.
Books on the topic "Architectonic space"
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Pedersen, Poul Bæk. Rummet og det arkitektoniske objekt =: Space and the architectonic object. [Århus]: Fonden til udgivelse af arkitekturværker, Arkitektskolen i Aarhus, 1994.
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Idalovichi, Israel. Eidostectonic: The architectonic of the conceptual - ideographic organon. [Jerusalem?]: Maxwell-Macmillan-Keter, 1991.
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Laan, H. Van Der. Architectonic Space: Fifteen Lessons on the Disposition of the Human Habitat. Brill Academic Publishers, 1997.
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Press, University of Ottawa, and Vicki Bennet. Sacred Space and Structural Style: The Architectonic Embodiment of Socio-Religious Ideology (Religion and Beliefs Series). University of Ottawa Press, 1998.
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Bogdanovic, Jelena. The Framing of Sacred Space. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190465186.001.0001.
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The Framing of Sacred Space offers the first topical study of canopies as essential spatial and symbolic units in Byzantine-rite churches. Centrally planned columnar structures—typically comprising four columns and a roof—canopies had a critical role in the modular and additive processes of church design, from actual church furnishings in the shape of a canopy, to the church’s structural core defined by four columns and a dome. As architectonic objects of basic structural and design integrity, canopies integrate an archetypical image of architecture and provide means for an innovative understanding of the materialization of the idea of the Byzantine church and its multifocal spatial presence. The book considers both the material and conceptual framing of sacred space and explains how the canopy bridges the physical and transcendental realms. As a crucial element of church design in the Byzantine world, a world that gradually abandoned the basilica as a typical building of Roman imperial secular architecture, the canopy carried tectonic and theological meanings and, through vaulted, canopied bays and recognizable Byzantine domed churches, established organic architectural, symbolic, and sacred ties between the Old and New Covenants. In such an overarching context, the canopy becomes an architectural parti, a vital concept and dynamic design principle that carries the essence of the Byzantine church. The Framing of Sacred Space highlights significant factors in understanding canopies through specific architectural settings and the Byzantine concepts of space, thus also contributing to larger debates about the creation of sacred space and related architectural “taxonomy.”
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Knowledge Unlatched - KU Select : F. Architectonics of Game Spaces. Edited by Andri Gerber and Ulrich Götz. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021.
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Transgender Architectonics Mapping: The Shape of Change in Modernist Space. Taylor & Francis Group, 2016.
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Graves, Margaret S. Building Ornament. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.003.0003.
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This chapter scrutinizes the allusive potential of ornament and the two-dimensional paradigm that dominates ornament studies. Surveying the historiography of architecture-as-ornament, the chapter explores ornament’s relationship with the third dimension. In particular, it focuses on the potential for architectural motifs, especially arches and arcades, to confound two-dimensionality through the generation of fictive spaces that articulate and order form as well as surface. The chapter focuses first on the image of the arcade in various media and particularly on a group of inlaid metalwares with Christological scenes. Next, it moves to thirteenth-century Mosul and the surrounding area to explore the reciprocal relationship between plastic systems of three-dimensional ornament on buildings, metalwares, and a remarkable group of large architectonic earthenware water jars known as ḥabbs.
Book chapters on the topic "Architectonic space"
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Sanchez, Gemma Maria Echevarria, Sonia Alves, and Dick Botteldooren. "Urban Sound Planning." In Advances in Civil and Industrial Engineering, 1–22. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3637-6.ch001.
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In this chapter, examples of the application of urbanism approaches are described not only to reduce unwanted noise but also to improve the quality of the sonic environment. By considering different architectonic elements existent in the urban environment, it is possible to highly reduce traffic noise levels. The shape of the buildings, the street configurations, or the urban furniture are effective for urban sound-friendly architecture. Additionally, it has been proven that human perception is multisensorial; thus, the visual elements are also influential to the perception of urban sound environments. The way visual elements can support the sonic coherence of a space and its relation to the urban functionality is discussed. Finally, Virtual Reality Technology is proposed as a tool for the design and appraisal of future urban development where both visual and audio can be simultaneously assessed. The implementation within a smart city is also considered.
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"Augmented Play, Art, and Space." In Architectonics of Game Spaces, 249–64. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-017.
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"Creating Fascinating Spaces." In Architectonics of Game Spaces, 233–48. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-016.
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"The Lived Space of Computer Games." In Architectonics of Game Spaces, 167–82. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-012.
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"Introduction." In Architectonics of Game Spaces, 9–26. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-001.
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"Taking Risks!" In Architectonics of Game Spaces, 27–46. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-002.
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"Invisible (Game) Cities." In Architectonics of Game Spaces, 47–58. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-003.
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"In-World Realism." In Architectonics of Game Spaces, 59–70. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-004.
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"Video/Game." In Architectonics of Game Spaces, 71–84. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-005.
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"Games as Provinces of Meaning." In Architectonics of Game Spaces, 85–94. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839448021-006.
Full textConference papers on the topic "Architectonic space"
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Kuda, Daniel. "Structure and Architectonic Space." In PhD Research Sympozium 2017. Brno: Fakulta architektury VUT v Brne, 2017. http://dx.doi.org/10.13164/phd.fa2017.12.
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Economidou, Eleni. "Exploring the Design Space of Embodied Architectonic Interaction." In DIS '20: Designing Interactive Systems Conference 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3393914.3395826.
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García González, Andrea, Vicente Mas Llorens, and José Santatecla Fayos. "La Villa Sarabhai. La riqueza de lo ambiguo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.910.
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Resumen: La Villa Sarabhai ha sido considerada en gran parte de las referencias críticas como un paradigma de la "architecture femelle" por absorber el emplazamiento y por sus espacios abovedados, llegando a ser asociada con la arquitectura rústica, folklórica, incluso primitiva. Sin embargo, la evolución del proyecto muestra que no existe ninguna voluntad por parte de Le Corbusier de integrar la villa en su entorno ni de rendir tributo a la arquitectura tradicional. Le Corbusier continúa evolucionando dando un nuevo giro a estrategias arquitectónicas ya consolidadas y resistiéndose a las clasificaciones: genera una planta libre mediante muros; transforma la terraza jardín de una habitación sin techo en una pradera; y en lugar de laminar el espacio en vertical lo lamina en horizontal. No obstante, el objetivo de su arquitectura se mantiene firme desde los años 20, generar una sensación continua de desconcierto. En la Villa Sarabhai el visitante no es capaz de afirmar si se encuentra en un edificio anclado al terreno o que se posa sobre él, en una construcción arquitrabada o abovedada, arriba o abajo, dentro o fuera, ni siquiera si lo que percibe es real o una representación de la realidad. Así, la ambigüedad se convierte en el medio para alcanzar la riqueza arquitectónica. Abstract: Villa Sarabhai is considered by many critics to be a paradigm of "architecture femelle", because it absorbs the setting and has vaulted spaces, which are elements associated with a rustic, folkloric, and even primitive, architecture. However, the evolution of the project shows that Le Corbusier did not intend to integrate the villa into the landscape or pay tribute to traditional architecture. Le Corbusier kept evolving. He added new twists to his consolidated architectonic strategies and defied classification: he generated a free plan by using walls; he transformed the garden terrace from a room without a ceiling into a prairie; and, instead of laminating the space in vertical, he laminated it in horizontal. Nevertheless, the aim of his architecture remained constant since the 1920s, generating a permanent feeling of bewilderment. Inside Villa Sarabhai, visitors are not able to confirm if they are in a building which is anchored to the ground, or in one which is resting on it; in an orthogonal construction or in a vaulted one; up or down; inside or outside; not even sure whether what they perceive is real or a representation of reality. The ambiguity becomes the means for reaching the architectonic richness. Palabras clave: Le Corbusier; Villa Sarabhai; Ahmedabad; Architecture femelle; Bóveda; Ambigüedad. Keywords: Le Corbusier; Villa Sarabhai; Ahmedabad; Architecture femelle; Vault; Ambiguity. DOI: http://dx.doi.org/10.4995/LC2015.2015.910
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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.
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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.
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Molina, Manuel Calleja. "Espai Vert. Estructura como símbolo. *** Espai vert. Structure as symbol." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7433.
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Espai Vert es una singular obra arquitectónica, realizada en Valencia a principios de los años 90. La utilización del hormigón visto en su colosal estructura combinada con una profusa vegetación, la convierten en todo un símbolo arquitectónico de su época. Su imponente materialidad y dimensiones hacen que esta obra pueda catalogarse como brutalista. Del mismo modo, también se encuentra dentro de la arquitectura modular residencial, ya que existe toda una suerte de leyes de combinatoria espacial para encajar sus viviendas en base a una trama regular. En los últimos años esta edificación ha visto incrementar su interés en el mundo académico, y ya son varios los equipos y organismos los que están poniendo de manifiesto su importancia. Este trabajo expone la visión del autor sobre alguno de los puntos más destacados de la obra a través de una entrevista, analiza la parte proyectual y estructural del edificio, y concluye con la importancia y significado del hormigón en esta obra.***Espai Vert is a singular architectonic work built in Valencia in the early 90’s. Its colossal fair-faced concrete structure combined with a profuse vegetation make it an architectural symbol of its time. This work can be catalogued as Brutalist due to its dimensions and materiality. Likewise, it belongs to the residential modular architec- ture, as there are a whole range of space combination rules that t its dwellings according to a regular layout. In recent years academic interest has increased towards this building, and currently various research teams and institutions are exposing its value. The present work exposes the architect’s points of view about some of the main points of this project through an interview, analysing the design and structural part of this building, and concludes with the importance and meaning of concrete in this work.
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Pérez Rodríguez, Marta. "HABITAR EL AIRE." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.668.
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Resumen: Existen en las ideas enunciadas por Le Corbusier dos caminos que partiendo aparentemente de mundos paralelos y opuestos, terminarán convergiéndo en un mismo lugar. Con la construcción del Pavillon de l’Esprit Nouveau, en 1925, se define el nuevo espacio exterior vinculado a la vida moderna. Éste, se dará simultáneamente desde lo colectivo, el immeuble-villa, y desde lo individual, la villa, aunque ambos, se suceden como procesos coexistentes. A este vacío, Le Corbusier lo denominará jardin suspendu, y el orden con el cuál se definirá, será el mismo con el que se constituirá todo el sistema. Desde dentro, este jardin, dejará de ser un exterior para concebirse desde las mismos mecánismos que operan dentro de la casa. Entonces ¿Qué es este espacio?. Simplemente, lo que Le Corbusier trazó, una rica dualidad espacial. Al otro lado, y opuesto a la casa, surge siempre un exterior, como extensión infinita de lo natural. ¿De qué forma ordenarlo?¿cómo vincularlo de nuevo al hombre?. Sólo existe una respuesta posible, un único gesto, el arquitectónico, surgido con la construcción de un plano. Con él, asoma la vertical y la horizontal: Aquellas líneas que vinculan de nuevo al hombre con sus leyes. Con ello, el vacío ya no existe, se ha transformado, constituyendo un nuevo espacio. ¿Qué es este espacio?. De nuevo, una rica ambigüedad. Abstract: Into the ideas enunciated by Le Corbusier there are two paths starting apparently from parallel and opposite worlds, but finally coming to converge in a same place. With the construction of the “Pavillon de l’Esprit Nouveau”, in 1925, it is defined the new outside space linked to modern life. This is given simultaneously from the collective with the “immeuble-villa”, and from the individual, la villa, although both succeed as coexistent processes. This emptiness was called by Le Corbusier “jardin suspendu”, and the order to define it, will be the same used to build the whole system. From inside, this garden will fail to be an outside to be conceived from the same mechanisms that work into the house. So, what is this space? It is simply what Le Corbusier designed, a rich space duality. In the other side, and opposite the house, an outside emerges always, like a boundless extent of the natural. Which way can it be arranged? How can it be linked again to the human? It exists only one possible answer, one unique gesture, the architectonic one, which emerges with the construction of a plan. With it, vertical and horizontal positions arise: those lines that link again the man with his laws. With it, this emptiness doesn’t exists anymore, it has changed becoming in a new space. What is this space? Again, a rich ambiguity. Palabras clave: immeuble-villa, jardin suspendu, interior, exterior, dualidad especial. Keywords: immueble-villa, jardin suspendu, inside, outside, space duality. DOI: http://dx.doi.org/10.4995/LC2015.2015.668
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Sandoval-Álvarez, Leandro, Ricardo Moreno-Peña, Ricado Pinelda-Larios, and Juan Reyes-Gómez. "Transition Graph Analysis of the Thermal Performance of Two Similar Architectonic Spaces." In ANES/ASME Solar Joint 2006 XXX. ASME, 2006. http://dx.doi.org/10.1115/anes/asme2006-0012.
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