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Journal articles on the topic 'Architectural critics Architectural criticism Architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Gohardani, Navid. "ARCHITECTURE IN EFFECT: A Glance at Critical Historiography." International Journal of Architectural Research: ArchNet-IJAR 8, no. 1 (2014): 184. http://dx.doi.org/10.26687/archnet-ijar.v8i1.335.

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Historiography marks a relatively unexplored research domain in architecture. Despite the obscure nature of this subject matter, architectural historiography equally illuminates a hidden pathway to the historical interaction of architecture with art or literature. Critical historiography adds another dimension to this emerging research topic that further encapsulates multiple levels of criticism. In recognition of a growing interest for historiography, it can be argued that the critical aspects of historiography may serve as crucial instruments for an enhanced understanding of architectural historiography. In this article, the realm of architectural historiography is investigated through a multidisciplinary perspective that revisits architectural criticism, critical historiography, modern architecture, phenomenology, and a number of aspects of architectural historiography in the Swedish Million Homes Program.

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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.

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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.

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Calder, Barnabas. "Is criticism under threat? Are critics compromised in an age of rapid production?" Architectural Research Quarterly 10, no. 2 (2006): 97–98. http://dx.doi.org/10.1017/s1359135506000182.

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This symposium, held at Building Design Partnership's offices on 21 September, was jointly organised by the International Committee of Architectural Critics (CICA), and its Chair, Dennis Sharp, and the Architecture Foundation, represented on the panel by its Director, Rowan Moore. The topic under investigation was the challenges posed to the critic by a period of massive architectural production: are critics being swamped by the quantity of new buildings, thus reducing the quality of criticism? In addition, is honest criticism held in check by the corporate power of architects, in a world where even ‘art house’ partnerships are now commonly ten times larger than their 1960s counterparts? In a panel of six distinguished critics, one might have expected to find at least six different opinions on any subject. The surprising thing about this symposium was the level of consensus that emerged.

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Stevanović, Vladimir. "Implications of Vattimo's 'Verwindung' of modernism in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 157–72. http://dx.doi.org/10.5937/saj1502157s.

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In the postmodern era, besides new approaches to architectural practice, substantial changes happen in architectural textual production owed to the inflow of the postmodern transdisciplinary theory in architectural discourse. Theorists, critics and historians of architecture gladly use the contribution from philosophy, political sciences, sociology, art theory and literary criticism to categorize and explain postmodern architectural styles or tendencies, no longer unifying them exclusively by means of formalistic aspects dating from the same period. Now, topics and paradigms from various postmodern theories are being implemented and thus created the phenomenon of the translation of a theory into an instrument of architectural purpose. In most cases, theoretical outlooks serve as a cover which the theorists of architecture use to formulate the poetics of architects, proclaim desirable models of reception, and develop the stance on the disciplinary and socio-historical contexts. However, it becomes interesting when the same architectural works of a single or several architects are differently interpreted by different theorists of architecture. The paper examines these premises on a specific example, which is: 1) demonstrated in practice by Catalan architecture of the 1980s; 2) the point of convergence between de Solà-Morales, Rossi and Frampton; 3) underlain by Vattimo's philosophical concept of Verwindung of modernism.

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Özdemir, Elvan Elif, and Fulya Pelin Cengizoglu. "The Metaphoric Perceptions of Architectural Design Students On The Concept Of Jury System In Architectural Design Education." Global Journal of Arts Education 7, no. 2 (2017): 35–39. http://dx.doi.org/10.18844/gjae.v7i2.957.

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The core of the architectural curriculum is based on the design studio which focuses on learning by doing. The learning process in the design studio is takes place in critic sessions. These sessions are kind of communication of ideas and transmitting of knowledge from instructor to student. In contrast to other disciplines, in the architectural design education the evaluation and the assessment are the important part of the learning and teaching process. The Jury system is a traditional architectural learning assessment tool. In this system the student present his/her work in the front of the jury and get feedback or criticism. According to Webster (2006), Jury is the most performative stage of education where the student and agency (the discipline of architecture-as represented by the critics) actually interact. (Webster, 2006). The aim of this study was to reveal the perceptions of architectural design students’ about the ‘Jury system’ as an grading system in architectural design studios. The participants for this study included second, third and fourth grade architectural design students enrolled in the Department of Architecture at the Faculty of Architecture of Mersin University during the 2014-2015 school year. To collect data, each participant was asked to complete the prompt “A jury is like . . . …because . . . …..” . Phenomenological design was used in the study. The content analysis technique was used to analyze and interpret the study data. The detailed discussion will be presented in full paper.

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Avermaete, Tom. "Architecture 'talks back': On the (im)possibilities of designing a critical architectural project." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 214–25. http://dx.doi.org/10.5937/saj1103214a.

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Claims on critical positions in architecture are common ground in contemporary practice and reflection. This article probes into the critical capacity of the architectural project by returning to the notion of 'typological criticism' that Manfredo Tafuri introduced, as well as to the concept of the 'semi-autonomy' of architecture as theoretized by Louis Althusser. The article argues that the criticality of the architectural project resides in its mediation between autonomous and heteronomous aspects and proceeds through the entity of the architectural type.

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Ding, Guanghui, Jonathan Hale, and Steve Parnell. "Constructing a place for critical practice in China: the history and outlook of the journal Time + Architecture." Architectural Research Quarterly 17, no. 3-4 (2013): 237–52. http://dx.doi.org/10.1017/s1359135514000062.

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This paper investigates the history and programme of the Chinese architectural journal Time + Architecture (Shidai Jianzhu). As one of the newly established architectural periodicals in post-Mao China, the journal was launched in 1984 by academics Luo Xiaowei, Wang Shaozhou and their colleagues at the Department of Architecture in Tongji University, Shanghai. The journal's close association with academic institutions and commercial design firms shaped its dual nature; that is, both scholarly and professional. At the turn of the millennium, the journal's substantial reform of editorial policy redefined its character from a ‘presenter’ of received materials to a ‘producer’ of selected collaborative work, and enabled it to maintain editorial distinctiveness in the Chinese architectural publishing scene.This paper argues that Time + Architecture constructed a significant place for critical practice in contemporary China through the presentation of critical architecture and architectural criticism. Over the past few decades, the journal, under the editorship of Zhi Wenjun, published a number of special issues on the work of emerging independent architects such as Yung Ho Chang, Wang Shu, Liu Jiakun and others. The thematic topics, projects and criticisms presented by the journal exemplified an editorial agenda to publish innovative and exploratory work and demonstrated the editors' and contributors' collective endeavours to develop a critical discourse that confronted the dominant ideology of architecture.

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Mirmoradi, Seyedeh Somayeh. "Recognition of the role of nature in the formation of fractal architecture." Organization, Technology and Management in Construction: an International Journal 9, no. 1 (2017): 1574–83. http://dx.doi.org/10.1515/otmcj-2016-0020.

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AbstractAfter a long period of one-way consumerist attitude toward nature, there have been some alternate perspectives on the systemic relationship between humans and nature, which have been again brought up during the past few decades. Since the late twentieth century, fractal architecture has been one of the most important themes discussed in architecture and it is based on the chaos and complexity theories. Critics often criticize this architecture due to its lack of architectural values, practicality, and attention to economy, culture, and history. The current study aims to clarify the scientific theories that are the theoretical foundations of this approach in contemporary architecture. By categorizing the practical examples of this architectural approach, they are analyzed in terms of their relationship with nature using the logical reasoning method to achieve a favorable architecture. In fact, the gap between this architecture and nature’s behavior is shown.

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Lootsma, Bart. "From pluralism to populism: Architectural criticism in times of the Internet." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 254–69. http://dx.doi.org/10.5937/saj1103254l.

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Architecture has changed from a discipline in service of the larger part of the population through public housing, public buildings, public spaces, urban planning and design to a particular and already in itself disparate niche market of the real estate business that has more to do with the media industry than with public tasks. Architectural criticism has become part of this media industry as well. Thus, Postmodern architecture could flourish as the bastard child of political and cultural populist strategies. Today, architectural criticism finds itself in a deep crisis due to new developments in publishing and it's financing. This also affects Critical Theory. With its background of ideas rooted in Marxism and Enlightenment, Critical Theory seems to have great difficulty with not only the speed of new developments and the unpredictability of their directions, but also with the increasingly dominant irrational but powerful aspects of marketing and propaganda in which it's voice seems no longer heard beyond the walls of the academic ghetto.

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Boddy, Trevor. "The Conundrums of Architectural Criticism." Journal of Architectural Education 62, no. 3 (2009): 8–96. http://dx.doi.org/10.1111/j.1531-314x.2008.00254.x.

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Han, Nia Namirah, and Kemas Ridwan Kurniawan. "Brutalism: The Socio-Political and Technological Effect on Postcolonial Modern Architecture in Indonesia." E3S Web of Conferences 65 (2018): 01004. http://dx.doi.org/10.1051/e3sconf/20186501004.

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Brutalism, as a style in modern architecture, escaped from the architectural critic’s attention in Indonesia. This is due to the lack of building architecture influenced by this style, as well as the difficulty of distinguishing this style from monumentalism in architecture in Indonesia. Its existence cannot be separated from the development of the Architectural industry in Indonesia. The cement factory - which is the main raw material of concrete - has an impact on infrastructure growth in Indonesia. The establishment of the first cement factory in the Netherlands Indies (Indonesia) as well as in Southeast Asia named NV Nederlandsch Indisch Portland Cement Maatschaapij (NV NIPCM) in 1910 is one of the starting point of industrial development and architectural technology in the country. During the Old Order period, cement was the main raw material for infrastructure development. In line with the vision of the first President of the Republic of Indonesia, Ir. Soekarno, to build the character of a modern nation in the era of Guided Democracy (1957-1965), it must also be represented through the works of sturdy and durable monumental architecture. Meanwhile, during the New Order period, the development of Indonesian architecture was strongly influenced by the political condition and national stability, followed by the inclination to create Indonesian architectural identity with traditional concept. This paper attempts to discuss the link between modern architecture in Indonesia and Brutalism, in relation to the sociopolitical and technological aspects of the Old Order and the New Order. A Qualitative method that based on historical criticism was used to answer the question.

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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (1999): 146–69. http://dx.doi.org/10.2307/991482.

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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.

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13

Barata, Paulo Martins. "Kenneth Frampton apropos tectonic: on the high-wire of a definition." Architectural Research Quarterly 3, no. 2 (1999): 141–46. http://dx.doi.org/10.1017/s1359135500001925.

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Kenneth Frampton, architectural critic and Columbia University professor, responds to the criticism that has been levelled at his notion of the ‘tectonic’ in this interview with Paulo Martins Barata. Frampton views the tectonic as a way of resisting both the ‘speculator’ economy of mass-produced construction and the ‘atectonic’ architecture of Post-Modernism and Post-Structuralism. At the same time, he acknowledges the quixotic nature of an idea that is ‘a kind of rearguard response to the commodification of architecture’. The interview is set in context by Martins Barata.

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14

Volchok, Yury. "Knowledge of Ancient Culture and Architectural Criticism in the 1960s: Arche in the Modern Architecture." Actual Problems of Theory and History of Art 5 (2015): 783–92. http://dx.doi.org/10.18688/aa155-8-87.

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Benedikt, Michael. "On the Role of Architectural Criticism Today." Journal of Architectural Education 62, no. 3 (2009): 6–7. http://dx.doi.org/10.1111/j.1531-314x.2008.00253.x.

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Fung, Stanislaus. "Orientation: Notes on Architectural Criticism and Contemporary China." Journal of Architectural Education 62, no. 3 (2009): 16–96. http://dx.doi.org/10.1111/j.1531-314x.2008.00258.x.

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17

Burley, Jon. "The Emergence of Landscape Urbanism: A Chronological Criticism Essay." Land 7, no. 4 (2018): 147. http://dx.doi.org/10.3390/land7040147.

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Scholars and practitioners have great interest in topics related to spatial patterns and the organization and properties of space. Landscape urbanism is one of these topics of interest. This essay, in the form of chronological criticism, presents a broad historical overview of the rise of landscape urbanism, primarily from a landscape architectural/geographical/ecological perspective, comparing the normative theories derived in the Western traditions embedded in urban design and architecture with the general values of landscape urbanism. In part, the essay employs the metaphors of Euclidean/Cartesian mathematics and fractal geometry to illustrate these differences. At the conclusion of the article, the reader should understand the historical context in which the planning and design community derived the emergence of landscape urbanism.

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Galjer, Jasna. "Cultural Exchange as an Expanded Field of Architecture : The Decentering Architectural Criticism of the Yugoslav Praxis Group." CLARA 7, no. 1 (2020): 62. http://dx.doi.org/10.3917/clara.007.0062.

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Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.

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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.

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Stoian, S. P. "TRANSFORMATIONS OF THE ARCHITECTURE SYMBOLIC LANGUAGE IN THE MODERN CITY SPACE: THE DIALOGUE AND CONFRONTATION COLLISIONS." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 98–101. http://dx.doi.org/10.17721/ucs.2019.2(5).18.

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The article analyzes the transformation of the architecture symbolic language in modern cities, which is associated with the practice of actively updating the urban space through the implementation of innovative and sometimes extremely radical architectural projects. An attempt is being made, from standpoint of the time distance to assess the change in views on extremely controversial structures, the construction of which at one time caused great scandals and devastating criticism, but with the change of cultural priorities and values, they became houses of worship and symbols of famous European cities. Over the last century, each and all of the fields of culture have undergone significant changes, including the visual sphere, with such an important component as architecture, which for thousands of years has transmitted non-verbal information about the cultural specificity of the past through thousands of visual symbolic codes. As for now, the viability and allowability issue of radical transformations of urban architec- tural space under the influence of new technologies and innovative trends is extremely acute. The traditions and innovations problem, the need to involve cultural experts in order to preserve the unique historical spaces of world-famous landmarks, requires a great deal of attention from cultural experts, who should carry out a thorough analysis of the problem and formulate practical advice for resolving debates on shaping the architectural space of modern cities. In an effort to distance itself from the extremely radical critical views of contemporary architectural innovations, the focus is on finding sound solutions to the dramatic transformations of historic centers of contemporary cities that must be made with cultural experts and professionals of the relevant field involvement.

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Wilson, Robin. "At the limits of genre: Architectural photography and utopic criticism." Journal of Architecture 10, no. 3 (2005): 265–73. http://dx.doi.org/10.1080/13602360500162410.

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Grignon, Marc. "Alan Colquhoun, Essays in Architectural Criticism: Modern Architecture and Historical Change. Cambridge (Mass.), mit Press. 1981. 215 p., 173 illus., 39,00 $." RACAR : Revue d'art canadienne 13, no. 1 (1986): 61. http://dx.doi.org/10.7202/1073559ar.

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Leatherbarrow, David. "David Leatherbarrow on shared dedications to architecture - Collected Essays in Architectural Criticism By Alan Colquhoun London, Black Dog Publishing July 21st, 2009 pp. 1–336 $38.76." Architectural Research Quarterly 21, no. 4 (2017): 401–3. http://dx.doi.org/10.1017/s1359135518000143.

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Erzen, Jale. "Buildings speak to us." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 227–34. http://dx.doi.org/10.5937/saj1902227e.

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Starting with a critical view of the general architectural and urban structures of today my paper will present buildings comparable to the body, thus their expression and the meanings they invoke will be presented as a language of form that affect the behavior and psychology of urban residents. Referring to the architectural criticisms of George Bataille, it is argued that the physicality of buildings are valuable insofar as they transcend materiality and lead to symbols and spirituality. Buildings are viewed as presenting different characteristics and attitudes depending on their form. Architecture is also viewed as the product of labour and thus a communal creation that has its roots in the origins of human culture. Each different institution has evolved historically from different senses becoming cultural articulations and resulting in architectures that connect people in enjoyment of shared interests. It is further argued that urban and spatial forms that are confusing as to their boundaries and appertainance can cause confusion and negative reactions. Thus it is important that urban forms' language is positive and clear.

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Anthony, Kathryn H. "Private Reactions to Public Criticism: Students, Faculty, and Practicing Architects State Their Views on Design Juries in Architectural Education." Journal of Architectural Education (1984-) 40, no. 3 (1987): 2. http://dx.doi.org/10.2307/1424849.

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Hayes, William H. "Architectural Criticism." Journal of Aesthetics and Art Criticism 60, no. 4 (2002): 325–29. http://dx.doi.org/10.1111/1540-6245.00079.

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Benelli, Francesco. "Antonio da Sangallo the Younger's Reactions to the Pantheon:." Journal of the Society of Architectural Historians 78, no. 3 (2019): 276–91. http://dx.doi.org/10.1525/jsah.2019.78.3.276.

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In Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism, Francesco Benelli looks at three annotated drawings by Antonio in which he analyzed features of the Roman Pantheon. The architect's analysis of this ancient monument drew on both his close, methodical, and pragmatic investigations of the building and his deep knowledge of Vitruvian theory. Together, the drawings and text represent an unprecedented critique of a building then almost universally admired. Yet Antonio's dependence on Vitruvius, who belonged to a different period of Roman history than did the Pantheon, led to certain discrepancies within his conclusions. Nonetheless, Antonio's study marks a new level of professional confidence, objectivity, and critical detachment among Renaissance architects, as ancient monuments were no longer seen as perfect and unquestionable, but as sources to be praised, criticized, utilized, adapted, or ignored according to the specific needs of modern architectural practice.

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Holly, Michael Ann, and Tina Waldeier Bizzarro. "Romanesque Architectural Criticism: A Prehistory." American Historical Review 99, no. 3 (1994): 889. http://dx.doi.org/10.2307/2167811.

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Raman, Pattabi, and Richard Coyne. "THE PRODUCTION OF ARCHITECTURAL CRITICISM." Architectural Theory Review 5, no. 1 (2000): 83–102. http://dx.doi.org/10.1080/13264820009478390.

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Raman, Pattabi, and Richard Coyne. "The Production of Architectural Criticism." Architectural Theory Review 16, no. 2 (2011): 103–23. http://dx.doi.org/10.1080/13264826.2011.601540.

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Linder, Mark. "Sitely Windows: Robert Smithson's Architectural Criticism." Assemblage, no. 39 (August 1999): 6. http://dx.doi.org/10.2307/3171258.

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Margoshvili, Medeya. "Archetypal Concept and Contemporary Architectural Criticism." Researcher. European Journal of Humanities & Social Sciences 2, no. 3 (2019): 67–83. http://dx.doi.org/10.32777/r.2019.2.3.4.

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Tkachev, V. N. "Anatomy of architectural criticism: professional problems." Vestnik MGSU, no. 11 (November 2013): 19–25. http://dx.doi.org/10.22227/1997-0935.2013.11.19-25.

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PARSONS, GLENN. "Fact and Function in Architectural Criticism." Journal of Aesthetics and Art Criticism 69, no. 1 (2011): 21–29. http://dx.doi.org/10.1111/j.1540-6245.2010.01443.x.

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Jeongil, Seo,. "Aesthetic Symbolism in Lewis Mumford’s Architectural Criticism." Journal of architectural history 26, no. 1 (2017): 7–16. http://dx.doi.org/10.7738/jah.2017.26.1.007.

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Noelle, Louise. "Essays in architectural criticism, de Alan Colquhum." Anales del Instituto de Investigaciones Estéticas 14, no. 55 (1986): 271. http://dx.doi.org/10.22201/iie.18703062e.1986.55.1281.

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Fernie, Eric. "Romanesque Architectural Criticism: A Prehistory. Tina Waldeier Bizzarro." Speculum 69, no. 4 (1994): 1120–22. http://dx.doi.org/10.2307/2865615.

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Çaylı, Eray. "Field as Archive / Archive as Field." International Journal of Islamic Architecture 9, no. 2 (2020): 251–61. http://dx.doi.org/10.1386/ijia_00013_2.

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Abstract This article introduces the special issue 'Field as Archive / Archive as Field': a set of critical reflections on archival research and fieldwork in academic studies focused on space. The special issue asks, how might the experience of carrying out research in the archive and the field, with all its contingencies and errancies, be taken seriously as empirical material in its own right? In other words, rather than reducing the research process to an empirically insignificant instrument through which to access useable data, how could scholars and practitioners of architecture treat this work as the very stuff of the histories, theories, criticisms, and/or practices they produce? In raising these questions that remain relatively underexplored, especially in architectural research, this special issue works from the contemporary historical juncture that is marked by an increasing visibility of rhetorical and physical hostility throughout social and political affairs. Probing how this historical juncture might impact and be impacted by spatial research, contributors to the special issue explore these impacts through the markedly urban and architectural registers in which they take place, including heritage, infrastructure, displacement, housing, and protest. They, moreover, do so through a variety of contexts relevant to the journal's scope: Egypt, Zanzibar, Turkey, Greece, Iran, and Israel/Palestine.

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Tavernor, Robert. "Architectural history and computing." Architectural Research Quarterly 1, no. 1 (1995): 56–61. http://dx.doi.org/10.1017/s1359135500000105.

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This paper is based largely on a document presented at a conference celebrating the 25th anniversary of the Martin Centre, held at the University of Cambridge in October 1992. It takes as its point of departure Sir Leslie Martin's essay, ‘Architects’ approach to architecture' (Martin, 1967). Commencing with his argument that ‘intentions and processes’ in architecture are more fundamental than form, this paper questions past attempts at relating history to architectural process, and outlines the potential offered by more recent advances in technology – especially, photogrammetry and the computer – for achieving a more objective and broader base for architectural criticism and consensus.

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AL-IBRAHIM, MOHAMMED. "The Criticism of Modern Architecture in Saudi Arabia." Journal of King Abdulaziz University-Engineering Sciences 7, no. 1 (1995): 3–21. http://dx.doi.org/10.4197/eng.7-1.10.

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El-Latif, Manar A., Khalid S. Al-Hagla, and Asmaa Hasan. "Overview on the criticism process in architecture pedagogy." Alexandria Engineering Journal 59, no. 2 (2020): 753–62. http://dx.doi.org/10.1016/j.aej.2020.01.019.

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Кондель-Пермінова, Наталія. "Architectural and Art Criticism in Ukraine: State and Prospects." Artistic Culture. Topical Issues, no. 16 (June 11, 2020): 93–97. http://dx.doi.org/10.31500/1992-5514.16.2020.205260.

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Anastasova, Maria. "THE IDEA OF THE BAD PLACE IN EDGAR ALLAN POE’S “THE FALL OF THE HOUSE OF USHER” AND IN STEPHEN KING’S “THE SHINING”." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 85–89. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.11.

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The article deals with the idea of the bad place as a characteristic feature of the horror genre. Its aim is to explore the function of two buildings that epitomize this idea in two literary works from different periods of American literature: the Usher mansion from Edgar Allan Poe’s The Fall of the House of Usher (1839) and the Overlook Hotel from Stephen King’s The Shining (1977). The two architectural structures reveal various undercurrent meanings that lead to the conclusion that the haunted place in the gothic genre may serve purposes rather different than creating horrific atmosphere and triggering emotions like fear and suspense. By binding their characters to a specific building the two authors not only trap them and put them in isolation, but they also reveal certain psychological states or criticize the society. In Poe’s short story the crumbling mansion is obviously a reflection of the unstable mind of the narrator as the author employs his usual method of using architecture to speak about psychology. In The Shining the hotel unleashes evil powers because of its sinful history. Thus a critical look at the society is provided. In both cases the architectural structures are destroyed in the end. However, although the two buildings can be taken as symbols of evil, their identical fates may be interpreted differently in each context.

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Allahham, Abeer. "Metamorphosis of mosque semiotics." Archnet-IJAR: International Journal of Architectural Research 13, no. 1 (2019): 204–17. http://dx.doi.org/10.1108/arch-11-2018-0001.

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Purpose Compared with its status in Islamic history, the mosque today has become a distinctive phenomenon, perceived as an identity vessel of contemporary Islamic architecture that conveys sacred metaphysical meanings. Since the advent of modernity Muslim societies has become increasingly secularized; the relationships of the sacred–secular and the divine-based demythologized knowledge have been deformed. The mosque was glossed over as the sole contemporary sacred edifice that bears metaphysical/Islamic connotations with cultural continuity. Its architecture, meanings and function have gone through a process of metamorphosis, particularly the state mosques. The contemporary mosque as such is facing a “semiological deterioration.” State mosques today are symbolic statements and communicative messages of their rulers’ power and national sovereignty, with a subsidiary role for worship, i.e., the sacred has turned into a secular power metaphor. This led to a state semantic confusion accompanied by a loss in the deeply rooted collective cultural codes of the sacred. The purpose of this paper is to investigate the metamorphosis of the semiological connotation of the contemporary mosque, with a special focus on grand state mosques, and its effects on the architecture of the contemporary mosque. Design/methodology/approach This paper is theoretical research (no case studies included). Findings The metamorphosis that the contemporary mosque is experiencing today as a religious edifice with symbolic connotations and architectural iconism is but an effect of the changes that occurred in the concept of the scared and its relationship to the secular in contemporary Muslim communities, as a result of modernity. Such conceptual changes led to altering the deeply rooted cultural codes to be replaced by new intentional codes, used today as vehicles of communication in mosque architecture, especially in grand state mosques. Contemporary state mosques with its new symbolism and semantic meanings have contributed to redefining the concept of the contemporary mosque in general. Originality/value Mosque architecture today receives a significant importance. Many conferences and awards are dedicated to celebrating this phenomenon. Attempts to define the criteria and style of the contemporary mosque architecture are mounting. However, rarely there are studies that defy such attempts in a critical manner. This research seeks to criticize such approaches by highlighting the essence of the transformation in mosque architecture and its relationship to the concepts of the sacred and the secular, from a semiological perspective.

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Richmond, Sheldon. "An Architecture for Criticism or a Critical Discussion of David Olson’s Theory of the Origin of Criticism." Interchange 51, no. 1 (2020): 79–87. http://dx.doi.org/10.1007/s10780-020-09398-x.

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Oh, Hoon Keun and cho byuck ho. "Research on the criticism of‘ideology-inflation’in ‘The deconstruction-architecture’." Journal of Korea Intitute of Spatial Design 4, no. 1 (2009): 125–34. http://dx.doi.org/10.35216/kisd.2009.4.1.125.

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Hashim, Basim Hassan, and Shaimaa M. Hamza. "Value as a Criticism Strategy for Contemporary Architecture Products." IOP Conference Series: Materials Science and Engineering 518 (June 5, 2019): 022005. http://dx.doi.org/10.1088/1757-899x/518/2/022005.

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Dodds, George. "Editorial: On Criticism in Architecture: An Invitation to Practice." Journal of Architectural Education 62, no. 3 (2009): 2–3. http://dx.doi.org/10.1111/j.1531-314x.2008.00251.x.

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Baird, George. "Thoughts on the Current State of Criticism in Architecture." Journal of Architectural Education 62, no. 3 (2009): 4–5. http://dx.doi.org/10.1111/j.1531-314x.2008.00252.x.

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Riapolov, V. "Synagogical Architecture of Kharkiv: History and Art Criticism Analysis." World of the Orient 2020, no. 4 (2020): 48–78. http://dx.doi.org/10.15407/orientw2020.04.048.

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