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Kattein, Jan. "Made in Architecture: Education as collaborative practice." Architectural Research Quarterly 19, no. 3 (September 2015): 295–306. http://dx.doi.org/10.1017/s1359135515000500.
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In an attempt to make architectural education more relevant to professional architectural practice and as a response to increasing tuition fees, major changes to university curricula in the UK are afoot. This brings unprecedented opportunities to re-consider what and how universities teach - and to make architectural education more relevant to real-world challenges.Last year, undergraduate design unit UG3 at the Bartlett School of Architecture completed an innovative project. The unit teamed-up with educational charity Global Generation to design and build a series of small buildings for a real client on a real site in King’s Cross. The article ‘Made in Architecture: Education as collaborative practice’ evaluates the emerging tradition of the live project as a vehicle for teaching architecture students about teamwork, collaboration and engagement. These skills - although increasingly significant to architectural practice - have until now been largely side-lined by university curricula.Only if educators and practitioners together embrace new opportunities for architects to engage and empower communities can the profession reverse increasing marginalisation and re-define it’s remit in the face of new social and environmental challenges.
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Andjelkovic, Katarina. "Kinesthetic Imagination in Architecture: Design and Representation of Space." Život umjetnosti, no. 106 (November 30, 2020): 22–35. http://dx.doi.org/10.31664/zu.2020.106.02.
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Histories of architecture have long-recognized the vital role of concepts, strategies and principles exchanged between architecture and film, which reconfigured their systems of knowledge and made this relationship rich. Nonetheless, film has been used mainly as an instrument of narration and representation in architecture, only rarely engaged in questioning how it affects the way we understand, think and design space. Some of the most recent architectural design practices have recognized that film, using its specific screen environment, can provide a source of new architectural imagination while contextualizing our kinesthetic experience of space. In this article, I will examine how kinesthetic imagination has informed architectural practice in relation to the established practices of architectural representation.
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Stankovic, Danica, Aleksandra Cvetanovic, Aleksandra Rancic, Vojislav Nikolic, and Bojan Stankovic. "Biophilia in modern architectural practice: recommendations for Serbia." Facta universitatis - series: Architecture and Civil Engineering 17, no. 2 (2019): 133–43. http://dx.doi.org/10.2298/fuace190316007s.
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Architecture and its natural environment have always been inextricably intertwined throughout the centuries-old history of civil engineering development. Nowadays, when rapid development and accelerated technological innovations take place and the planet becomes everyday endangered as the result of human activities, nature is a main theme and support, in the focus of architectural creation more than ever. Biophilia in architecture represents an innovational method of architectural designing, in which the accent is on the role of nature in the quality of living and working in built areas. An architecture created based on this principle represents the architecture of the future. This architecture is imagined and created as a healthy and productive environment for a modern man, both in terms of indoor space and in the planning of local communities as active and sociable neighborhoods. By using an analytical descriptive methodology and research references, this paper focuses on contemporary experiences and analyzes selected case studies, in order to establish the elements of a possible model for architectural practice in Serbia.
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Boyd, Colin. "Stimulating virtuous architectural practice." Building Research & Information 34, no. 6 (November 2006): 596–99. http://dx.doi.org/10.1080/09613210600979681.
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Aling, Mike. "Publishing as architectural practice." Design Ecologies 6, no. 1 (June 1, 2017): 86–126. http://dx.doi.org/10.1386/des.6.1.86_1.
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Schermer, Brian. "Client-Situated Architectural Practice: Implications for Architectural Education." Journal of Architectural Education 55, no. 1 (September 2001): 31–42. http://dx.doi.org/10.1162/104648801753168792.
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Wu, Yong, Ming Du, and Li Shen. "Architectural Practice Inspired by Water Context." Applied Mechanics and Materials 193-194 (August 2012): 99–102. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.99.
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The paper puts forward the design logic and methods for waterfront buildings through three examples of architectural practice, covering the fields from education, commerce to museum buildings, which are all inspired as well as influenced by water. By analyzing the relationship between water and architecture, the paper lists five aspects namely overall concept, circulation, function, space and landscape, in which the water context guides and decides the design process and outcome.
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Sotnikova, Nadezhda. "Organization of outdoor practice of students." E3S Web of Conferences 273 (2021): 12062. http://dx.doi.org/10.1051/e3sconf/202127312062.
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In this article we consider ways of solving the problem of lacking practical experience in drawing and painting among the students of architecture departments. We propose a solution to this problem through creation of teaching methods aimed to develop a perception of of nature, compositional and technical skills and abilities. We study the principles of the approach to the plein air practice working program of the leading architectural universities in Russia, and also compare and analyze two approaches to the program: an interdisciplinary approach based on the relationship of architecture with the visual arts - drawing and studying architectural monuments and holding a plein air in the form of master classes by professional artists, with an emphasis on techniques and technologies of work in the plein air. Revealing the methodological features of building a program for mastering the universal and general professional competencies of an architect and designer: acquaintance with the monuments of architectural heritage, a creative research approach to the object of study, the development of compositional thinking and the basics of linear constructive drawing, the development of graphic techniques necessary for working on sketches of projects. Recommendations are given for the development of tasks for plein air practice for students of architecture, reconstruction, urban planning and design departments.
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Šuvaković, Miško. "Architecture as cultural practice." SAJ - Serbian Architectural Journal 1, no. 3 (2009): 171–88. http://dx.doi.org/10.5937/saj0903171q.
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In this study my intention is to interpret the "discursive" and the "ideological" differences between the architecture of postmodernism and the architecture of globalism. I will point to the paradigmatic differences between these practices and also to some specific "local examples" of execution of social quality by means of architecture being the "cultural instrument" of actualities realization. This study was written by interdisciplinary methodology of cultural studies based on Fuko's discursive analysis and Altizer's ideological analysis of the architectural productions.
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Kidd, Akari Nakai. "The stickiness of affect in architectural practice: the image-making practice of Reiser + Umemoto, RUR Architecture DPC." Architectural Research Quarterly 22, no. 2 (June 2018): 127–38. http://dx.doi.org/10.1017/s1359135518000337.
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Many disciplines have taken an ‘affectual’ turn, from the philosophical lineage of Spinoza, Nietzsche to Deleuze & Guattari where affects constitute bodies according to capacities and processes of becoming, to more recent engagements with ‘new materiality’ that has redirected attention to the expressive properties of materials - matter's relational, interactive and affective capacities. Affect and its indeterminacy as a concept encourage different interpretations. This paper is situated in this complex theoretical landscape. Although numerous studies have examined how affect emerges in- and through- the occupation of architectural spaces, little analytical attention has been paid to the creative process of design and the role that affect plays in the many contingencies that arise in the process. In this context and specifically, this article explores the production and circulation of affect within architectural practices invested in image-making processes. Importantly, it illustrates how affective aspects of image-making in architecture plays a role in the process of design. The study concentrates first on the work of Sara Ahmed who provides a critical engagement with affect as a sticky process, and then extending this to incorporate such things as sticky images. An analysis of the architectural practice of Reiser +Umemoto, RUR Architecture DPC and their project for Kaohsiung Port Terminal is put forward to show how images and image-making can inform and be informed by the design process, and moreover, how they can produce certain affective economies. The article explores the usefulness affect theory in architectural discourse to provide other ways of conceptualising architectural practice beyond being governed by the generations of actual objects and clear processes of production.
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Rusin, R. M. "POSTMODERN AS AN ARCHITECTURAL PRACTICE." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 89–94. http://dx.doi.org/10.17721/ucs.2020.1(6).17.
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Of all movements in art and architecture history, postmodernism is perhaps the most controversial. Postmodernism was an unstable mix of the theatrical and theoretical. It was visually thrilling, a multifaceted style that ranged from the colourful to the ruinous, the ludicrous to the luxurious. What they all had in common was a drastic departure from modernism's utopian visions, which had been based on clarity and simplicity. The modernists wanted to open a window onto a new world. Postmodernism, by contrast, was more like a broken mirror, a reflecting surface made of many fragments. Its key principles were complexity and contradiction. In the architecture of postmodernism in the 1970s and 1990s saw widespread experimentation with architectural styles from the past that modernism had excluded. Postmodernism lived up to its central aim: to replace a homogenous idiom with a plurality of competing ideas and styles. Postmodernism shattered the established ideas about style. It brought a radical freedom to art and architecture, through gestures that were often funny, sometimes confrontational and occasionally absurd. Most of all, the architecture of postmodernism brought a new self-awareness about style itself. When architects began using high-powered software created for the aerospace industry, in the design phase, computer programs can organize and manipulated the relationships of a building's many interrelated parts. In the building phase, algorithms and laser beams define the necessary construction materials and how to assemble them. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. The main characteristics of postmodernism in its various manifestations are highlighted, such as absolute relativism, the denial of truth as a metaphysical false value, the existence of which is nonsense, a manifestation of a totalitarian type of thinking.
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Krüger, Mário. "Architectural Practice, Education and Research: on Learning from Cambridge." For an Architect’s Training, no. 49 (2013): 64–69. http://dx.doi.org/10.52200/49.a.0ejaeven.
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This paper reports firstly on the interrelated roles of architectural practice, education and research and focuses on the unique contribution of the Cambridge School in this area. The following section presents the drawbacks derived from a research assessment exercise where architecture was no longer considered an academic subject to be developed in a research intensive university and, finally, concludes that architecture in Cambridge succeeded in spite of its problems, not in the absence of them, which suggests strongly that other European architectural schools can learn from it.
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Cifuentes Quin, Camilo Andrés. "The Platonic Forehand and Backhand of Cybernetic Architecture." Leonardo 52, no. 5 (October 2019): 429–34. http://dx.doi.org/10.1162/leon_a_01796.
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Since the 1960s, the field of digital architecture has been grounded on a computational practice of design, which has been inseparable from cybernetic constructions of architectural issues. The result of the former has been a common oscillation, in digital architectural practices, between the construction of design problems in reference to technoscientific notions and its construction as a reification of such resources. This article analyzes these aspects of digital architecture in reference to N.K. Hayles's vision of the construction of knowledge as a “seriation” and her conception of the “platonic forehand and backhand” in the work of scientists. Finally, the author identifies possible scenarios for a cybernetic practice of architecture that is not necessarily trapped in technocratic and reified visions of design issues.
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Scott, Andrew. "Design Strategies for Green Practice." Journal of Green Building 1, no. 4 (November 1, 2006): 11–27. http://dx.doi.org/10.3992/jgb.1.4.11.
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Should green buildings not only work differently, but also look, feel, and be conceived differently? The emergence of LEED accreditation as the leading form of environmental performance monitoring and its associated points and checklist format can mask the necessity for architectural projects to have focused and effective design strategies that integrate sustainability with the design process. Green accountability does not always go hand in hand with architectural quality: a good building is certainly not necessarily a green building, while a green building is not always a good work of architecture. So it becomes important to recognize the unique character and possibilities in each project and then to develop environmentally responsive concepts that support and enhance the form of the architecture. This article discusses the current context for “Green Design Practice” through a series of quite different design assignments where the focus is upon enabling the design to emerge from the recognition of the “environmental and sustainability potential.”
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Bafna, Sonit, and Hoyoung Kim. "Beyond instrumental use: a study of writing on architectural drawings in the late twentieth century." Architectural Research Quarterly 22, no. 1 (March 2018): 41–54. http://dx.doi.org/10.1017/s1359135518000313.
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The 1980s witnessed a sudden rise of writing and thinking about architectural drawings and their conventions. At about the same time, there also emerged a trend of a new type of presentational drawing in architecture, in which drawings were very complex to the point of undecipherability, graphically sophisticated, and sometimes seemingly created for their own sake rather than to represent a particular architectural project. Upon reviewing the texts on drawings from this period, two important insights are made about the use of presentational drawings in architectural practice and their relation to theory. First, that making of architectural drawings can constitute practice in its own right and such practice, if developed experimentally, leads theory, rather than lagging it and serving to validate it. Second, architectural drawings, over and above communicating information about their subject matter, can also function as a means to create social networks of discursive practice. These insights lead to an unexpected question concerning the distinctiveness of architectural practice itself.
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Dreyfuss, Guillaume, Maria Mifsud, and Tom Van Malderen. "The Architectural Practice of Regeneration." Sustainability 5, no. 9 (September 12, 2013): 3895–905. http://dx.doi.org/10.3390/su5093895.
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Pipkin, Ronald M., and Robert Gutman. "Architectural Practice: A Critical View." Contemporary Sociology 18, no. 2 (March 1989): 267. http://dx.doi.org/10.2307/2074121.
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Mah, Kai Wood, and Patrick Lynn Rivers. "Economies of Humanitarian Architectural Practice." Interventions 20, no. 4 (May 19, 2018): 510–28. http://dx.doi.org/10.1080/1369801x.2018.1487313.
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Cavanaugh, William J., Joseph A. Wilkes, and J. Christopher Jaffe. "Architectural Acoustics: Principles and Practice." Journal of the Acoustical Society of America 105, no. 5 (May 1999): 2548. http://dx.doi.org/10.1121/1.426953.
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Papademetriou, Peter C. "Architectural Practice A Critical View." Journal of Architectural Education 43, no. 4 (July 1990): 51–52. http://dx.doi.org/10.1080/10464883.1990.10758589.
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Papademetriou, Peter C., and Robert Gutman. "Architectural Practice a Critical View." Journal of Architectural Education (1984-) 43, no. 4 (1990): 51. http://dx.doi.org/10.2307/1425051.
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Papademetriou, Peter C., and Robert Gutman. "Architectural Practice: A Critical View." Journal of Architectural Education (1984-) 43, no. 3 (1990): 49. http://dx.doi.org/10.2307/1425077.
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Singh, Jagjit. "Architectural Conservation: Principles and Practice." Journal of Building Appraisal 4, no. 2 (June 2008): 135. http://dx.doi.org/10.1057/jba.2008.29.
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Winch, Graham, and George Deeth. "Managing CAD in architectural practice." Automation in Construction 2, no. 4 (April 1994): 275–80. http://dx.doi.org/10.1016/0926-5805(94)90003-5.
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Merie, Olha. "ARCHITECTURAL TASTE AS AN ARCHITECTURAL AND PSYCHOLOGICAL PHENOMENON, ITS FACTORS AND ROLE IN THE ARCHITECTURAL EDUCATION AND PRACTICE." Current problems of architecture and urban planning, no. 59 (March 1, 2021): 63–79. http://dx.doi.org/10.32347/2077-3455.2021.59.63-79.
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The article presents the results of a theoretical study of architectural taste as an architectural and psychological phenomenon, its factors and role in architectural education and practice. The peculiarity of architectural taste is facilitated by gustosology – complex science about aesthetic taste, its nature, peculiarities of formation and function in public life, role in the development of the general culture of personality and society generally. It is determined that architectural taste is an aesthetic pleasure derived from individual patterns of architecture preferences, which has an intellectual character, associated with the result of reasoning, sequence of evaluation and quick judgement, through which a non-trivial result is achieved by the proportionality of beauty. It was established that according to the theoretical research, the differences of architectural taste depend on factors: 1) professional and artistic (inherent to specialists – architects, designers and depends on the level of education and culture of a particular person); 2) sexual (for example, female tastes are more emotionally colored, more sensitive; they are mainly found in the design of the interiors of buildings); 3) national (hence – English, French taste); 4) ethnographic (for example, Hutsul style); 5) social (belonging to the noble family); 6) own and borrowed tastes (unification of tastes under the influence of fashion); 7) ecological (reflectses human’s attitude to the preservation and development of the eco-system); 8) educational (the study of tastes concerns the process of their formation in educational institutions); 9) physiological (perception of architecture); 10) psychological (temperament; psychological types of people by K. G. Jung according to the types of drawings of architectural objects (by Vinogradova E. I. and Barabanov A. A.). It is confirmed that architectural taste is formed throughout the life, and therefore may change. The results of the research are valuable for: theories of architecture; architectural education – for better understanding of students-architects by teachers of higher education institutions; for architectural practice in the field of urbanism and urban planning, as well as in work with customers; for the further experimental research, in particular, the identification of typology of architectural tastes of individuals and their psychological characteristics, which will be presented in the next publications of the author.
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Stickells, Lee. "Conceiving an architecture of movement." Architectural Research Quarterly 14, no. 1 (March 2010): 41–51. http://dx.doi.org/10.1017/s1359135510000564.
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Ideas about movement were fundamental for Modernist architecture of the early twentieth century and are ubiquitous in contemporary theory and practice. The shifting theoretical terrain in which bodily movement is made sense of has continuously produced different understandings of architectural possibilities. For example, where in much early Modernism, and in present conventional practice, movement is often articulated in terms of technical, functional circulation and narrativised aesthetic experience (the architectural promenade), other recent practices adopt more ambivalent approaches. The emphasis in these later practices is on the relationality of programmatic elements, articulated in terms of dynamic coexistence, continual variation and fluid, interconnected space. In this way, they connect to a pervasive concern with mobility in the late twentieth, and early twenty-first century: culture is increasingly seen as dynamic and hybrid, societies are defined through complex webs of interconnection, and social theory is focused on the nomadic. In this context, examining changing conceptions and structuring of bodily movement within architecture provides a means for productively reengaging with modern architectural history.
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Husain, Hisham Alaa, and Ghada Musa Al-Silk. "Innovation Diffusion Elaboration into Architectural Movement." Journal of Engineering 27, no. 4 (April 1, 2021): 62–78. http://dx.doi.org/10.31026/j.eng.2021.04.05.
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The research investigates the term innovation and its role in elaborating architectural practice based on diffusion. The complexity of the architectural field compared with other fields shows a problem in explaining how innovations in architecture diffuse as a thought and act in a certain context of practice. Therefore, the research aims to build an intellectual model that explains the way personal thoughts resembled by unique models introduced by creative and innovator designers diffuse in a certain pattern elaborate these models into a state of prevailing thought resembled by the movement in architecture. The research will apply its model to the more comprehensive movement in architecture, which is the modern movement, for model verification and enhancement.
The research concluded that innovation in architecture is about the continuity of events defining the innovator's roles in a time pattern. With this continuity, the innovative models developed into styles and currents within a major thought elaborates, if communication tools and external factors were provided, into a "movement" leading the architectural practice framing its aesthetical and spatial preferences.
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Wang, Xue Yong, Bo Zhou, Wen Dong, and Jing Wei Gong. "Modern Representation of Traditional Architectural Style." Applied Mechanics and Materials 584-586 (July 2014): 272–75. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.272.
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Based on the architectural design practice of Peach Blossom Valley Traffic Control and Training Center, this paper probes into several key points of modern architecture creation from the aspects of local cultural context, adaptation to local conditions, traditional signs and architectural style, etc., emphasizing that traditional local architectural culture should be inherited and developed in the modern architecture design.
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REPINA, Evgeniya A., and Dariya N. ROMANOVA. "EVOLUTION OF PROFESSIONAL INTEREST FOR ANONYMOUS LANGUAGE PHENOMENON." Urban construction and architecture 7, no. 1 (March 15, 2017): 87–93. http://dx.doi.org/10.17673/vestnik.2017.01.15.
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The relevance of modern Russian anonymous architecture is studied. The evolution of the concept «anonymous» and the variety of its connotations in different contexts are viewed. A brief overview of researches influenced on new values formation is presented. Philosophical and cultural background of inclusion of anonymous language in professional field are analyzed as well as mutual influence of artistic and architectural practices. The question of research typological boundaries is raised. The examples of anonymous language legitimation in Russian and world professional architectural practice are presented. Potential values of Russian vernacular architecture are revealed and classified for professional practice. Objects created by non-professionals demonstrate respect for the place, cultural continuity, careful attitude to things, to manual labor and love of folk material culture.
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Saxon, Richard. "Global practice implications Reactions to Duany The West is running out of talent …" Architectural Research Quarterly 5, no. 3 (September 2001): 197–99. http://dx.doi.org/10.1017/s1359135501211245.
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Paolo Tombesi sets out a very interesting thesis that Asia will become the ‘back office’ of Western design practice in, ‘A true south for design? The new international division of labour in architecture’ (arq 5/2, pp.171–180). There are many instances of this happening already, though mainly in engineering and in US style architectural practice where documentation consists of the application of rules-based methods and the work used to be done by ‘tracers’. Practices with computer-based standard detailing can have schematic drawings worked up overnight and corrections similarly serviced. UK architectural practice is largely done without back offices or standard solutions and drafting help must be closely supervised. Price competition from the South may well become a factor for change.
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Emmons, Paul. "Diagrammatic Practices: The Office of Frederick L. Ackerman and "Architectural Graphic Standards"." Journal of the Society of Architectural Historians 64, no. 1 (March 1, 2005): 4–21. http://dx.doi.org/10.2307/25068122.
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The office of Frederick Ackerman (1878-1950) was the source of the first modern architectural handbook, Architectural Graphic Standards (1932), which was intended as a radical manifesto. Basing his practice on the economic critique of "conspicuous consumption" by Thorstein Veblen (1857-1929), Ackerman was a leader of the technocratic movement. Ackerman directed his employees to develop factual architectural data. The authors of Graphic Standards, Charles Ramsey (1884-1963) and Harold Sleeper (1893-1960), worked at Ackerman's firm, and it was for Ackerman's projects that the first versions of the handbook's plates were drawn. Graphic Standards reflected Ackerman's technocratic approach to architecture, whereby he isolated functional facts from appearance, which was understood as self-expression. In its use of diagrams, Graphic Standards reflected the view that such schematic representations were the transparent rendering of facts. Yet, as seen in some of the plates of Graphic Standards, even the most reductive diagrams inevitably include expressive elements. Through many editions, Graphic Standards has been widely hailed as the "bible" of architectural practice, and it is paradoxical that Ackerman's radical practice became the basis of today's normative commercial practices. The attempt to separate functional fact from aesthetic self-expression was an impossible project, but Ackerman's efforts to achieve a modern architecture that was derived from the nature of its use and construction to replace the design of novelties remain a significant achievement.
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Liu, Chang An. "Research on Eco-Architecture-Oriented Architectural Education." Applied Mechanics and Materials 357-360 (August 2013): 455–58. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.455.
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This paper analyses the status of the ecological architecture education nowadays and describes the necessity of embedding ecological and energy-saving technologies in traditional architectural education. Then the author introduces the teaching plan and practice in the newly started Building Integrated Solar System professional orientation in Shandong Jianzhu University and explores the possibility of establishing the ecological-featured architecture professional orientation in China.
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Lathrop, Alan. "Appraisal of Architectural Records in Practice: The Northwest Architectural Archives." American Archivist 59, no. 2 (April 1996): 222–27. http://dx.doi.org/10.17723/aarc.59.2.e6665h7292722743.
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FARENHORST, RIK, PATRICIA LAGO, and HANS VAN VLIET. "EAGLE: EFFECTIVE TOOL SUPPORT FOR SHARING ARCHITECTURAL KNOWLEDGE." International Journal of Cooperative Information Systems 16, no. 03n04 (September 2007): 413–37. http://dx.doi.org/10.1142/s0218843007001706.
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Knowledge management plays an important role in the software architecting process. Recently, this role has become more apparent by a paradigm shift that views a software architecture as the set of architectural design decisions it embodies. This shift has sparked the discussion in both research and practice on how to best facilitate sharing of so-called architectural knowledge, and how tools can best be employed. In order to design successful tool support for architectural knowledge sharing it is important to take into account what software architecting really entails. In this paper, we define the main characteristics of architecting, based on observations in a large software development organization, and state-of-the-art literature in software architecture. Based on the defined characteristics, we determine how best practices known from knowledge management could be used to improve architectural knowledge sharing. This results in the definition of a set of desired properties of architectural knowledge sharing tools. Finally, we highlight the design and implementation of EAGLE, an architectural knowledge sharing portal that implements those properties.
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Jia, Jiao Jiao, Song Fu Liu, and Xiao Juan He. "Peter Zumthor Ideas of Architectural Creation." Applied Mechanics and Materials 423-426 (September 2013): 1183–86. http://dx.doi.org/10.4028/www.scientific.net/amm.423-426.1183.
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The paper studies the theories of Peter Zumthor, one of the most important architect in contemporary Swiss. In the context of the arts, the phenomenology of architecture and the development of modern architecture, the paper relies on Zumthors architectural works, tries to explore the origin of Zumthors architectural creation, revisit and reconstruct the trajectory of his theories and practice.
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Singh, Ekta, and Devendra Pratap Singh. "Architectural profession in India: perception towards service marketing." Journal of Engineering, Design and Technology 15, no. 5 (October 9, 2017): 574–90. http://dx.doi.org/10.1108/jedt-03-2017-0024.
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Purpose Spurred by the internationalization trend, many architectural professional bodies across the globe relaxed their norms related to the acceptance of promotion and marketing within the services. However, in India, the architectural services codes have not reflected any changes. This paper aims to focus on Indian architectural practice and attempts to investigate about the causes of low marketing activities within the practice in the country. Design/methodology/approach The study is based on a primary research process of data collection through survey administration. Survey is conducted using a close-ended structured questionnaire based on Likert scale technique. The data are analysed using both descriptive and empirical research techniques mainly, factor analysis. The sample is defined using random clustering sampling technique, from the list of architects registered with the professional regulating body of India, i.e. the Council of Architecture. Findings The findings of the study are suggestive that architectural firms in India are instinctively practising marketing-related activities, to position their firm to attract clients without formally adopting them. There appears to be a silent routinization of the marketing tasks in the firms. The findings are suggestive of academic and professional ignorance as one of the barriers towards marketing. The findings advocate that recognizing the growing competitive nature of architectural practices in the country, the regulatory and institutional body, Council of Architecture, may retrospect their code of conduct. The results of the present study have a great implication on the architectural education in the country. The findings advocate that the architectural curriculum in the country should be broadened to include the basic knowledge about marketing. Research limitations/implications The present study opens a newer paradigm in the practice of architectural services. It highlights the growing linkages between the field of marketing and architecture. It opens a new area of research where linkages between interdisciplinary fields is an important aspect that needs researchers attention, to have a good model of survival for professional firms in a highly competitive environment. Practical implications The research findings have great implications for the architectural firms that seek to operate in the globally volatile environment. The increasing competitive nature of the architectural services in India demands a dynamic decision and procurement methods that can strategically position firms in the market. Marketing strategies have a significant role in positioning firms and increasing their client base. Originality/value The subject of architectural practice and its operation is an under-researched area. The present study makes a strong point for formal involvement of marketing strategies in the promotion of architectural firms in India. The paper attempts to bridge this gap, and the strength of the paper lies in the empirical nature of its investigation.
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Jadrešin-Milić, Renata, and Catherine Mitchell. "The death of aesthetics in architectural education? Possibilities for contemporary pedagogy." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 553–70. http://dx.doi.org/10.5937/saj1903553j.
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The importance of aesthetics within architecture has a long history. Although evidence suggests that the term was not brought into architectural writing until 17351 , the place of aesthetics can be identified across architectural theory and philosophy since the time of Vitruvius. Developing an aesthetic sensibility was seen as crucial for an architect and the study of architecture was understood through the three Vitruvian lenses (utlitas, firmitas, venustas) one of which, venustas, is directly associated with aesthetics. This paper responds to the current and ongoing discussions between architects, architectural educators and architectural students on the role of aesthetics in architectural education and professional practice today. It was initially inspired by questions raised at the 2017 and 2018 annual conferences of the Society of Architectural Historians (SAH 2017 and 2018) about the role of architectural history in architectural design and practice today, and in line with this, questions about place of aesthetics in architectural education. This paper considers the place of aesthetics in architectural education and provides a detailed overview of the key pedagogical interventions undertaken in one architectural studies programme which might serve as a guide for educators interested in maintaining the place of aesthetics in contemporary architectural education. It suggests that aesthetics can continue to play a key role in the architectural curriculum whilst a focus on design problem-solving and achieving the contemporary educational requirements of accreditation is maintained.
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Manic, Bozidar, Dragana Vasiljevic-Tomic, and Ana Nikovic. "Contemporary Serbian Orthodox church architecture: Architectural competitions since 1990." Spatium, no. 35 (2016): 10–21. http://dx.doi.org/10.2298/spat1635010m.
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This paper focuses on the architectural competitions for Orthodox Christian churches in Serbia since 1990, both on the analysis of the designs submitted and the competition requirements. The first competition for an Orthodox church in Serbia after World War II was announced for Pristina in 1991. After that, competitions for the temple in Cukarica, Novi Beograd, Nis, Aleksinac and Krusevac were conducted. Thanks to the fact that architectural competitions allow a greater degree of creative freedom to the architects than regular practice, various solutions were offered, from replicas of models from architectural history and tradition to fully non-traditional proposals. Depending on the relationship to tradition, architectural design approaches can be classified into three main groups: radically modernizing, conservatively traditionalist, and compromising. Of the six competitions conducted, four churches were built, which are among the most architecturally successful newer churches in Serbia. This points to the importance of the implementation of the architectural competition in this field of architecture. The diversity of the award-winning projects shows that there is awareness of the possibility for the further development of church architecture, favouring a moderate approach.
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Gao, Yun, and Kevin Orr. "Architectural students’ year-out training experience in architectural offices in the UK." Architectural Research Quarterly 19, no. 2 (June 2015): 175–82. http://dx.doi.org/10.1017/s1359135515000391.
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This paper investigates architectural students’ ‘year-out’ learning experiences in architectural offices after completing RIBA Part I study within a UK university. By interviewing and analysing their reflections on the experience, the study examines how individual architecture students perceive and value their learning experience in architectural offices and how students understand and integrate what they have learned through two distinct elements of their training: in university and in offices.The architectural offices that students worked with vary in terms of workforce size and projects undertaken. The students’ training experience is not unified. The processes of engaging with concrete situations in real projects may permit students to follow opportunities that most inspire them and to develop their differing expertise, but their development in offices can also be restricted by the vicissitudes of market economics.This study has demonstrated that architectural students’ learning and development in architectural offices continued through ‘learning by doing’ and used drawings as primary design and communicative media. Working in offices gave weight to both explicit and tacit knowledge and used subjective judgments. A further understanding was also achieved about what architects are and what they do in practice. The realities of their architectural practice experience discouraged some Part I students from progressing into the next stage of architectural education, Part II, but for others it demonstrated that a career in architecture was ‘achievable’.This study argues that creative design, practical and technical abilities are not separate skill-sets that are developed in the university and in architectural offices respectively. They are linked and united in the learning process required to become a professional architect. The study also suggests that education in the university should do more to prepare students for their training in practice.
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Zhang, Yun, and Ming Du. "Knowing Place in International Landscape Architectural Practice." Applied Mechanics and Materials 193-194 (August 2012): 9–12. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.9.
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This paper investigates ways of knowing a particular place in landscape architectural practice across cultures. The approach of landscape architecture to place suggests a primary goal to look after places’ characteristics. Therefore, landscape architects have developed ways to gain understanding of place and its natural and cultural environment. A case study of the planning and design of the Li Lake area in China where Australian landscape architects played key roles showed their genuine engagement with place through intensive site investigations and close interaction with local governmental clients. It also showed their difficulties in gaining implicit knowledge of this area, because their early and direct interaction with local landscape architects and communities was restricted by the commissioning process.
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Fan, Li Ya, and Xue Qiang Wang. "Architecture Design Curriculum Reform Practice Triggered by the British Architectural Education and Certification System." Applied Mechanics and Materials 638-640 (September 2014): 2393–96. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2393.
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This paper based on the best architecture universities education concept, through the analysis of the architecture education mode, put forward the current architectural education reform and development directions. From the perspective of curriculum practice, probes into the new mode of curriculum and education, enhance the comprehensive ability and creative thinking of students; Reference to CRIT rating chart patterns, join in the concept of "workshop", Create local and broader academic building information platform, provides the domestic architectural education improvement ideas.
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Kelbaugh, Douglas. "“Seven Fallacies in Architectural Culture”." Open House International 31, no. 2 (June 1, 2006): 5–11. http://dx.doi.org/10.1108/ohi-02-2006-b0002.
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As an architect and educator I worry about the intellectual and pragmatic challenges that currently bedevil architectural practice and pedagogy. There are at least seven design fallacies that in various combinations permeate professional practice and studio culture at most schools of architecture. Some are self-imposed and tractable; others are less easily addressed because they are externally driven by the media, technology, globalization and capital. Some are about form-making; others are about social equity and environmental sustainability. All seven are deeply embedded in our architectural psyches. Changing them will not be easy, but change them we must if we want to recuperate architecture and urbanism, as well as invigorate them as a more positive and progressive force in the world.
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Abood, Oday Abbas. "Postmodern Architecture between the pillars of philosophical discourse and architectural practice." Journal of Engineering 25, no. 5 (May 1, 2019): 1–20. http://dx.doi.org/10.31026/j.eng.2019.05.08.
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Postmodern arguments, formed a critic case of what modernity brought in several levels. Postmodern practice was considered as a proactive case having amorphous concepts and features to what entiled as an intellectual trends postmodern philosophically and intellectually. But, what postmodernism architecture broughts in it essence, was not isolation from the intellectual context and entrepreneurship case, and it was not disconnecting from the intellectual and philosophical era of that period. Lliteratures and philosophical argument precede what (Robert Venturi) and (Charles A Jencks) had brought, albeit it was closer to critics and correction the path of modernity from crystallizing a direction that exceeds modrinity to what follows.
In this context, the research's aim had been determined by: (investigating the philosophical depth and intellectual arguments for postmodernism, and them implications in the architectural practice comparing to the philosophical narratives, and then determine the reflection of that in the architectural technology practice). For achieving the aim of the research, the research was initiated to discuss the intellectual foundations of the postmodernism by discussing the philosophical propositions constitutive and the crystallized, first. And then discuss the propositions of postmodernism in architecture, secondly. And discuss the presence of thought in the technological practice as influential and affected. And then the research reached the most important general and particular conclusions of the postmodern trends and its reflection in architecture, and then to reached the comparative conclusions for each of the philosophical and architectural propositions, and then to determining a reflection all of that in the architectural technological practice directions.
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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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Johanes, Mikhael, and Yandi Andri Yatmo. "Composing the Layer of Knowledge of Digital Technology in Architecture." SHS Web of Conferences 41 (2018): 05002. http://dx.doi.org/10.1051/shsconf/20184105002.
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The use of digital tools in architectural practice has been evolving significantly. In following such developments, architectural practice has been incorporating digital technology not only to meet the current demand but also to pursue the vast amount of possibilities ahead. However, the integration of digital technology in architectural knowledge has been reasonably operative that produces uncritical understanding, and it tends to put architects as a passive user of technology. This paper argues that there are layers of knowledge that nees to be acknowledged and nourished accordingly in embracing the use of computation tools yet avoiding the overly simplistic.understanding. It attempts to explore the methods of digital technology in archietctural design practices as well as dicussions that follow to create a critical evaluation of its roles and potentials. The review is conducted theoretically in which the use of digital in the design process is explored in such a way to reveal its importance in architectural design methods. The review also crosses beyond the disciplines of architecture to construct more comprehensive understanding that bridges the logic of digital technology and architecture. The resulted map of methods of the digital thus can be used to develop a framework for digital discourse that bridge the operative knowledge of technology to the more critical perspectives.
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Andjelkovic, Katarina. "The spatial context of the cinematic aspect of architecture." Facta universitatis - series: Architecture and Civil Engineering 13, no. 2 (2015): 123–35. http://dx.doi.org/10.2298/fuace1502123a.
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This paper presents the findings, conclusions and results of my PhD research entitled, "The spatial context of the cinematic aspect of architecture". The purpose of this paper is to present the possibilities of adopting the cinematic qualities of architecture as an approach to tracing current modifications in contemporary architectural discourse in relation to the paradigmatic change of perception of urban space towards a movement perspective. The design process tradition, which comprises a standard series of procedural exercises aided by new technology, is in contrast to the experimental architectural research of the last decade that has clearly demonstrated the tendency to enrich the limited traditional approach in order to extend human vision beyond what is perceivable. Accordingly, I propose that we can test the cinematic aspect of architecture, first having harmonized the relationship between architecture and film through their common methodological and didactic approaches. To verify the cinematic aspect of architecture in theory, practice and education, and to maintain the level of creativity present in design practice, I initiated a reassessment of current design practice and proposed alternative architectural design strategies.
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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 (June 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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Grossman, Heather E. "On Memory, Transmission and the Practice of Building in the Crusader Mediterranean." Medieval Encounters 18, no. 4-5 (2012): 481–517. http://dx.doi.org/10.1163/15700674-12342121.
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Abstract Memory played a key role in the cross-cultural transmission of medieval architectural knowledge amongst patrons, designers, ateliers and audiences from different religious, cultural and architectural traditions. Two aspects of architectural memory are here posited as playing a role in the dissemination of architectural forms and styles: a “cultural memory” that evoked specific, earlier sites of ideological or other significance to patrons; and a “pragmatic memory” of learned, practical skills that was transmitted amongst masons themselves. These interlocking yet distinct aspects of memory in architecture are not unique to cross-cultural transmission, but they had particular impact when deployed by patrons and masons across physical or conceptual borders. Whether introduced by practical means or for associative reasons, new forms further moved across regions with artisans, who proffered (and learned) new modes of working while traveling. Examination of the Cistercian Monastery of Zaraka in Stymphalia, Greece and other churches of the thirteenth-century, post-Crusade Peloponnese and greater Eastern Mediterranean demonstrate how both aspects of architectural memory can be read in the physical architectural record. This methodology also re-inscribes masons into a history of the cross-cultural creative process, showing that builders were vital in the processes of transmitting and interpreting forms.
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Rendell, Jane. "Architectural research and disciplinarity." Architectural Research Quarterly 8, no. 2 (June 2004): 141–47. http://dx.doi.org/10.1017/s135913550400017x.
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There are at present considerable concerns with how architectural research will be assessed in the Research Assessment Exercise (RAE) of 2008. In RAE 2001, most architectural research was submitted to one of three Units of Assessment (UoA): 33 Built Environment, 60 History of Art, Architecture and Design, and 64 Art and Design. There were subtle, but important, differences in output definition and assessment criteria between UoA 33 and UoA 64 with respect to practice-led research. Most importantly, in UoA 33 practice-led outputs were accepted by the panel, but only as publications, whereas UoA 64 assessed practice-led research outputs accompanied by a 300-word statement that clarified the contributions of that particular research to the development of original knowledge in the field. The diversity of methods and complexity of output types, combined with the composition of UoA 33, led to results that many feel did not properly reflect the strengths of architectural design, particularly practice-led research. This methodology essentially disenfranchised a significant part of the community from the rae process to the detriment not only of the community, but to the credibility of the process itself.
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Zhang, Liang-Jie, and Jia Zhang. "Service Oriented Solution Modeling and Variation Propagation Analysis Based on Architectural Building Blocks." International Journal of Web Services Research 10, no. 4 (October 2013): 39–61. http://dx.doi.org/10.4018/ijwsr.2013100102.
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In spite of the widely recognized benefits of applying Service Oriented Architecture (SOA) to design enterprise-scale software systems, its actual application practice is not always a success. One major reason is the lack of a systematic engineering process and tool supported by reusable architectural artifacts. Toward this ultimate goal, this paper proposes a new method of architectural building blocks (ABB)-based SOA solution design and it is applicable to any layered or tiered infrastructure. The authors present the modeling of solution-level architectural artifacts and their relationships, whose formalization enables event-based variation notification and propagation analysis. The goal is to provide architecture-level support for configuration and re-configuration of architectural artifacts based on industry practices. Their method also supports solution-level project variation management for the process of updating and maintaining architectural artifacts. The authors report a prototype tool that they have developed and describe how they extend the Unified Modeling Language (UML) mechanism to implement the system and enable solution-level enforcement as an example. The prototype has been applied in real projects as an SOA solution modeling tool.