Academic literature on the topic 'Architecture Architecture, American Architectural criticism'
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Journal articles on the topic "Architecture Architecture, American Architectural criticism"
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Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Myjak-Pycia, Anna. "Forgoing the architect’s vision: American home economists as pioneers of participatory design, 1930–60." Architectural Research Quarterly 25, no. 1 (2021): 17–30. http://dx.doi.org/10.1017/s1359135521000142.
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The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).
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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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Figueira, Jorge. "Out of the box: Southwards and Eastwards notes on a new geography of criticism." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 184–99. http://dx.doi.org/10.5937/saj1103184f.
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Viewed from the 'Southern Europe', the theoretical/critical debate in the Anglo-Saxon world, in particular the ongoing debate at the American universities is perplexing. It is a world of opulence and loftiness, not in this case on the level of material wealth, but intellectual wealth. If we understand that the omnipresence of 'critical theory' has an inhibitive effect on a sensory relationship with architecture, and that dichotomies such as critical/projective are schematic, the truth is that we need to leave behind atavisms that diminish the approach in 'Southern Europe': the local against the global; the space against the images; the young against the old. Theory and criticism have much to gain from allowing themselves to be provoked by the unknown. I would like to concretize these ideas by revisiting two recent experiences: to the South, Cape Verde, and to the East, Macau. They are border situations of wealth and material prosperity in Macau; and of poverty and obstruction in Cape Verde. How are these territories read and criticized? The architecture we find there is outside the history based on the MoMA. In China one hears the echo of echoes, increasingly. In Africa, one can hear the distant resonance of those echoes. Where are we beyond 'post-criticism'.
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Nnaemeka, Obioma. "Racialization and the Colonial Architecture: Othering and the Order of Things." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1748–51. http://dx.doi.org/10.1632/pmla.2008.123.5.1748.
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Steve Martinot argues that racism is the system and racialization “The process through which white society has constructed and co-opted differences in bodily characteristics and made them modes of hierarchical social categorizations” (180). Over half a century ago, the United Nations Educational, Scientific and Cultural Organization (UNESCO) was so concerned about the genesis and consequence of the “process” that it issued a statement on race. Reeling from World War II, the global community saw the urgent need to put in place mechanisms for promoting global peace. The establishment of UNESCO in 1945 was aimed specifically at promoting a culture of peace. Convinced that racism and racial inequality were a root cause of the war, the authors of the UNESCO constitution (1945) condemned “the doctrine of the inequality of men and races” in the constitution's preamble. Responding to a resolution adopted by the United Nations Social and Economic Council at its sixth session in 1948, UNESCO gathered a group of experts (anthropologists and sociologists) from almost all continents (Africa was the exception) to develop for dissemination a statement on race that was based on scientific facts. The committee released a “Statement on Race” on 18 July 1950 which concludes that “there is no proof that the groups of mankind differ in their innate mental characteristics, whether in respect of intelligence or temperament [and] the scientific evidence indicates that the range of mental capacities in all ethnic groups is much the same” (9). The statement also asserted that the “biological fact of race and the myth of ‘race’ should be distinguished. For all practical and social purposes ‘race’ is not so much a biological phenomenon as a social myth” (8). The committee affirmed the universality of the “brotherhood of man” and suggested that race as a concept be replaced by “ethnic” (6). Criticism of the statement was swift and vehement. The controversy prompted UNESCO to empanel another committee to produce a second statement the following year. Over the years, other organizations, such as the American Sociological Association and the American Association of Physical Anthropologists, have issued their own statements on race.
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Cadieu, Morgane. "Afterword: The Littoral Museum of the Twenty-First Century." Comparative Literature 73, no. 2 (2021): 237–54. http://dx.doi.org/10.1215/00104124-8874117.
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Abstract The museum, the mausoleum, and the memorial are key concepts for theorizing beaches and ports in twenty-first-century literature and cinema. On the littoral, these constructions suggest the very opposite of a sealed off monumentality to become living museums of women’s labor in modern and contemporary France (Sciamma, Varda), bodily mausolea of migration on the Senegalese shoreline (Diop), and shapeshifting war memorials in Atlantic and Pacific tidelands (Darrieussecq, Rolin, Virilio). Examples of anamorphic seascapes, especially in photography, underscore the reversibility of sand and cement in Japan (Narahashi, Ono), as well as the dereliction of Cuban beach architecture and American industrial harbors (Morales, Sekula). In art as in criticism, the waterfront stages gender and class crossings (Dumont) and tangles fields. The afterword thereby weaves the major threads of the special issue: textures, labor, and ruins; social mobility and migration; marine life, geological time, and the history of sensation.
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Karczewska, Anna Maria. "From Bauhaus to Our House: Tom Wolfe contra modernist architecture." Świat i Słowo 34, no. 1 (2020): 211–30. http://dx.doi.org/10.5604/01.3001.0014.3069.
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In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.
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Howard-Pavlovich, Zeljka. "New urbanism: A new approach to the way America builds." Spatium, no. 9 (2003): 22–27. http://dx.doi.org/10.2298/spat0309022h.
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New Urbanism has been characterized as the most important phenomenon to emerge in American architecture and planning since the Modernist movement. Like any movement promoting ideas that challenge long standing practices, New Urbanism has received its share of criticism. This article focuses on the positive aspects of these movements. It provides an overview of the movement and looks into the lessons that could be learned from the application of its ideas to the design and development of cities. Illustrative of many New Urbanism ideas are the efforts undertaken in Europe during the last decade of the twentieth century. The charter outlines a new vision of the spatial and physical form of the contemporary built environment promoted by New Urbanism and defines the principles and development policies that support that vision. Then, the Charter refers to regions as "fundamental economic unitas of the contemporary world" and calls for coordination of public policies, physical planning, and economic strategies to deal with this new reality. New Urbanism brings to fore the importance of an integrated approach to rectifying the problems of urban growth and to bring about change to the unsustainable pattern of the current urban landscape. It, also, asserts that the process for effecting changes in the urban structure and public policies should be based on developing close partnerships and cooperation among various disciplines, interest groups, and citizens. There is, also, an idea on Reaffirmation of the Traditional Urbanism principles that have guided design of cities for centuries. New Urbanism, of course, does not offer solutions to all ills of the American built environment, however, it has inspired significant changes in the approaches to planning and development.
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Rodger, Johnny. "Putting Holl and Mackintosh in multi-perspective: the new building at the Glasgow School of Art." Architectural Research Quarterly 17, no. 1 (2013): 24–36. http://dx.doi.org/10.1017/s135913551300033x.
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The announcement that American architect Steven Holl had won the competition to design a new building for the Glasgow School of Art opposite Charles Rennie Mackintosh's original (built 1897–1909), and the revelation of his plans to the public, provoked plenty of criticism about the possible relationship between the two buildings. Professor William Curtis first wrote on the topic in the Architects' Journal almost a year from the announcement, and his opinions on the relationship were forthright: ‘Rather than dialogue’, he argued, ‘there is a dumb lack of articulation in construction and material.’ A response came in the following issue of the AJ from David Porter, then Professor at the Mackintosh School of Architecture. He disagreed with Curtis, claiming that the new building will have ‘an extraordinary spatial richness’ and that ‘the original sketch Curtis saw in Glasgow last December has progressed very rapidly’, for it was but an early stage in ‘a design strategy driven forward with a mixture of poetics and ruthless pragmatics: qualities that are singularly appropriate in this context, and developed with artistry and skill’.Curtis subsequently wrote a further open letter to ‘the Governors, the Director, the Faculty, Students, Staff, Alumnae and Alumni’ of Glasgow School of Art, which was published in facsimile in the Architects' Journal on 3 March 2011:What a disappointment then to contemplate Steven Holl's proposed addition. It is horrendously out of scale, it dominates Mackintosh, it does not create a decent urban space, it fails to deal with the context near and far, it is clumsy in form and proportion, it lacks finesse in detail, has no relationship to the human figure, and is a stillborn diagram dressed up in Holl clichés such as ‘iceberg’ glass.
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Maxwell, David. "Photography and the Religious Encounter: Ambiguity and Aesthetics in Missionary Representations of the Luba of South East Belgian Congo." Comparative Studies in Society and History 53, no. 1 (2011): 38–74. http://dx.doi.org/10.1017/s0010417510000629.
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William F. P. Burton's career straddled several worlds that seemed at odds with each other. As a first-generation Pentecostal he pioneered, with James Salter, the Congo Evangelistic Mission (CEM) at Mwanza, Belgian Congo in 1915. The CEM became a paradigm for future Pentecostal Faith Mission work in Africa, thanks to Burton's propagandist writings that were published in at least thirty European and North American missionary periodicals. His extensive publications, some twenty-eight books, excluding tracts and articles in mission journals, reveal that the CEM was a missionary movement animated by a relentless proselytism, divine healing, exorcism, and the destruction of so-called “fetishes.” The CEM's Christocentric message required the new believer to make a public confession of sin and reject practices relating to ancestor religion, possession cults, divination, and witchcraft. It was a deeply iconoclastic form of Protestantism that maintained a strong distinction between an “advanced” Christian religion, mediated by the Bible, and an idolatrous primitive pagan religion. Burton's Pentecostalism had many of its own primitive urges, harkening back to an age where miraculous signs and wonders were the stuff of daily life, dreams and visions constituted normative authority, and the Bible was immune to higher criticism. But his vision also embraced social modernization and he preached the virtues of schooling and western styles of clothing, architecture, and agriculture. It was this combination of primitive and pragmatic tendencies that shaped the CEM's tense relations with the Belgian colonial state.
Dissertations / Theses on the topic "Architecture Architecture, American Architectural criticism"
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Reu, Caroline Marie. "Corporate, cirque, commute : an adaptation of situationist theory to contemporary america." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23450.
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Reynolds, Craig A. "Thomas Jefferson’s Designs for the Federal District and the National Capitol, 1776-1826." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3779.
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This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design.
This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders.
Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.
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Shearer, Katherine. "The "Postmodern Geographies" of Frank Gehry's Los Angeles." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1031.
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This thesis examines the ways in which Frank Gehry’s architectural contributions to Los Angeles’ social and built environment have shaped the region’s “postmodern geographies” throughout the 20th and 21st century. Through a focused exploration of three of Gehry’s postmodernist structures in Greater Los Angeles—a house, a library, and a concert hall—this thesis analyses how Gehry and his designs reflected and affected the artistic and socio-spatial development of Los Angeles’ “decidedly postmodern landscape.”
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Hughes, Leah R. "The Tammy Manifesto and the Politics of Representation." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/520.
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The artistic is always political, even if not overtly so—each work carries with it the histories of the artist, the means of production, the subject matter, and the many art historical precedents that overlap and diverge to constitute the theoretical circumstances surrounding it. Since I began translating my lived experience into artworks, I have become interested in the ways in which my personal politics have affected the choices I have made in material and narrative substance. This is a deconstruction of the politics of representation as a method for better understanding the art historical context in which contemporary materials- and performance-based art work exists and to conceptually develop the work I want to produce in the future.
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Duffy, Owen J. JR. "The Politics of Immateriality and 'The Dematerialization of Art'." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4641.
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This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it?
By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Conway, Jennifer S. "The Search for Cultural Identity: An Exploration of the Works of Toni Morrison." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5191/.
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Many of Toni Morrison's African-American characters attempt to change their circumstances either by embracing the white dominant culture that surrounds them or by denying it. In this thesis I explore several ways in which the characters do just that-either embrace or deny the white culture's right to dominion over them. This thesis deals primarily with five of Toni Morrison's novels: The Bluest Eye, Beloved, Paradise, Sula, and Tar Baby.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
Books on the topic "Architecture Architecture, American Architectural criticism"
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Doumato, Lamia. Publications by women on American domestic architecture. Vance Bibliographies, 1985.
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Mizner's Florida: American resort architecture. Architectural History Foundation, 1987.
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1838-1886, Richardson H. H., ed. H.H. Richardson: Architectural forms for an American society. University of Chicago Press, 1987.
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Casper, Dale E. The Saarinens and American architecture, 1967-1987. Vance Bibliographies, 1988.
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Sites unseen: Architecture, race, and American literature. New York University Press, 2011.
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1922-, Roche Kevin, John-Alder Kathleen, Pantelidou Olga, and Sadighian David, eds. Kevin Roche: Architecture as environment. Yale University Press, 2011.
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C, Marchand Richard, and Weller Eleanor, eds. American splendor: The residential architecture of Horace Trumbauer. Acanthus Press, 2011.
Find full textBook chapters on the topic "Architecture Architecture, American Architectural criticism"
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Bowring, Jacky. "History of landscape architectural criticism." In Landscape Architecture Criticism. Routledge, 2020. http://dx.doi.org/10.4324/9780429450983-2.
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Bovill, Carl. "Fractal Concepts Applied to Architectural and Design Criticism." In Fractal Geometry in Architecture and Design. Birkhäuser Boston, 1996. http://dx.doi.org/10.1007/978-1-4612-0843-3_7.
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Malnar, Joy Monice, and Frank Vodvarka. "Recent Architectural and Planning Strategies on Native American Lands." In The Handbook of Contemporary Indigenous Architecture. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6904-8_7.
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Edwards, Sarah. "Architecture." In The Edinburgh Companion to D. H. Lawrence and the Arts. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0024.
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This chapter surveys Lawrence’s responses to architecture – European and otherwise, domestic and religious, ancient and modern - in the range of literary genres that Lawrence experimented with in the course of his career, including his novels, travel writing, poetry, essays and architectural criticism. It locates these ideas within late Edwardian and Georgian, as well as early modernist, literary contexts and the wider social contexts of war, urban and industrial development. The chapter also considers how Lawrence’s work can be situated in relation to some of his contemporaries’ responses to architecture, including the emergence of modern architecture, such as the Crystal Palace; the country house and the inter-war preservation movement; mock-Gothic and the cathedral; the development of suburbia; and European, African and American ruins and new styles, as well as art and interior design.
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Garcia-Fuentes, Josep-Maria. "Deconstructing Gaudí: Entangled Relationships between Satire and Architectural Criticism." In Laughing at Architecture. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781350022775.ch-006.
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"The Word on the Street: Architectural Criticism." In The Meaning of Modern Architecture. Routledge, 2016. http://dx.doi.org/10.4324/9781315555669-11.
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"Architectural Tools of War and Peace, 1945–1975." In Exporting American Architecture 1870-2000. Routledge, 2005. http://dx.doi.org/10.4324/9780203986585-8.
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Rodríguez, V., D. _izmar, and V. Raj_i_. "Architectural and structural comparisment of South American and European timber frame structures." In Structures & Architecture. CRC Press, 2010. http://dx.doi.org/10.1201/b10428-150.
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Cecchini, Cecilia, and Miriam Mariani. "Exhibit Design for Architecture." In Conservation, Restoration, and Analysis of Architectural and Archaeological Heritage. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7555-9.ch008.
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This chapter introduces a novel method of communication, based on an analytical and analogical fact-finding journey, aimed at comprehending an architectural design for a more extended and inclusive usership, in particular for visually impaired and blind people. The study focuses on the communication aspects of architecture and the methodology considered effective in architectural criticism, with the aim of attaining deep and real understanding of those principles that represent its tangible expression. Starting from an in-depth theoretical fact-finding analysis, the research suggests a slow and completely non-digital exhibition, available to normally sighted, visually impaired, and blind people, and also for an informed and a non-informed audience. The study was carried out with the support of Public Engagement Department of the MAXXI Museum in Rome (National Museum of the 21st Century Arts) as part of the plan for the accessibility of museum collections.
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Cook, Lindsay. "Religious freedom and architectural ambition at Vassar College, 1945–54." In Modernism and American Mid-20th Century Sacred Architecture. Routledge, 2018. http://dx.doi.org/10.4324/9781315161433-3.
Full textConference papers on the topic "Architecture Architecture, American Architectural criticism"
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.
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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Al-dabbagh, Asma. "The Nature of Interpretation in Architectural criticism." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.256.
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The expressive systems in architecture consists of two components: the system of forms and the system of meanings, these systems are linked together by unwritten rules, which are a matrix of correlations / implications that determine any meanings associated with any forms. The designer remains unsure of the possible interpretations of his design, because of the variation in the nature of meaning, discovered by the recipient, and this stems from the variation of reliance on the theory of interpretation in this regard. Many studies of architectural semiology indicate some of these theories; Classical theory believes in the natural meaning, which influenced by form's geometry, Pragmatic theory believes in the common meaning, which stems from the use of form within different contexts and according to social custom. The research attempts to explore the aspects of interpretation adopted by two critics, in order to determine the theory adopted by them, so the designer will be aware to the nature and type of meaning comprehended by viewers. The results showed the adoption of common and inclusive meanings, also showed the variation in the role of architectural Expressions in confirming or multiplying the meaning, influenced by contexts and signal types. The conclusion emphasized the importance of historical references, stylistic trend, and spatial contexts in form interpretation.
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Camporeale, Antonio. "Spanish ‘Plastic’ Architecture. A critical reading and design approach." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7594.
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The following critical text proposes a series of notes and reflections on the reinforced concrete architecture, not on the material itself. Since its invention, concrete has combined two potentialities, deriving from the two materials of which it is composed: the ‘elastic’ potential, which has been developed and has reached a consolidated form and tradition, and the ‘plastic’ one. The last one has been little experienced at the beginning and, in the course of recent history of architecture, has found space in architectural criticism in the meaning of "expressive", "brutalist", "sculptural", ending up to influence 'superficially' (related to the surface) of architecture. The 'plastic' architecture, instead, is three-dimensional and unifies the construction and spatial qualification in a single design gesture. This critical approach not only allows reconsidering the history of modern/contemporary architecture starting from the necessary collaboration between space and construction that unifies the final judgment on the works, but allows influencing the project, adhering to a formative process of those geographic-cultural areas that possess those certain characters, the masonry one. The Spanish "plastic" architecture is, in that sense, a clear example: in many buildings this "masonry" character is clearly identified, due to the architectural exploitation of the reinforced concrete plastic potential.
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Ott, Gustavo, Eduardo Costa, Sergio Almeida, and Mateus Fonseca. "Exploiting architectural solutions for IIR filter architecture with truncation error feedback." In 2016 IEEE 7th Latin American Symposium on Circuits & Systems (LASCAS). IEEE, 2016. http://dx.doi.org/10.1109/lascas.2016.7451088.
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Gallegos, Phillip, and Maria Delgado. "Architecture & Practice: Pre-Modern Training for Post Modern Practice International Design Build: Educational & Professional Experiments." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.13.
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In order to bridge the radical gap between education and practice, the undergraduate program at the University of Colorado Denver has experimented with study abroad programs in the undergraduate curriculum to match architectural practice with education. The strategy has been to develop a curriculum in international design-build that can employ traditional studio skills of research, design and cultural criticism. This paper explores the options and the outcomes of the strategic inclusion of international study and practice in the form of an undergraduate design/build course sequence.
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Herrera, Pablo, and Frederico Braida. "Digital Technologies in Latin American Architecture A Literature Review from the Third to the Fourth Industrial Revolution." In 37 Education and Research in Computer Aided Architectural Design in Europe and XXIII Iberoamerican Society of Digital Graphics, Joint Conference (N. 1). Editora Blucher, 2019. http://dx.doi.org/10.5151/proceedings-ecaadesigradi2019_495.
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Pérez Gallego, Francisco, and Rosa María Giusto. "La influencia de Pedro Luis Escrivá en el sistema defensivo colonial de América." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11340.
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The influence of Pedro Luis Escrivá in the American colonial defense systemThe architect and military engineer Pedro Luis Escrivá (1490 ca. - sixteenth century), at the service of Charles V of Habsburg and the Viceroyal Court of Naples, built two bastioned fortifications designed to considerably influence the subject of territorial defense structures: The quadrangular Spanish Fort of L'Aquila (1534-1567) and the reconstruction of the Sant’Elmo Castle in Naples (1537), with an elongated six-pointed stellar plan, served as a reference point for the European and American fortifications of the period. Due to its size and versatility, the model adopted in L’Aquila was widely used in the Latin American context between the sixteenth and eighteenth centuries. It is found in countries that were Hispanic colonies such as Cuba, Mexico, Venezuela, Chile, Argentina and Uruguay; as well as in the Hispanic domains of the United States and in some of the dependent territories of the Portuguese crown, in Brazil. Based on a historical-architectural and contextual analysis of these structures, the effects of the “cultural transfer” between Europe and America will be investigated with respect to the model devised by Escrivá to promote its cultural valorization.
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Pakseresht, Sahar, and Manel Guardia Bassols. "From the so-called Islamic City to the Contemporary Urban Morphology: the Historic Core of Kermanshah City in Iran as a Case Study." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5210.
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Sahar Pakseresht¹, Manel Guàrdia Bassols¹ ¹ Department of Theory and History of Architecture. Polytechnic University of Catalonia (UPC). Av. Diagonal, 64908028 Barcelona, Tel:93-4017874
 E-mail: sahar.pakseresht@estudiant.upc.edu, manel.guardia@upc.edu Keywords: Iranian city, Kermanshah, urban morphology, Islamic city, urban transformation, Modernisation Conference topics and scale: City transformations, urban form and social use of space Pre-1920 cities in Iran are characterized by a number of features considered to be typical of the so-called “Islamic city”. A set of features are shared by traditional cities where dominated by Islam religion. The notion of “Islamic city”, often criticised for its Eurocentric nature, has guided most studies of these traditional cities. The modernisation process in so-called Islamic cities is crucial due to its serious impacts on the traditional morphology and transformation of their urban structure. We, thus, need more holistic and integrated understanding about changes of these cities derives from the modernisation process. In order to explore the broad and wide-spread changes due to modernisation process in the traditional cities in Muslim world, it is more enlightening if we study second order cities, rather than studying the transformations of major capitals such as Cairo, Istanbul or Teheran, where interventions are goal to approach a more exceptional and rhetorical characters. Therefore, the aim of this paper is to study the historic core of Kermanshah city, to understand the link between urban transformations and social due to modernisation process by tracing it historically. We will focus, particularly, on studying the stages of urban transformation and changes of urban morphology as well as conflict and differences between traditional urban features with the modern ones. For example, we are interested in understanding how traditional morphology and structure of residential and commercial zone are affected by the opening of new and wide boulevards in course of modernisation process, and how these changes influence everyday people life. References Kheirabadi, M. (2000). Iranian cities: formation and development. Syracuse University Press. Clarke, J. I., & Clark, B. D. (1969). Kermanshah: an Iranian provincial city (No. 10). University of Durham, Department of Geography. Bonine, M. E. (1979). THE MORPHOGENESIS OF IRANIAN CITIES∗. Annals of the Association of American Geographers, 69(2), 208-224. Stefano Bianca. (2000). Urban form in the Arab world: Past and present (Vol. 46). vdf Hochschulverlag AG. Habibi, M. (1996). Az shar ta Shahr (de la Cite a la Ville). Analytical review of the city concept and its physical image in the course of time), Tehran: University of Tehran. (In Persian)
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Shamsuzzoha, A. H. M., and Petri Helo. "Virtual Enterprise Architectural Framework: Collaboration for Small and Medium Enterprises." In ASME 2013 International Manufacturing Science and Engineering Conference collocated with the 41st North American Manufacturing Research Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/msec2013-1004.
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This paper presents a methodological approach to support the running of a temporary collaborative network through the formation and operation of a virtual enterprise (VE), where the participating enterprises, especially small and medium size enterprises (SMEs), collaborate with each other for mutual benefit. Overall VE architectural framework which is considered as the baseline to execute VE manufacturing processes is highlighted in this research. Different components within this architecture such as visualization and configuration, message exchange, process designer, forecasting and simulation, optimization, cloud-based data storage, etc., are briefly explained with respect to their corresponding interfaces with each other. Among all the components of VE architecture, the user interface component termed ‘Dashboard’ is explicitly highlighted with a case example of a VE network. This Dashboard component is implemented to visualize the VE operational activities that directly contribute to monitor and manage the associated collaborative processes successfully. Further research potential along with the general research outcomes are also highlighted in the conclusion section of this paper.
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Livesey, Graham, and Antony Moulis. "From Impact to Legacy: Interpreting Critical Writing on Le Corbusier from the 1920s to the Present." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.712.
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Abstract: As a major figure of international modernism, Le Corbusier’s work has been subject to extensive critique and review both during his lifetime and since, to the extent that he has become the world’s most studied 20th century architect. While numerous attempts have been made to assess Le Corbusier’s works and ideas in their meaning and influence, little attention has been given to understanding the phenomena of critical writing and research that continues to surround the architect. Drawing upon research by the authors in preparing a 4-volume anthology of writings on Le Corbusier’s work for a major British publisher in 2016, the paper will trace critical reaction to the architect’s practice through a survey investigation of research and writing produced mainly in English from the 1920s to the present. The paper will give a chronological account of the issues, ideas and approaches that have emerged in critical writings on Le Corbusier and his architecture, reporting on the historiographic questions that have presented themselves in undertaking such a large-scale survey work. Reviewing the work of well-known critics the survey has also sought out lesser-known voices whose presence reflects Le Corbusier’s impact around the world, providing new interpretations through fresh perspectives on his work. Keywords: Architectural criticism; Architectural historiography; 20th century architecture, Le Corbusier. DOI: http://dx.doi.org/10.4995/LC2015.2015.712