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Journal articles on the topic 'Architecture exhibitions'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Stefańska, Joanna. "Painting in the exhibition space, interactions." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 17, no. 4 (2021): 19–24. http://dx.doi.org/10.35784/teka.2661.

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The article is based on the author's search for the relationship between painting and architecture and experiencing the space in the context of using its potential for painting exhibition. This is a summary of research carried out in 2017- 2019 at the Faculty of Architecture of Poznań University of Technology, entitled "Artwork in architecture". This project aimed to explore the relationship between art and architectural space. Participation in the collective exhibitions, as a part of the first research stage, and the implementation of individual exhibitions in the second stage of the pr

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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.

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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main conce

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Gawlak, Agata, Paulina Kowalczyk, and Joanna Stefańska. "Unconventional exhibition spaces as an example of the synergy of architecture and art." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 1 (2020): 20–27. http://dx.doi.org/10.35784/teka.2414.

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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the

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Rizka Felly, Reza Arlianda, Muhammad Fahri, Helfa Rahmadyani, and Andina Syafrina. "The Role of Architecture Exhibitions in Introducing Architecture to the Community." ABDIMAS: Jurnal Pengabdian Masyarakat 7, no. 4 (2024): 1755–62. https://doi.org/10.35568/abdimas.v7i4.5460.

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An architecture exhibition serves as an important platform for professionals in architecture, designers, academics, and the community. This event is utilized as a space to gather, discuss, and share views on the development of the architectural world. The exhibition functions as a medium to showcase ideas, both those that have been built and those still in conceptual form. In addition to providing an opportunity for architecture students and professional architects to demonstrate their skills and creativity, the exhibition also aims to educate the community about the importance of architectura

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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.

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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and

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Reynolds, Jessica. "What is ‘minimal’ anyway? John Pawson: Plain Space at the Design Museum and About a Minute at the Gopher Hole." Architectural Research Quarterly 15, no. 2 (2011): 100–103. http://dx.doi.org/10.1017/s1359135511000522.

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Architecture shows and biennales have proliferated in the last decade, accompanied by new courses and publications on architectural curation. The curation of an exhibition can be as complex and political as the realisation of a work of architecture. It can be presented as an effective vehicle for critical discourse, challenging the traditional definition of architectural practice as the design, procurement and construction of a building. In response, existing architecture exhibition spaces are adapting and new galleries are opening, reconceptualising modes of display. This review considers two

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Stefańska, Joanna, Agata A. Gawlak, and Paulina Kowalczyk. "ALTERNATIVE EXHIBITION SPACES. MULTI-CRITERIA METHOD OF COMPARATIVE ANALYSIS." Space&FORM 2024, no. 57 (2024): 145–67. http://dx.doi.org/10.21005/pif.2024.57.b-08.

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The aim of this article is to make a multi-criteria analysis of various exhibition spaces of an originally non-exhibition character and to determine how these spaces affect the selection of works and the exhibition concept. The analysis is based on the exhibitions of art objects at collective exhibitions in unconventional architectural spaces: commercial, post-industrial and in the historic interior. The multi-criteria comparative analysis shows a variety of features of the studied spaces as well as the relationship between architecture and art and their mutual interaction, and the participato

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Pešić, Mladen. "Big scale or small scale: A typology of architectural exhibitions held in Yugoslavia (SFRY) and their present significance." SAJ - Serbian Architectural Journal 12, no. 3 (2020): 1–20. http://dx.doi.org/10.5937/saj2001001p.

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With the notion that exhibitions, independently of their format or content, can always be considered as both discursive and visual platforms for the study of specific time periods, this research will provide an insight into a possible typology of architecture exhibitions that were organised socialist Yugoslavia between 1945 and 1991. The exhibitions in question were considered as collective activities, and they provide an insight into a wider context of social, economic, political and cultural events in Yugoslavia after World War Two as well as the status that architecture as practice held wit

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Visminaitė, Asta, and Julija Reklaitė. "ARCHITEKTŪRA PARODOJE (LIETUVOS ATVEJIS)." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (2011): 51–61. http://dx.doi.org/10.3846/tpa.2011.06.

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The title of this paper reveals an ambiguity of the issue analysed and ambivalent role of architecture at exhibitions: architecture here can be perceived as an object or topic tackled within exhibition (exhibition of architecture) as well as means to form the space of exposition (architecture of exhibition). The paper analyses different implications of architecture at exhibition and will try to demonstrate that terms of interdisciplinarity and collaboration can be introduced while talking about presentation of architecture and its context. Also, the transformations of relationship between an o

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Charitonidou, Marianna. "Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s." Arts 10, no. 1 (2021): 14. http://dx.doi.org/10.3390/arts10010014.

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The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the fra

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Ahmet, Hadrovic. "GREAT WORLD EXHIBITIONS (1851-2022): MAIN EXHIBITION TOPICS AND OVERVIEW ARCHITECTURE IN THE WORLD IN THEIR TIME." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) 1, no. 5 (2023): 15–40. https://doi.org/10.5281/zenodo.8307579.

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<em>Large world exhibitions are conceived as reviews of all the achievements of the individual man and his communities (states, companies, various associations and groups) at the highest possible level, with the highest and most authentic representativeness imaginable. In this way, the topic and content of this work is the most complex possible overview of architecture. In his practice as a university professor, the author very rarely met architecture students who were able to join a great architect with contemporaries from other scientific disciplines, art and philosophy. Similarly, for the s

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Simone, Kraft. "The Deconstructivist Architecture at MoMA – a story of success?" Art Style, Art & Culture International Magazine 6, no. 6 (2020): 11–24. https://doi.org/10.5281/zenodo.4193350.

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Art Style | Art & Culture International Magazine Abstract “Some exhibitions are more interesting to read about than to actually see, and the twerpy little show called 'Deconstructivist Architecture' at the Museum of Modern Art is certainly one of them,” states the New York Observer in July 1988. But nevertheless: “Rarely has an exhibition about architecture attracted so much attention.” When dealing with the “Deconstructivist Architecture” (1988, MoMA New York) exhibition, one encounters a curiously ambiguous situation. On the one hand, the show

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Duha, S. D., U. Siahaan, and S. Simatupang. "Exhibition center design in Bekasi with a Hi-Tech architecture approach." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012040. http://dx.doi.org/10.1088/1755-1315/878/1/012040.

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Abstract Indonesia as a tourist destination has the opportunity to develop MICE tourism potential (Meeting, Incentive, Conference, and Exhibition). Globalization and regional autonomy provide opportunities and challenges for development in each region. Each region is required to develop all the capabilities that it has both the value of comparative advantage (competitive advantage) and competitive advantage (competitive advantage). Bekasi City is a city located in West Java, has the potential as a gateway for international trade in West Java. Especially with the construction of 4,000 manufactu

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Lissimia, Finta, and Lutfi Prayogi. "Perspective of Virtual Exhibition during the COVID-19 pandemic." International Journal of Built Environment and Scientific Research 6, no. 1 (2022): 45. http://dx.doi.org/10.24853/ijbesr.6.1.45-54.

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Virtual exhibitions are growing driven by physical restrictions during the COVID-19 pandemic. The exhibition of works that were previously more physical in nature, can be visited physically is slowly turning into an exhibition that is visited virtually. This change is uncomfortable for the community. For this reason, a study is needed on the impact of virtual exhibition visits on the community during the COVID-19 restrictions. This study aims to answer these problems and at the same time evaluate the progress of virtual exhibitions in the early days of the pandemic. Collecting data using an on

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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.

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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their

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16

Czapelski, Marek. "Towards Socialist Architecture: Architectural Exhibitions at the Zachęta in the Years 1950–1955." Ikonotheka 26 (June 26, 2017): 31–61. http://dx.doi.org/10.5604/01.3001.0010.1672.

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Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to id

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Leitanaitė, Rūta. "ARCHITECTURAL EXHIBITIONS-COMPETITIONS IN LITHUANIA AS A TOOL OF PROMOTING ARCHITECTURE / ARCHITEKTŪROS PARODA-KONKURSAS LIETUVOJE KAIP ARCHITEKTŪROS POPULIARINIMO PRIEMONĖ." JOURNAL OF ARCHITECTURE AND URBANISM 37, no. 2 (2013): 133–40. http://dx.doi.org/10.3846/20297955.2013.813165.

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An architectural exhibition-competition is analyzed as a type of architectural media, which performs as a promotion tool of architecture and education of the wide public. Via review of current architectural exhibitions-competitions in Lithuania, Baltic States and several European level architectural awards, the criteria and characteristics, defining and destining the quality and prestige of an architectural exhibition-competition are distilled and defined. Santrauka Straipsnyje architektūros paroda-konkursas tiriamas kaip architektūrinės žiniasklaidos (media) tipas, kurio misija – kokybiškos a

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Sedlacek, Jozef, Daniel Matějka, Zuzana Fialová, and Radim Klepárník. "Spatial aspects of the interpretation of cultural heritage." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 89–113. http://dx.doi.org/10.46284/mkd.2021.10.4.6.

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Creating an exhibition is a multidisciplinary task which, besides the work of the authors of the scenario, copywriters and experts in the given topic, involves also the work of architects and landscape architects. Although the paper reflects on various completed exhibitions, the scenario and form of an exhibition cannot be separated. The paper focuses on spatial aspects of outdoor exhibitions from the perspective of an architect and landscape architect and documents them via various completed exhibitions. In terms of architecture they can be classified upon the aspects of form and content, whe

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Ferretti, Emanuela, and Filippo Prandini. "Firenze 1977, 'Brunelleschi anti-classico'. Una mostra itinerante, tra storiografia e architettura." Opus Incertum 10 (December 24, 2024): 14–27. https://doi.org/10.36253/opus-15831.

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The narration of Renaissance architecture and its protagonists found in the exhibitions dedicated to Michelangelo (1964) and Bramante (1970) two episodes of great significance, which were well studied in their content and exhibition aspects, as well as in the communicative innovations they concretized. In contrast, the exhibition dedicated to Brunelleschi in Florence (1977-1978) has received comparatively less scholarly attention, despite offering an original interpretation of the master's architecture and his role in the fundamental transition from the late Middle Ages to the Renaissance. Cur

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20

Ptichnikova, G. A. "“The Beauty of Everyday Things”: Exhibitions in Establishing a New Aesthetics of the Architectural and Spatial Environment in Sweden." Art & Culture Studies, no. 4 (December 2022): 304–25. http://dx.doi.org/10.51678/2226-0072-2022-4-304-325.

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The article reveals the role of decorative art and architecture exhibitions that took place in Sweden during 1914–1930 in the creation of the Swedish ideology of “design of everyday things” and the establishment of functionalism as the dominant style in modernization of the architectural and spatial environment and, in general, a new way of life. The author of the article carefully traces the history of art and industrial exhibitions in Sweden and analyses their significance. Particular attention is paid to the activities of the Swedish Society of Crafts and Design, as well as to the work of a

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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.

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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and prac

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Pešić, Mladen. "Exhibitionary complex: Architecture as an exhibit." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 282–305. http://dx.doi.org/10.5937/saj1303282p.

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Within this research, the exhibitions are considered primarily as institutions, and as a place of interaction among different identities through choice of exhibits, their presentation, spatial layout and the selection and use of the accompanying texts. The context of the research thus put into place will attempt to answer the question of how it is possible to construct a history of the exhibitions-which are forgotten, often without sufficient documentation or records about them. In addition, it will be reconsidered in which manner the exhibitions helped to create and promote the idea of archit

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Kassem, Ayman. "A Performative understanding of spatial design, learning from exhibitions." SHS Web of Conferences 64 (2019): 03006. http://dx.doi.org/10.1051/shsconf/20196403006.

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The terms ‘Performative’ and ‘Performance’ are more and more emerging in the spatial design discourses, from exhibition, to interior, arriving to urban design. These notions are not clearly defined yet. They are characterized by a semantic width and multiple applicative possibilities. Between the different interpretations and uses of ‘performance’ and ‘performative’ in architectural discourses, this paper will focus on two main dimensions of a particular importance: The first refers to the concepts of the scenic, the narrative, and the theatrical qualities in architecture. The second relates t

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Witcomb, Andrea. "Review: Reshaping Museum Space: Architecture, Design, Exhibitions." Media International Australia 119, no. 1 (2006): 168–69. http://dx.doi.org/10.1177/1329878x0611900124.

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Castellani, Maddalena. "Relational Narratives of Food in Design and Architecture Exhibitions." Humanities 12, no. 6 (2023): 135. http://dx.doi.org/10.3390/h12060135.

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This paper investigates the narratives involved in the becoming public of an ecological, relational, and culinary culture through artistic mediums. Specifically, the question posed is this: how do food and cooking feature in some selected design and architecture exhibitions? The argument is developed through a series of thematic case studies that aim to affirm the presence in contemporary design, architecture, and exhibition-making of an ecological paradigm. The examples blur the lines of food and art by being proposed as processes of collective authorship happening in atmospheres of convivial

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Ivanov, Aleksandr. "Something there is that doesn’t love a wall… (Notes on the 16th Venice Architecture Biennale 2018)." Judaic-Slavic Journal, no. 1 (2) (2019): 148–68. http://dx.doi.org/10.31168/2658-3364.2019.1.1.5.

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The article reviews two exhibitions presented at the Israeli and German pavilions at the 2018 Venice Architecture Biennale,where the 16th International Architecture Exhibition was themed and titled as FREESPACE.The Manifesto,written by Yvonne Farrell and Shelley McNamara, the chief curators of the Biennale, proclaimed, among other things, that FREESPACE provides its participants with «…freedom to imagine the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary…» In accordance with the Manifest

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Nikitin, Yury. "ARCHITECTURE OF RUSSIAN EXHIBITION PAVILIONS AT INTERNATIONAL NORDIC EXHIBITIONS IN THE LATE 19TH – EARLY 20TH CENTURIES." Architecture and Engineering 5, no. 4 (2020): 35–43. http://dx.doi.org/10.23968/2500-0055-2020-5-4-35-43.

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Introduction: In the 19th – early 20th centuries, Russia actively participated in world’s and international exhibitions in Europe and the USA. Purpose of the study: We aim to study the typology of Russian expo construction abroad consisting of three branches: construction of model facilities, construction of official ceremonial buildings and facades, and, finally, construction of exposition pavilions. Methods: Despite the inevitable demolition of the facilities, Russian exposition pavilions built abroad always strained after high quality of architecture, which is quite important. Results: A pe

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Ruggiero, Amanda Saba, and Luis Michal. "MoMA A&D talks: on curating architecture and design (Second part)." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 17, no. 2 (2019): 129–30. http://dx.doi.org/10.11606/issn.1984-4506.v17i2p129-130.

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During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1

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Padilla Galicia, Sergio, Elizabeth Espinosa Dorantes, and Maruja Redondo Gómez. "Urban planning and ephemeral architecture: three universal exhibitions." UN AÑO DE DISEÑARTE MM1, no. 24 (September 24, 2022): 36–55. http://dx.doi.org/10.24275/issn.2954-3770.n24.a51.

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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.

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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition.

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Cachia, Amanda. "Constructing Elastic Worlds: From Avant-Garde Exhibition Design to Crip Comfort." Journal of Curatorial Studies 13, no. 2 (2024): 180–98. https://doi.org/10.1386/jcs_00107_1.

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This article argues that avant-garde exhibition design was at the forefront of constructing elastic worlds for bodies of all shapes, heights and sizes, yet there is a dearth of scholarship recognizing what these innovations mean for addressing diversity in the museum. The work of designers such as Frederick Kiesler offers excellent templates for thinking outside the frame, paving the way for exhibition design to be more cognizant of a greater variation of embodied experiences in museum architecture. Despite this, museums still lag behind in thinking about this plethora of needs. In the current

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Neto, Teresa. "PORTUGUESE INTERNATIONAL PAVILIONS AND NATIONAL STYLE — ARCHITECTURE TENDERS SHAPED BY POLITICAL AND CULTURAL AGENTS." ARTis ON, no. 7 (December 23, 2018): 101–10. http://dx.doi.org/10.37935/aion.v0i7.197.

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Universal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparke

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Makarinov, Vassil, and Theodore Karakolev. "Bulgarian Architectural Modernism, German Influences, and Industrial Architecture." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 32–39. http://dx.doi.org/10.33919/sledva.20.40.7.

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Celebrating the 100th anniversary of Bauhaus school, a team of researchers from “Bulgarian Modernist Architecture” examined archives of German technical universities where Bulgarian architects studied in the first half of the 20th century. The archives in Munich, Berlin and Dresden have preserved the names and records of hundreds of Bulgarian architects from the 1910s, 1920s and 1930s. Their education, university professors, the environment in which they were formed (exhibitions, artistic trends and events) including Bauhaus connections, and how all of these informed the architecture in our co

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Ferraz de Matos, Patrícia. "Female landscapes." Revista Portuguesa de História 55 (September 30, 2024): 305–25. http://dx.doi.org/10.14195/0870-4147_55_12.

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The aim of this article is to reflect on the presence of colonized women in photographs and other representations, such as drawings, posters, postcards, exhibition catalogues, newspapers and magazines, which were disseminated in the context of the Portuguese colonial expositions, and in exhibition spaces conceived by the Portuguese with a colonial component. Generally speaking, the exhibitions sought to put forward the progress, taking into account land, rail and sea transport, but also roads, communications, trade, industry, arts, architecture, culture, and the most recent advances in science

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Powers, Alan. "Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937." Architectural History 56 (2013): 277–98. http://dx.doi.org/10.1017/s0066622x00002513.

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Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the

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Luce Bohrer, Mônica. "Modernist Relations France-England: Le Corbusier, Clive Entwistle and exhibition projects." LC. Revue de recherches sur Le Corbusier, no. 9 (March 27, 2024): 84–101. http://dx.doi.org/10.4995/lc.2024.20699.

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In the context of the Modern Movement and influenced by Le Corbusier's design principles, this text explores the significance of the Swiss master's exhibition pavilion and fair projects. These projects, distinct from conventional architectural timelines, serve as evidence of the ideas shaping the project process, reflecting a compression of time and manifestos in physical form. Focusing on collaborations with English architect Clive Entwistle for exhibitions in England, particularly the 1939 Ideal Home Exhibition, the article delves into Le Corbusier's innovative designs, including a Ville Rad

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Behnamian, Sara, Saman Behnamian, Fatemeh Fogh, Firooz Pashaei, and Malihe Mahin Saran. "NOVELTY ARCHITECTURE AND MATHEMATICS IN AN IRANIAN MOSQUE." Journal of Islamic Architecture 6, no. 1 (2020): 7–12. http://dx.doi.org/10.18860/jia.v6i1.5508.

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Islamic architecture, particularly mosques architecture, has mainly been the focus of many architectural exhibitions in Muslim-majority countries. Recently, it has been influenced by novelty architecture and has been evolved into elaborate structures. Quds mosque in Tehran, Iran, is a picturesque architecture feat of a modern outlook that came under a lot of criticism for abandoning the traditional symbols of Islamic architecture. This study observes the Quds mosque from a mathematical standpoint using fractals as the method. Fractals are geometric constructions that exhibit similar or identic

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Neto, Pedro Leão. "Visual Spaces of Change: Self-reflection on Architecture and Urban Change Through Photography." Journal of Design Studio 4, no. 2 (2022): 293–15. http://dx.doi.org/10.46474/jds.1208215.

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This paper synthetizes theoretical aspects of photography related to architecture, city and territory, as well as the case studies coming from the research project Visual Spaces of Change, focusing on the use of photography to investigate the dynamics of architecture and urban change. The project proposed to engage researchers and artists from the fields of architecture, art and image in the creation of visual narratives that promote public debates and a new understanding on urban change. The methodological framework adopted an integrative approach regarding Architecture, City and Territory in

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Steffens, Bastiaan. "Het museum op de snijtafel: de archeologietentoonstelling onderzocht." Paleo-aktueel, no. 31 (June 1, 2021): 45–54. http://dx.doi.org/10.21827/pa.31.45-54.

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The Anatomy of the Museum: researching the archaeological exhibition. Archaeology exhibitions tend to follow a formulaic layout. They are mostly chronologically ordered and describe long-lasting historical processes. This article aims to dissect the archaeology museum in order to study the techniques used to create these narratives separately from each other. It is argued that the architecture of the old, monumental museum buildings was designed with specific purposes in mind that coincided with how archaeology was conceived in the 19th and early 20th centuries. Moreover, the way information i

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Ottenhausen, Clemens. "FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)." Artium Quaestiones, no. 32 (December 15, 2021): 89–112. http://dx.doi.org/10.14746/aq.2021.32.4.

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This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how th

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Bergdoll, Barry, and Léa-Catherine Szacka. "Conserving the Uncollectable? Museum Exhibitions and Preservation Advocacy, 1942–1980." Future Anterior: Journal of Historic Preservation History, Theory, and Criticism 20, no. 1-2 (2023): 20–47. https://doi.org/10.1353/fta.2023.a961830.

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Abstract: In 1975, New York's Museum of Modern Art (MoMA) staged the instantly infamous exhibition The Architecture of the Ecole des Beaux-Arts, generally associated with Arthur Drexler's seeming turn away from the museum's three decades of advocacy for modernism, and to his inadvertent opening to postmodernism. The conscious set of overlapping aims was to offer a critique of urban renewal, via a celebration of the so-called Beaux-Arts city, and—what is too rarely acknowledged—to advocate for preservation, in the wake of the loss of New York's Pennsylvania Station a decade earlier. Museums pla

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Stehlík, Michal. "Creation of Permanent Exhibitions of the National Museum." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 6–10. http://dx.doi.org/10.1515/mmvp-2017-0029.

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Abstract At the onset of preparations of new permanent exhibitions of the National Museum (NM) in 2011, it was necessary to define their content. Several expert teams composed of NM staff and other institutions took part in this process. Historical topics were embraced in a novel perspective, their comprehensive presentation was so far absent in the NM. Social science expositions in the History exhibition will map the development of society from the Early Middle Ages until the end of the 20th century. The People exhibition will interlink the topics of anthropology, archaeology and classical ar

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Schwarz, Mario. "Povijest arhitekture kao dinamički proces." Peristil 65, no. 1 (2023): 39–43. http://dx.doi.org/10.17685/peristil.65.3.

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Renate Wagner-Rieger focused her research on Austrian medieval architecture in addition to her studies of the ”Wiener Ringstrasse” especially when she participated in significant public Middle Ages art exhibitions. The shows were supported by catalogue essays, which were finally collected in her final book. As a response, she covered a wide range of architectural history in her lectures.

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Parnell, Stephen. "Architecture's expanding field: AD magazine and the Post-Modernisation of architecture." Architectural Research Quarterly 22, no. 1 (2018): 55–68. http://dx.doi.org/10.1017/s1359135518000295.

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This article investigates architecture's ‘expanded field’ – its turn towards culture during the 1980s when the profession expanded its interest to the softer practices of architectural culture. It looks in particular at the emerging enterprises of exhibitions, competitions and awards, publications, and symposia and lectures in the ‘long 1980s’, taken as the Academy years of AD magazine from 1977 – 1992.This period of AD is synonymous with architectural Post-Modernism, as Academy published much of Charles Jencks’ work on Post-Modernism, including six of the seven ever-larger editions of The Lan

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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media fo

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Raffai, Judit, and Ferenc Németh. "Representation of 19th century Serbian folk architecture from Banat in the ethnographic village of the Hungarian Millennium Exhibition (1896)." Zbornik Matice srpske za drustvene nauke, no. 166 (2018): 281–94. http://dx.doi.org/10.2298/zmsdn1866281r.

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In the last quarter of the 19th century, national exhibitions had become popular in Hungary as well, following the examples of world exhibitions around Europe. A part of this process was the Hungarian Millennium Exhibition set up in 1896, which mobilised enormous energy and presented the ethnographic values of the region with special emphasis. In the Ethnographic Village of the exhibition, the counties of the country set up valid copies of 24 furnished farmhouses from their regions. Twelve of these houses were intended to present the folk culture of national minorities living in Hungary. The T

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Cao, Zeyu. "The Application of Intelligent Generation Technology in the Visual Communication Design of Exhibition Brand." Wireless Communications and Mobile Computing 2023 (April 27, 2023): 1–11. http://dx.doi.org/10.1155/2023/1550761.

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Since the beginning of the new century, information technology has advanced by leaps and bounds, and intelligent technology has made breakthroughs, speech recognition, and image recognition. In the development of medium and long-term exhibition brands, intelligence and modernization are taken as one of the development tasks. The visual communication design of brand logo is the graphical post symbol language of brand trademark, which is the silent transmission of brand. As long as you see a certain brand logo, its product characteristics and values can emerge in your mind. It is very easy to id

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Antonova, Lidia. "«Old London»: Reconstruction of a XVIIth Century Street at Exhibitions of the 1880s." Metamorphoses of history, no. 24 (2022): 0. http://dx.doi.org/10.37490/mh2022242.

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The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its pl

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Dezhurko, Artem. "Forgotten Furniture Designers of the Khrushchev “Thaw” Era." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (2020): 114–43. http://dx.doi.org/10.36340/2071-6818-2020-16-1-114-143.

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Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors publis

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Viktor, Proskuryakov, Cholavyn Yu, and Lyzun Roman. "ARCHITECTURE OF NATIONAL THEATER PAVILIONS AT THE EXHIBITIONS OF THE PRAGUE QUADRIENAL, AND IN PARTICULAR, THE FIRST UKRAINIAN." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (2021): 117–22. http://dx.doi.org/10.23939/sa2021.01.117.

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The article highlights the ideas of forming the architecture of scenographic pavilions at world exhibitions that demonstrate works of theatrical art on the example of those that presented theatrical art at one of the most famous forums in the world – the Prague Quadrennial in 1967-2019 (PQ), and in particular, the first Ukrainian ones. Quadrennial events are held every 4 years and present the development of various theatrical arts: architecture, scenography, performing arts, theatre skills, etc. But few of the interesting architectural solutions of national pavilions and installations are repr

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