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Journal articles on the topic 'Architecture of the second half of 20th century'
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Garnova, N. "ARCHITECTURE OF RESIDENTIAL BUILDING INDUSTRIAL MANOR OF THE SECOND HALF OF THE XIX CENTURY-EARLY XX CENTURY IN IVANOVO-VOSNESENSK." Technical Aesthetics and Design Research 2, no. 3 (January 15, 2021): 50–61. http://dx.doi.org/10.34031/2687-0878-2020-2-3-50-61.
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The pre-revolutionary industrial estates of the Ivanovo (until 1871 referred to as the village of Ivanovo, and since 1871 – the city of Ivanovo-Voznesensk) are the least studied and most susceptible to loss of architectural monuments of the city. This is greatly facilitated by the lack of a comprehensive architectural study, including an architectural analysis of all buildings that were part of industrial estates and their relationship at different stages of development of the complexes. The object of the study is all residential buildings of industrial estates that were part of the complexes in the second half of the 19th century - the beginning of the 20th century. The methodological basis of the work is based on the principles of an interdisciplinary approach, which allows considering the entire range of issues related to the object of research from the point of view of archeology, history, history of architecture, and urban planning. The study was carried out on the basis of a comparison of field surveys and archival sources of the state archives of the Ivanovo and Vladimir regions as well as the Ivanovo State Historical and Cultural Museum named after D.G. Burylin. As a result, the classification of residential buildings of industrial estates of the second half of the 19 th century – the beginning of the 20th century is presented on the basis of the façades and architectural projects made by the author.
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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 art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Gudro, Ilze, and Jānis Krastiņš. "Contribution of Architect Daina Danneberga to the Architecture in the Second Half of the 20th Century." History of Engineering Sciences and Institutions of Higher Education 3 (October 15, 2019): 11–34. http://dx.doi.org/10.7250/hesihe.2019.002.
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The article reflects the contribution of the renowned Latvian architect Daina Danneberga to Latvian architecture, as well as the significant events and growth of her life. While living and working in Soviet times, the architect has designed both residential and public buildings, which are still in use and whose cultural and historical significance has surely increased over the time. The most recognizable object designed by the architect is the Student Campus of Riga Polytechnic Institute (RPI), now Riga Technical University (RTU), on the Ķīpsala Island. It was designed by D. Danneberga from 1969 to 1986. The architect has also developed projects for several other educational institutions as well as public and residential buildings, both in Latvia and abroad.
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Özten, Ülkü. "CONCEPTUAL EVOLUTION OF ARCHITECTURAL PROGRAM THROUGH THE SECOND HALF OF THE 20TH CENTURY." Tasarım + Kuram 11, no. 19 (July 12, 2016): 37. http://dx.doi.org/10.23835/tasarimkuram.239588.
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Tarasova, I. V., and A. V. Shvets. "Architectural process in Russia in second half of the 20th - early 21st century." IOP Conference Series: Materials Science and Engineering 687 (December 10, 2019): 055068. http://dx.doi.org/10.1088/1757-899x/687/5/055068.
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Izquierdo, Sara. "Open Al-Andalus: Hispanic-Muslim Heritage Impact on Spanish Contemporary Architecture." Arts 7, no. 4 (October 16, 2018): 66. http://dx.doi.org/10.3390/arts7040066.
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Spanish architecture, towards the end of the 19th century and the beginning of the 20th, was characterized by the development of a variety of styles, including Neo-Muslim. The Alhambra of Granada, the Mosque of Cordoba, and the Giralda Tower of Seville, served as inspiration to the design of works that would follow these models, some to a greater extent than others, and would eventually give rise to an architectural trend that would make its way all across Spain. As such, this article attempts to provide some examples of said architecture found in different autonomous communities in Spain, examining them through four typologies, as well as to discuss the consideration and use of the Neo-Muslim style after the second half of the 20th century. The methodology behind this research involved extensive reading and analysis of both general and specific works on the subject, the study of archival materials relative to some of the selected buildings, about which preserved evidence was scarce, as well as taking photographs of the properties included in the text.
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Plewka, Anna. "Ślady przeszłości w starych wnętrzach – architektura mazowieckich wnętrz z drugiej połowy XX wieku." Mazowsze Studia Regionalne, no. 27 (December 2018): 123–37. http://dx.doi.org/10.21858/msr.27.07.
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Su, Su, Swe Swe Aye, and Win Shwin et alt. "Modern Movement in Myanmar." Modern Southeast Asia, no. 57 (2017): 38–45. http://dx.doi.org/10.52200/57.a.kapxztkx.
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This paper highlights the course of the development of modern architecture in Myanmar, a country with an original and vital architectural tradition. There are case studies of well-known foreign and Myanmar architects who dealt with the relationship of spatial, cultural and environmental factors of modern architecture. Some architectural masterpieces created during the second half of the 20th century between 1950 and 1970 in Yangon are presented in this article in order to highlight the inspiration, imagination and limitation of these pioneer architects. The main reason for selecting these case studies are not only because of the influences from the outside world occurred in the post-independence period, but they can reveal the intertwined logic of the nation’s identity-building. They reveal the new consciousness of globalization as well as the development of regionalism.
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Hryhorov, V. "Monumental and decorative art of the second half of the 20th century in specialized literature." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.
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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.
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Ben-Abdallah, Philippe, and Svend-Age Biehs. "Thermotronics: Towards Nanocircuits to Manage Radiative Heat Flux." Zeitschrift für Naturforschung A 72, no. 2 (February 1, 2017): 151–62. http://dx.doi.org/10.1515/zna-2016-0358.
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AbstractThe control of electric currents in solids is at the origin of the modern electronics revolution that has driven our daily life since the second half of 20th century. Surprisingly, to date, there is no thermal analogue for a control of heat flux. Here, we summarise the very last developments carried out in this direction to control heat exchanges by radiation both in near and far-field in complex architecture networks.
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Hernandez Falagan, David. "Hacia una arquitectura pragmática. El caso de Tous y Fargas." VLC arquitectura. Research Journal 4, no. 2 (October 24, 2017): 119. http://dx.doi.org/10.4995/vlc.2017.6952.
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<p>Tous & Fargas were a unique case in the field of Spanish architecture of the second half of the 20th century. From the technical and industrial experimentation of their first works, they developed a nonconformist architecture within the realistic conditions characteristic of the time, propitiated by the economic, political and social context. Despite of this, they achieved a remarkable success carrying out designs of technological type and giving support to the industrial innovation of constructive systems. However, during the last stage of their collaboration, traits characteristic of the pragmatic drift are visible to which much of the architecture of the last quarter of the 20th century was subjected. The excess of mercantile concern for the real estate product, the excessive systematization of the typological models and the constructive systems, the lack of a consistent theoretical discourse or the abandonment of the technical investigation as a priority of innovation are some of the symptoms that characterize the pragmatic architecture of their latest works<em>.</em></p>
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Salah Muhy Al-Din, Salar. "The influence of Mediterranean modernist movement of architecture in Lefkoşa: The first and early second half of 20th century." Journal of Contemporary Urban Affairs 1, no. 1 (January 2, 2017): 10–23. http://dx.doi.org/10.25034/1761.1(1)10-23.
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Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 109. http://dx.doi.org/10.25038/am.v0i12.171.
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The philosopher Petar Bojanić advocates resistance of the architectural discipline to the philosophy of architecture. Using the technique of mise-en-scène, in “Thinking Architecture/Disciplining Architecture” (2015) Bojanić reaffirms that after architecture’s theoretical turn in the second half of the 20th century the architect is undoubtedly capable of theoretically thematizing his/her own work. I argue strongly that this implies, among other things, building a disciplinary language, which must reconcile, or at least balance between, the verbal and non-verbal form of expression. Also, I try to show that it is precisely theory that the architect has needed through history to establish the architectural discipline as liberal and autonomous.In “The Real and the Theoretical” (2013) the philosopher from Belgrade stresses the tensions between reality and theory present in the work of the architect. Theorizing in the field of architecture carries a danger of severe detachment from currently important and pressing social problems. Since there is no discipline without a group and since architecture is defined as the art of community, architectural practice can be understood, as it is in “The Architectural Philosophy” (2013), as a spatial way of transforming society. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies 12 (2017): 109-120.
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López-Ulloa, Fabián. "The Theory and Practice of Restoration in England in the Second Half of the 19th Century: The Work of George E. Street." Advanced Materials Research 133-134 (October 2010): 1045–50. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1045.
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The Romantic vision of ancient architecture, together with the evaluation of the said architecture as historical legacy, have contributed to the extensive path followed by the discipline of architectural restoration towards its consolidation as a scientific method along the 19th and the 20th century. During the Renaissance, when attention was turned to Classic Architecture, the study of the construction methods became the first germ for recognising the value of ancient architecture, in its many styles, as historical heritage. The scientific analysis that then took place in the 19th century, framed in the philosophical trend of Positivism, was also be reflected in architectural restoration: an appropriate intervention had to begin with learning about of the history of the construction. This can easily be understood considering that the term restoration includes many medieval constructions being completed or reconstructed introducing large additions or extensions, which were done taking as reference the use of traditional construction materials with their corresponding traditional technology and the study of agreements and manuscripts. These documents were unveiled by research, in parallel to the development of the formulation of a theoretical structural model, bearing in mind that, initially, masonry, timber and cast iron were the main construction materials, and their properties dictated the nature of structural forms (Charlton 1982). The debate about architectural restoration begun in the 19th century has gone on to history mainly thanks to names like Viollet-le-Duc, Ruskin, Morris or Pugin. However, behind these names, a series of prominent figures can be recognized. The group was comprised of individuals of all filiations who were developing and bringing together the theory and the scientific practice originated in the twilights of the 18th century in the newly established French Republic. The innumerable positions, schools, trends and declarations that have developed since then, have today a point in common: the valuation and the respect for ancient architectural monuments, a living testimony for learning about the societies who constructed them. The present work focuses on the figure of the Englishman George Edmund Street (1824-81), whose work is not as well known as that of some of his contemporaries named above, but is not less important for that reason. Street contributed to the restoration of many architectural monuments; his experience allowed him to device certain approaches to this discipline that yielded numerous restoration interventions, both inside and outside England. His work has not received as much attention as that of Butterfield, and his name is certainly not as well known as Scott's. Yet he has hardly been altogether forgotten (Hitchcock 1960).
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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.
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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.
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Dung Le, Van. "Micro-culture and Macro-culture in urban housing architecture." MATEC Web of Conferences 193 (2018): 01002. http://dx.doi.org/10.1051/matecconf/201819301002.
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In the era of information society, the development of urban housing architecture in the world has always associated with the tendency of cultural progress, localizing international architecture in parallel with internationalization of indigenous architecture, while still having a mixture of characteristics of oriental lifestyle with western lifestyle, and vice versa. The study allows determination of the form characteristics, and the mode of functional space organization of urban housing architecture corresponds to the two cultural types: Micro-culture of the East and Macro-culture of the West. This study forms the basis for preserving and recognizing the traditional essence of housing space between two relatively opposite cultures that exist throughout human history, especially in “flat world” conditions of postmodernity of the second half of the 20th and the 21th century.
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Barinov, Yu, and O. Sokolskaya. "An analysis of the Chinese techniques and methods in the objects of landscape heritage in the city of Saratov, Russia." MATEC Web of Conferences 212 (2018): 04018. http://dx.doi.org/10.1051/matecconf/201821204018.
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In many regions of Russian Federatio, the objects of landscape heritage are in poor condition. They were created between the second half of the 18th century and the beginning of the 20th century. It was the period when landscape park constructions became widespread in Europe and Russia after establishing active trade and industry relations with East Asian countries, such as China. The research includes analysis of Chinese techniques and methods, which emerged in Russian objects of landscaping art, particularly in estate gardens and parks of the Volga region. The main criteria and flora used in “green” architecture in the territories of the landscape heritage objects of Saratov Volga region are discovered. The assessment of the range of greenery introduced from China and of the elements of the park architecture is given.
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Kroftova, Klara. "Most Frequent Problems of Building Structures of Urban Apartment Buildings from 2nd Half of 19th Century and the Start of 20th Century." Buildings 11, no. 1 (January 12, 2021): 27. http://dx.doi.org/10.3390/buildings11010027.
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An urban residential building from the second half of the 19th century and the start of the 20th century, the so-called tenement house, is a significant representative of the architecture of the developing urban fabric in Central Europe. The vertical and horizontal load-bearing structures of these houses currently tend to show characteristic, repeated defects and failures. Their knowledge may, in many cases, facilitate and speed up the design of the historic building’s restoration without compromising its heritage value in this process. The article presents the summary of the most frequently occurring defects and failures of these buildings. The summary, however, is not an absolute one, and, in the case of major damage to the building, it still applies that, first of all, a detailed analysis of the causes and consequences of defects and failures must be made as a basic prerequisite for the reliability and long-term durability of the building’s restoration and rehabilitation. An integral part of the rehabilitation of buildings must be the elimination of the causes of the appearance of their failures and remediation of all defects impairing their structural safety, health safety and energy efficiency.
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Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (December 14, 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.
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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Elizabethan architecture and Gothic tradition has been discussed many times. And in later decades — during the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.
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Sidorova, S. E. "EAST INDIAN AND OTHER DOCKS IN LONDON: IMPERIAL ARCHITECTURE, COLONIAL TRADE AND POSTCOLONIAL MEMORY." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 190–205. http://dx.doi.org/10.31696/2618-7302-2020-3-190-205.
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The article concentrates on the colonial and postcolonial history, architecture and topography of the southeastern areas of London, where on both banks of the River Thames in the 18th–20th centuries there were located the docks, which became an architectural and engineering response to the rapidly developing trade of England with territories in the Western and Eastern hemispheres of the world. Constructions for various purposes — pools for loading, unloading and repairing ships, piers, shipyards, office and warehouse premises, sites equipped with forges, carpenter’s workshops, shops, canteens, hotels — have radically changed the bank line of the Thames and appearance of the British capital, which has acquired the status of the center of a huge empire. Docks, which by the beginning of the 20th century, occupied an area of 21 hectares, were the seamy side of an imperial-colonial enterprise, a space of hard and routine work that had a specific architectural representation. It was a necessary part of the city intended for the exchange of goods, where the usual ideas about the beauty gave way to considerations of safety, functionality and economy. Not distinguished by architectural grace, chaotically built up, dirty, smoky and fetid, the area was one of the most significant symbols of England during the industrial revolution and colonial rule. The visual image of this greatness was strikingly different from the architectural samples of previous eras, forcing contemporaries to get used to the new industrial aesthetics. Having disappeared in the second half of the 20th century from the city map, they continue to retain a special place in the mental landscape of the city and the historical memory of the townspeople, which is reflected in the chain of museums located in this area that tell the history of English navigation, England’s participation in geographical discoveries, the stages of conquering the world, creating an empire and ways to acquire the wealth of the nation.
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Buchner, Maximiliane. "Wiederaufbau aus dem Glauben." Architectura 46, no. 1 (December 30, 2016): 104–27. http://dx.doi.org/10.1515/atc-2016-0006.
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AbstractEuropean architecture in the second-half of the 20th century had many different roles to fulfil. Initially it sought to reconnect to what had been the ›modern style‹ before the outbreak of World War II, or rather, before the rise of National Socialism in Germany and Austria. This is true in a very special way for sacral architecture. After the human catastrophe of the Nazi regime with its destruction and desperation, all eyes were on the Church awaiting a statement. This was made not only through the erection of newly-built churches – in a density unique in the history of church building – but also in their contextual placement. The thesis of this article claims that the embedding of sacred rooms within newly-built architecture, such as in residential buildings, universities and student accommodation, is an ideal way of creating new – and hopefully better – societies based on a foundation of religious values
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Bazilevich, M. E., and A. A. Kim. "Moscow Architectural School in the Far East (the Second Half of the 19th – the Beginning of the 20th Century)." IOP Conference Series: Materials Science and Engineering 463 (December 31, 2018): 022032. http://dx.doi.org/10.1088/1757-899x/463/2/022032.
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Puhmajer, Petar, and Krasanka Majer Jurišić. "Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu." Ars Adriatica, no. 6 (January 1, 2016): 185. http://dx.doi.org/10.15291/ars.537.
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This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.
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Granstrem, Maria, Milena Zolotareva, and Tatyana Slavina. "High-rise construction in historical cities through the example of Saint Petersburg." E3S Web of Conferences 33 (2018): 01028. http://dx.doi.org/10.1051/e3sconf/20183301028.
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The article sets forth results of the landscape visual analysis of the interaction of high-rise construction facilities with the environment of historical urban spaces. A toxic connection of high-rise construction facilities with the established urban landscape was analyzed and recorded. One of the latest stages of the reconstruction of historical cities, which penetrated many European countries at the end of the 20th century, also started in the beginning of the 21st century in Russia, where the reconstruction of historical facilities and territories became one of the leading trends of architectural activity. Therefore, problems of the interaction between the old city and new high-rise construction nearby historical centers are extremely relevant for Russian architects. Specific features of Russian high-rise construction within visual borders of historical cities, developed at the turn of the 20th–21st centuries, repeat past urban-planning mistakes spread in Europe in the second half of the 20th century. High-rise construction in close proximity to historical centers of cities violates an established scale and destroys a historical city silhouette.
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Kuzovic, Dusko, and Nedeljko Stojnic. "Architecture in Uzice from 1918 to 1941 - from architecture of historic styles towards modern." Facta universitatis - series: Architecture and Civil Engineering 12, no. 3 (2014): 287–98. http://dx.doi.org/10.2298/fuace1403287k.
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Modern architecture in southwest Serbia, in the mid and second half of 20th century, played a significant role in the reforming society. Thanks to its conception it has enabled local communities to overcome major differences in industry, manufacturing, culture, private life development, by not relying on local traditions and standards, by introducing universal canons it allowed flow of knowledge. Local communities at the time had a number of problems caused by industrial and educational lagging behind: lack of building materials was a consequence of poorly developed traffic network and construction industry, lack of vocational schools limited worker skill at construction site etc. All of the above directed the construction industry not to develop but to rely on local knowledge sources, local customs, and tradition. At that moment Modern architecture appeared with simple and condensed forms, modest demands on the industry and builders and with acceptance of local way of life. It was gradually introduced in everyday life so after 1945 it became the general standard in the society. This paper is based on available archive material, written material, and documents encountered in the field work. Implications of the study are expected in the area of urban planning of cities, economy, and culture.
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Kozłowska, Izabela, and Eryk Krasucki. "Spaces of Dependence and Emancipation in Architectural and Urban Narration, a Case Study: Plac Żołnierza Polskiego and Plac Solidarności in Szczecin." Arts 10, no. 1 (March 5, 2021): 19. http://dx.doi.org/10.3390/arts10010019.
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Central and Eastern European countries were subjugated to the Soviet Union in the second half of the 20th century. In this new political environment, defined as the period of dependency, the concept of space gained a new denotation as a space of dependence, in both social and physical terms. The political changes that took place after 1989 enabled these spaces to be emancipated. In this work, we aim to delineate the complex relationship between architecture and politics from the perspective of spaces of dependence and their emancipation. Through a case study of two squares, plac Żołnierza Polskiego (the Square of the Polish Soldier) and plac Solidarności (Solidarity Square) in Szczecin, we gained insights into the processes and strategies that promoted their evolution into spaces of emancipation within architectural and urban narratives. Szczecin’s space of dependence was created by an authoritarian state that had a monopoly on defining architecture and urban planning in the country and the state as a whole. In a process orchestrated by economic factors, as well as the scale of architectural and urban degradation, the squares under discussion have transitioned from spaces of dependency to spaces of emancipation. As a result, an architectural-urban structure characterized by new cultural and identity values has been created.
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Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (June 19, 2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.
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Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.
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Asencio Juncal, J., J. M. Lopez-Osorio, and C. J. Rosa Jiménez. "TOURISM ARCHITECTURE AS A THREAT TO HERITAGE IDENTITY IN THE VALLEYS OF THE HIGH ATLAS IN MOROCCO." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 723–30. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-723-2020.
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Abstract. Despite being a major activity in the economy of the pre-Sahara valley of the High Atlas in Morocco, tourism can also threaten the conservation of the identity values of the architectural heritage of the region. The adaptation of many traditional buildings for tourist use or the construction of new accommodation incorporating traditional language into their structure or decorative repertoire does not always help to strengthen the vernacular values of original architecture. The starting point of this research is the typological definition of this architecture, mostly in aspects relating to the symbolic and ornamental elements of traditional dwellings in the valleys of the Dadès and of the Mgoun, its main tributary. The processes of evolution and transformation from the second half of the 20th century are then described, along with the risks from the tourist boom which has been affecting the region in recent years. In order to study this phenomenon twelve examples of tourist accommodation were selected to analyse the formal language and decorative resources used, in terms of heritage, but also from the perspective of the reinterpretation of architectural symbols in the context of acculturation. This theory considers dynamic cultural exchanges between tourism and the receiving society to be positive.
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Kim, A. A. "The origins of the formation and features of the manifestation of the Chinese Europeanized Architecture in mid-19th–second half of the 20th century." IOP Conference Series: Materials Science and Engineering 962 (November 18, 2020): 032060. http://dx.doi.org/10.1088/1757-899x/962/3/032060.
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Davydov, A. N. "The wooden architecture of Archangel during the second half of the 19th‐the beginning of the 20th century: The cultural context and historical background." Acta Borealia 9, no. 1 (January 1992): 9–17. http://dx.doi.org/10.1080/08003839208580409.
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ANTYUFEEVA, Olga A. "MUSEUM AND ARCHAEOLOGICAL COMPLEXES IN THE STRUCTURE OF THE CITY AS A NEW TREND OF URBAN DEVELOPMENT." Urban construction and architecture 9, no. 2 (June 15, 2019): 40–45. http://dx.doi.org/10.17673/vestnik.2019.02.6.
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The development of museum and archaeological complexes as public spaces of modern megacities is a new trend of urban development. Beginning the second half of the 20th century, the museum architecture experienced a great transformation. Increasing the level of openness, both to society and to urban space, predetermined the formation of a new scenario for museum activities and a new planning structure. Deep penetration into the environment, a high level of interactivity of modern museums have contributed to the creation of new urban structures - museum neighborhoods and other spatial museum entities. The current trend in the development of modern museums is the increase in the number of so-called environmental museums created on the basis of museum specific monuments, which are the most visited among the total number of museums. These cultural complexes, representing the urban artistic environment, have become part of the public center of the city and set new goals for architectural and town planning development. From the architecture of the museum temple to the new look of the “museum as a city” - such is the transformation of modern museum architecture. The paper analyzes various examples of new forms of exhibiting objects of the archaeological heritage in an urban environment as part of public spaces.
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Włodarczyk, Małgorzata. "ROLA „KARTY EWIDENCJI OBIEKTU NIERUCHOMEGO” W SYSTEMIE OCHRONY KONSERWATORSKIEJ DZIEDZICTWA ARCHITEKTONICZNEGO 2 POŁOWY XX WIEKU." Protection of Cultural Heritage, no. 1 (May 30, 2016): 129–33. http://dx.doi.org/10.24358/odk_2016_01_14.
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„Record cards of immovable properties” may be used for holding information about specific assets. This tool is of utmost importance for protecting and preserving architectural heritage assets built after the second World War in the second half of the 20th century. It allows for recognising a property in advance, defining the scope of protection (whether the entire property should be protected or only its particular elements), and specifying types of works which can be carried out to the property in question. This tool turns out to be particularly important in the event of changing ownership, carrying out renovation works or any other works pertaining to redevelopment, development, adaptation, etc. Additionally, it may be used for developing historic preservation guidelines for architectural designs and the areas they affect and, at the same time, preserving their initial form. Moreover, the tool in question allows historic preservation services to carry out such works to historic monuments and sites that will not only respect their cultural values but also „give them a new lease of life.” Furthermore, it may be used not only in scientific or academic works but also in works aimed at general public. In the current body of law, there are two types of „record cards of immovable properties.” The first one contains information on assets listed in the national register of historic monuments and sites. The second one provides data on assets not listed in this register - in this case, specific merit-related and graphical information is required. Its broader use by historic preservation service may result in increased effectiveness in preserving architectural heritage of the second half of the 20th century.
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Mahgoub, Yasser. "Tracing the Evolution of Urbanism in Kuwait." Open House International 38, no. 4 (December 1, 2013): 80–89. http://dx.doi.org/10.1108/ohi-04-2013-b0009.
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This paper hypothesizes that contemporary Gulf cities are not an evolution of traditional settlements but rather forms of modern cities that emerged during the second half of the 20th century after the discovery of oil, the economic boom following the mid 1970s oil crisis and finally political, economic, technological and communication globalization that swept this region since the beginning of the 21st century. While focusing on the case of Kuwait city, the paper reflects on several examples from the Gulf region cities to discuss their development as hybrid forms of modern cities. The paper adopts the theoretical framework proposed by Appadurai in 1996 to understand the flow of modernity through the Gulf cities' scapes. This theoretical framework provides an adequate understanding of Gulf cities evolution and modifications required to make them more adequate to the Gulf region conditions.
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AlSadaty, Aliaa. "Port Said historic markets: a tool for urban revitalization." Archnet-IJAR: International Journal of Architectural Research 14, no. 3 (July 23, 2020): 543–57. http://dx.doi.org/10.1108/arch-02-2020-0022.
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PurposeThis paper investigates urban potentials of historic covered market buildings. Generally, these structures witnessed the apex of construction during the turn of the 20th century in Europe and beyond. They thrived until the second half of the 20th century when they started to decline and their existence became threatened due to several factors. This research focuses on recent regeneration attempts that consider the qualities of these structures, not only as individual buildings but also as an important tool for the revitalization of their surrounding contexts.Design/methodology/approachThis paper focuses mainly on the Egyptian network of historic indoor markets with special reference to Port Said markets which are currently in decay and in urgent need for intervention. Through the consultation of the Barcelona Model for Markets, Spain and the survey of Port Said historic markets; the present study suggests a framework through which the network of local markets can regain their positive role and contribute to the revitalization of their surrounding context.FindingsFindings reveal that historic indoor markets are complex structures that cannot be regenerated in isolation from their usually fast changing contexts. Intervention in this prototype needs to balance between traditional imaginary of these buildings, including the protection of their historic features and the protection of vulnerable local trades; and at the same time, the adaptation of market buildings to contemporary needs to improve their competitiveness on the commercial level.Originality/valueThe present study suggests a two-level framework and approach through which the network of local markets in Egyptian cities can regain their positive role and hence contribute to the revitalization of their surroundings.
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Dorzhiev, Tsydypzhap Z., and Ariyana Tomur-oolovna Saaya. "The nesting ecology and postembryonic development of the Columba rupestris in Tuva and Buryatia." Samara Journal of Science 9, no. 3 (November 20, 2020): 49–53. http://dx.doi.org/10.17816/snv202093108.
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A material on the nesting ecology of Columba rupestris was collected in southern Siberia on the territory of Tuva and Buryatia. The Columba rupestris lives sedentary in various types of localities and a small proportion in the natural rocks of open spaces. The number of this species has now decreased by 35 times compared to the 7090-es of the 20th century. It is due to the deterioration of the food supply as a result of the elimination and reduction of arable land near settlements, the reduction of livestock in private households, changes in the architecture and construction material of buildings, first of all, the replacement of slate roofs with metal profiles. The most preferred localities are medium and small rural settlements located in forest-steppe and steppe landscapes. The deterioration of habitat conditions affected the structure of nesting settlements, and colonies became small (no more than 3050 birds compared to 100200 individuals at the end of the 20th century). Breeding periods in localities are stretched from late February to mid-October, but the majority of populations breed from the 20th of March to the end of July. Birds manage to hatch their сhicks 24 times, 2,4 times on average. There are 2 eggs in a clutch, incubation lasts 17 days, and the сhicks leave the nest at 26 days of age. The paper presents features of growth and development of chicks. Nesting efficiency (ratio of the number of chicks that have reached sexual maturity to the total number of eggs laid) equals to 27%. It is noted that currently interspecific hybridization of Columba rupestris and Columba livia, which was observed relatively often in the second half of the 20th century, has almost stopped due to a decrease in the number of both species, which led to greater spatial differentiation.
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Grigoryeva, Elena. "socialist city." проект байкал 18, no. 68 (August 8, 2021): 1. http://dx.doi.org/10.51461/projectbaikal.68.1787.
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The period of the “socialist project” occupied the biggest part of the 20th century. Hugescale social experiments have greatly shaped the present-day city’s appearance. The second half of the 20th century evidenced an unprecedented volume of housing and industrial technologies in house construction and design. Most of us, today’s citizens, live in the neighborhoods and houses built during the socialist era.Belgrade and Split, Sverdlovsk, Sevastopol, Magnitogorsk, Irkutsk, Krasnoyarsk, Khabarovsk, Odessa, Moscow – all the cities represented in this issue demonstrate the achievements of the period of the “socialist project”.Having defined the historical heritage as a phenomenon of the socio-economic development, the civil society of Irkutsk pointed out again the urgency of this issue. It also concerns other cities that respect their history. Without history, without heritage, there is no future. Including the heritage of the 20th century.We would like to devote the main topic of the issue to recollections of how residential neighborhoods were formed in socialist cities, what people and what processes defined that formation, in which cases the ideology influenced the appearance of cities, and in which cases cities grew and developed according to their internal regularities. The purpose is not only to pay our respect to wonderful masters, but also to learn the humanistic approaches to space arrangement from them again. It is a good thing in the times of domination of completely different goals related to making a quick profit. It is a good thing for all.
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Friedman, Avi. "Farming in Suburbia." Open House International 32, no. 1 (March 1, 2007): 7–15. http://dx.doi.org/10.1108/ohi-01-2007-b0002.
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Once considered the ‘last frontier’, post World War II perception of a limitless North American landscape directed development into country lands. Even an apparently boundless landscape, however, had a limit. This became increasingly clear in the second half of the 20th century as suburban sprawl covered over once-fertile agricultural lands. Ecological, environmental, and social relations were negatively affected by the new residential planning pattern. Yet, positive changes can still be brought about, especially in the suburbs that border cultivated areas. This paper outlines the processes necessary for the development of sustainable suburban agriculture that can be integrated into new communities. The concepts demonstrated here can reunite ecological, economical, and social factors, which are demonstrated in a "real" project design by a team headed by the author that supports farming in a suburban Montreal, Canada, setting.
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Troshin, A. A. "The Legacy of soviet Urbanism as a Factor Determining the Modern Digitalisation of the Urban Environment." Humanities and Social Sciences. Bulletin of the Financial University 10, no. 4 (November 3, 2020): 53–57. http://dx.doi.org/10.26794/2226-7867-2020-10-4-53-57.
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In this article, the author concludes that recent projects of digitalisation of the urban environment have initially been projects of the fundamental science of modernity, i. e. predominantly 1970s. In modern urban practise in Russia, their implementation is mainly superimposed on the structure of the city, formed at the same time, but already perceived as the past. Bridging this gap is in understanding what exactly the architectural modernism of the late Soviet period left us. As the initial stage of this, necessary for the classification of artefacts, the author proposes a reasoned periodisation of Soviet urbanism in the second half of the 20th century.
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Hronský, Michal C., Dušan Kočlík, and Katarína Morávková. "Overlooked Heritage: Interiors in Slovakia." Architecture Papers of the Faculty of Architecture and Design STU 26, no. 2 (June 1, 2021): 30–37. http://dx.doi.org/10.2478/alfa-2021-0011.
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Abstract The creation of interior spaces is the main cognitive characteristic of architectural creation. Architecture creates a basic spatial framework for the interior. Interior design is a complex type of architectural activity that forms both the space (basically the interior) and the individual elements of the interior space. The professional interior design of architects or designers intentionally creates an environment specifically intended for human life. It is where people are in the most personal contact with the environment surrounding them. Just as an artificially created environment has a strong influence on a person’s life and feelings, it has also been proven that it works the other way round as well, i.e. that human needs and demands are a decisive factor in creating space for a person. The case studies demonstrate the development of the interior design in the second half of the 20th century, its current state and level of care given to these works. Architecture from this period has often lost its struggle for survival. As regards the style, these are works in international style, late modern and postmodern, and the local element makes them a unique and attractive testimony to the era. Despite the natural properties of interiors which seldom survive as long as the architecture itself, some contemporary statements about the interior design of the period under review have been preserved. The research focused on the public interiors of both well-known and less-known buildings by Slovak architects from various parts of Slovakia. The research calls attention to the fact that architects worked here even then and their works were of certain quality.
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Deveikienė, Vaiva. "TEKLĖ ŠEŠELGIENĖ (1925–1982): ASPECTS OF CREATIVE WORK IN LANDSCAPE ARCHITECTURE / TEKLĖS ŠEŠELGIENĖS (1925–1982) KŪRYBOS KRAŠTOVAIZDŽIO ARCHITEKTŪROJE ASPEKTAI." Mokslas – Lietuvos ateitis 6, no. 3 (May 22, 2014): 282–89. http://dx.doi.org/10.3846/mla.2014.40.
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The article analizes architect Teklė Šešelgienė‘s (1925–82) creative work, which has specifically manifested itself in the field of landscape architecture and coincided with the second half of the 20th century urban and township planning trends that affected the need and strengthening positions of the landscape designer’s profession. The article also focuses on the creative links between two personalities – Kazys Šešelgis and Teklė Šešelgienė – a teacher and his student, husband and wife and, most importantly, two colleagues. Through personal actions, qualities of character, collaboration and education, the article aims to disclose the peculiarities of the landscape designer‘s profession, the epoch context, importance of knowledge and professional skills in developing landscape architecture objects. Straipsnyje nagrinėjama architektės Teklės Šešelgienės (1925–1982) kūryba, kuri išskirtinai reiškėsi kraštovaizdžio architektūros srityje ir sutapo su XX amžiaus 2-osios pusės miestų ir gyvenviečių planavimo tendencijomis, turėjusius įtakos kraštovaizdžio architekto profesijos poreikio ir pozicijų stiprėjimui. Straipsnyje taip pat aktualizuojamos dviejų asmenybių – Kazio Šešelgio ir Teklės Šešelgienės, dėstytojo ir studentės, vyro ir žmonos, o svarbiausia dviejų kolegų – kūrybines sąsajos. Straipsniu siekiama per asmenybės veiklą, charakterio savybes, bendradarbiavimą, išsilavinimą atskleisti profesinės veiklos ypatybes, epochos kontekstą, žinių ir profesinių įgūdžių svarbą kuriant kraštovaizdžio architektūros objektus.
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Beganovic, Dzemila. "Complex urbarchitectonic structures of Pristina and Novi Pazar cities." Spatium, no. 32 (2014): 39–46. http://dx.doi.org/10.2298/spat1432039b.
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Contemporary urban development has changed the traditional cities all over the world. In our region, the typical Balkan cities of oriental origin, structure and outlook were almost totally transformed in the second half of the 20th century. Modern movement brought new models of urban organization, different communication concepts and a variety of concepts of modern buildings. Among others, the idea of complex urbarchitectonic structures in urban tissue spread under specific influences and models. After a short review of modern urban development and the idea of complex urban structures, this paper explores urban transformation of less researched cities such as Pristina and Novi Pazar. The focus is on the phenomenon of complex urbarchitectonic structures built in related cities in a short period from 1969-1989. Four complex urbarchitectonic structures will be presented: Kicma and complex in JNA Street in Pristina and Lucne buildings and Jezero buildings in Novi Pazar.
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Banković, Angelina. "A contribution to the study of Milan Zloković's architecture in Belgrade from the interwar period." Arhitektura i urbanizam, no. 52 (2021): 27–41. http://dx.doi.org/10.5937/a-u0-30005.
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Numerous published papers have covered the life and work of architect Milan Zloković. He has been presented as a pioneer of the modern movement in Serbian architecture and one of its most prominent representatives, as well as one of the most eminent Serbian architects from the first half of the 20th century. His extensive opus, which officially contains just over 170 designs, has been analyzed in detail. However, during the musealization of his legacy, in the process of forming the Bequest of Milan Zloković, and in cooperation with Belgrade City Museum and the Milan Zloković Foundation, over 50 previously unknown designs were identified. This was the result of the extensive research of vast amounts of project documentation, preserved in his family house and previously unavailable to researchers. This paper presents one part of that research, specifically the designs for several structures in Belgrade, originating from the interwar period. The first section presents a short biography of Zloković, especially with regard to the period from 1925 to 1937. The second section is dedicated to his designs, each of which is presented separately. The section is further divided into two segments, the first of which is built structures, and the second, unrealized projects. Included in the built structures are also a few alterations and extensions. The paper is mostly based on a study of primary sources, designs from the Milan Zloković legacy and documentation from the Historical Archive of Belgrade, as well as previously published research.
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Wiedmann, Florian, Velina Mirincheva, and Ashraf M. Salama. "Urban Reconfiguration and Revitalisation: Public Mega Projects in Doha's Historic Centre." Open House International 38, no. 4 (December 1, 2013): 27–36. http://dx.doi.org/10.1108/ohi-04-2013-b0004.
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This paper aims to offers an assessment of the current transformation process of Doha's historic centre, which has become a major focus of public development strategies. While the historic centre was neglected during most of the second half of the 20th century, recent public initiatives have been leading to new urban morphologies and typologies. In addition to the redevelopment of the historic market and the investments in museums, a large scale mixed use development, known as Msheireb project, has been launched, which will replace an entire district. The objective of this paper is therefore to clarify how these public initiatives are modifying existing urban structures and to which extent this spatial reconfiguration contributes to major revitalisation objectives, such as diversity, consolidation and identity. The methodologies include a GIS survey to analyse the shift in urban densities, land uses and typologies as well as a Space Syntax study assessing the various levels of spatial integration in the case of the Msheireb project.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Bellakova, Eva. "The Development of Industry as a Condition for the Development of Urban Planning and Architecture on the Example of an Industrial Site in Podbrezova." Advanced Engineering Forum 12 (November 2014): 30–34. http://dx.doi.org/10.4028/www.scientific.net/aef.12.30.
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Adequate natural conditions, including good raw materials and energy base, are prerequisites for a development of industrial production. The industrial production in these areas causes a creation of a settlement dependent on industrial activities. In this way the development of the industry results into the social and cultural development of regions and settlements. This simple scheme of regional development is accompanied by the construction of technical, industrial and ultimately residential and public buildings. In particular, a good production potentiality is the common characteristic of the construction development. The impact of the industrial production on architecture and urban development is indisputable. The paper will present this dependence on the example of the most important iron producer in the former Kingdom of Hungary-Hronec complex. Ironworks in Podbrezova became the most important industrial site of the Hronec complex in the late 19th century and, today, it ranks among the European leaders in its field. The industrial area of Podbrezova has determined the urban development throughout its history. The urban and architectural development of Podbrezova in the second half of the 20th century fluently followed up the development of the previous period. As then, production facilities has remained subject to the changing conditions of the production and the surrounding urbanism has been determined in response to these changes. Podbrezova's spatial layout represents complementarity between the current production requirements and demands of the population. The ability to adapt to changing conditions has guaranteed that Podbrezova is still a viable and workable urban structure.
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Azatyan, Karen Rubenovich. "RESIDENTIAL ARCHITECTURE OF YEREVAN IN THE 20TH CENTURY. IDENTIFICATION OF THE MAIN STAGES IN THE DEVELOPMENT OF THE PLANNING STRUCTURE OF A DWELLING UNIT." Vestnik MGSU, no. 5 (May 2016): 18–27. http://dx.doi.org/10.22227/1997-0935.2016.5.18-27.
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The article discusses some features of planning solutions of apartments in the architecture of Yerevan, which are typical to different periods, since the turn of 19-20th centuries to the present day. Housing is the chief determinant of human activity. In the process of societal development the house is the foundation of a family, and the family, on its turn, is the key to the stable state. Nevertheless, the time influences the residential architecture. Societal progress periodically affects the living environment. Therefore, housing formation process never reaches the stage of completion: it is always in an endless process of development. The above mentioned primarily concerns the evolution of the planning structure of the apartment. In this context, the dynamics of evolution of housing in Yerevan has accelerated in the second half of the 19th century. The centuries-generated space-planning system of apartment begins to develop in accordance with the rapid changes of social, urban planning and life processes of the time (extension of industry, formation of new socio-economic relations, rapid growth of population, acceleration of construction processes). The impetuous transformation of the dwelling structure is reflected in the complex process of evolution - starting from the traditional houses and ending with the apartments in high-rise buildings. The research of the problems of the traditional dwelling structure, its transformation in the first apartment buildings and diverse improvements of apartment planning solutions contributes to the definition of the main development stages of the dwelling units during the last century, which are observed in the article. Identification of the characteristics of each stage and the multilateral evaluation of different qualities of spatial-planning arrangement of apartments allow working out proper solutions for dwelling units in the future.
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Zazzaro, Chiara, Enzo Cocca, and Andrea Manzo. "Towards a Chronology of the Eritrean Red Sea Port of Adulis (1st – Early 7th Century AD)." Journal of African Archaeology 12, no. 1 (November 1, 2014): 43–73. http://dx.doi.org/10.3213/2191-5784-10253.
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The Eritrean coastal site of Adulis has been known to archaeologists since the second half of the 19th century. At the beginning of the 20th century, the Italian archaeologist Roberto Paribeni conducted extensive excavations in different areas of the site which uncovered the remains of monumental buildings, churches and houses, as well as rich deposits of related material culture. Since then, archaeological investigations have been limited to the activities of Francis Anfray in 1961–62 and to a survey conducted by the University of Southampton in 2003–04. Our team’s first excavations in stratified deposits began in 2011, and soon revealed a complex chronological sequence of great importance for the understanding of the cultural history of the southern Red Sea region and the Horn of Africa. The project’s main efforts were directed towards the identification of the main phases of occupation at Adulis, the establishment of a typological sequence of pottery, and the analysis of architectural change.
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Hancock, Mary. "Subjects of Heritage in Urban Southern India." Environment and Planning D: Society and Space 20, no. 6 (December 2002): 693–717. http://dx.doi.org/10.1068/d343.
Full textAbstract:
In this paper I deal with a recent effort, conducted jointly by corporate and voluntary bodies, to create a themed cultural environment in Chennai (formerly Madras), the capital city of the southern Indian state of Tamil Nadu. This project, not yet completed, fuses craft center with architectural reconstruction, and is the work of upper-caste, globally connected elites. The site, Dakshina Chitra, envisions southern Indian culture and history in ways that are tied to consumerism and to elite perceptions of regional and national heritage. This effort departs from and poses a critique of the versions of culture, history, and identity that have been inscribed by the state in urban public space during the second half of the 20th century—the statues, monuments, and memorials that celebrate Tamil ethnicity as promulgated in the Dravidianist sociopolitical movement. This movement, which originated in the late 19th century, provided a platform for anticolonial and subaltern social movements. It continues in the hands of the political parties who have controlled, at different times, the government of Tamil Nadu since 1967. The competing discourses on heritage posed by these different projects are indicative of political, economic, and cultural transformations associated with liberalization that are now reconfiguring the relations between state and society in southern India. The constructions of locality and history that became visible during the anticolonial struggle of the first half of the 20th century are being challenged by alternative formulations as heritage becomes a marketable good and consumption becomes a vehicle of political participation. With this case I consider the ways that themed urban environments serve not only as indices of the changing political economy, but also as markers of changes in the cultural mediation of political subjectivity.
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Ciarkowski, Błażej. "AN EVIDENCE OF CREATIVE SPIRIT. ARCHITECTURE OF MUSEUM EDIFICES IN AN INDEPENDENT REPUBLIC OF POLAND." Muzealnictwo 59 (August 6, 2018): 146–56. http://dx.doi.org/10.5604/01.3001.0012.2304.
Full textAbstract:
May this Parthenon of arts (…) be a heart consoling evidence of greatness of an immortal, everlastingly creative spirit of Poland. Words written in the foundation act for construction of the National Museum in Warsaw leave no doubt – culture was perceived by the authorities of the Second Polish Republic (1918–1945) as extremely important factor in building the identity of a reborn state. Soon after regaining independence, constructions of edifices for theatres and museums were being planned and conducted; moreover, new institutions were in the process of being established. It is enough to mention that in the mid-1930s there were 135 public museums, half of which founded after 1918. A culture-forming role of public edifices’ construction was to reinforce an image of the Second Polish Republic as, firstly, an inheritor of Poland from the time before the Partitions period, and secondly – a modern state with ambitions of a regional leadership. First projects directly continued a style from the turn of the 19th and 20th centuries. Theatres’ buildings designed in 1924: national theatre in Warsaw and municipal one in Łódź (the latter never executed) by Czesław Przybylski featured simplified classical forms. Similarly, first projects of the National Museum in Warsaw (Marian Nikodemowicz, 1924) or the Museum of Pomerania in Toruń (Czesław Przybylski, 1926) followed the 19th-century tradition of the “museum-palace” and the “museum – temple of arts”. The late 1920s and the early1930s marked a significant turning point; projects of that time are an evidence of the search for a new style, which combined an individual reception of modernity with an expression of national identity. The architects of the Silesian Museum (Karol Schayer) and the National Museum in Warsaw (Tadeusz Tołwiński) tried to find their own creative way, so that both the modern and the “state-building” character of the edifices could be equally expressed.
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Kilde, Jeanne Halgren. "Protestant Theologies and the Problem of Sacred Space." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 2–23. http://dx.doi.org/10.17979/aarc.2017.5.0.5140.
Full textAbstract:
The phrase sacred space, suggesting a spiritually evocative environment infused with divine or transcendent presence, is currently applied to almost all religious places, including almost all Christian churches and chapels. Yet Protestant leaders from the Reformation onward vigorously opposed such an understanding of God’s relationship to humanly created worship space. For them, God was not immanent in specific spaces or buildings. How is it that Protestants came to embrace the idea of sacred space and apply it to their own churches? This essay explores the concept of sacred space and its relationship to Protestant architecture, focusing on the second half of the 20th century, a period that brought significant transformation to this relationship. The essay asserts that cultural, theological, and academic transformations occurring in the United States in the post-World War II period, resulted in the development of a universalized view of the sacred that came to undergird new religious spaces, particularly chapels meant to accommodate several faith traditions, which in turn helped to advance that view. Both the ideas and the buildings reflected a growing interest in personal spirituality and new understandings of the relative immanence and transcendence of God.