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Fevereiro, António Francisco Arruda de Melo Cota. "THE ART NOUVEAU TILES AS FRAMES TO ARCHITECTURE IN LISBON." ARTis ON, no. 2 (February 12, 2016): 62–74. http://dx.doi.org/10.37935/aion.v0i2.44.
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The combination of tile with architecture has been used in Portugal for centuries. It achieved a unique level of artistry by the end of the 19th century and beginning of the 20th century. The use of new colours and modern stylizations were explored during the Art Nouveau period. The tile was used as a frame for architectural features in order to enhance the building. By then all the elements were intended to be harmoniously combined as a whole.A span of case studies, chronologically ordered, illustrates the role and evolution of tiles used during this period, when tiles were designed by academic painters or architects. The comparison of projects published, or kept in archives, with the actual buildings led to a new understanding about this artistic period in Portugal and, particularly, in Lisbon and its surroundings.
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Akcan, Esra. "Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi." ARTMargins 4, no. 1 (2015): 79–101. http://dx.doi.org/10.1162/artm_r_00105.
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This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.
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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.
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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place. In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.
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Goryunov, Vasiliy, Svetlana Goryunova, Vera Murgul, and Nikolai Vatin. "The Liberty Style-Italian Art Nouveau Architecture." Advanced Materials Research 1065-1069 (December 2014): 2681–85. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2681.
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This article refers the architecture of Italy of the end of the 19-the beginning of the 20th centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time.
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Cavlovic, Melita, Mojca Smode-Cvitanovic, and Andrej Uchytil. "Art nouveau in Zagreb: The new movement's significance to the profession of architecture." Spatium, no. 44 (2020): 37–44. http://dx.doi.org/10.2298/spat2044037c.
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This paper traces the implications of Semper's Bekleidung theory on working processes in the field of architecture in Zagreb. The idiosyncrasies of the work of freshly graduated architects in a peripheral Austro-Hungarian city are analysed, both in the context of developing and spreading the city block system and the appearance of the new Art Nouveau style. Buildings in this new modern style, which appeared in 1897, were built sporadically throughout the city's urban fabric, which generally consisted of historicist residential buildings at the time. Parallel to historicism, the demand for Art Nouveau from clients grew, especially around the turn of the 20th century. At the time, typical migration processes resulted in the arrival of a well-educated populace that would commission Art Nouveau buildings in the coming years. The unique characteristics of Art Nouveau style, especially its ability to directly engage citizens and transmit messages of modern times, proved to be an important determinant in its increasing popularity in the city. Many professions and products were advertised on the fa?ades and ornamentation of buildings, the main bearers of Art Nouveau style.
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Collette, Quentin, Ine Wouters, Michael De Bouw, Leen Lauriks, and Abdelrahman Younes. "Victor Horta’s Iron Architecture: A Structural Analysis." Advanced Materials Research 133-134 (October 2010): 373–78. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.373.
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The internationally acknowledged Art Nouveau architect Victor Horta built remarkable artifacts of public iron architecture in Brussels. His projects display an innovative philosophy based on apparent iron frameworks used in a very efficient manner. As a supplement to the ample historical and architectural studies on Belgium’s most famous Art Nouveau architect, this paper puts Horta’s innovative structural practice of iron into the picture. To reach this goal, a structural analysis of four of Horta’s most interesting projects is carried out, going into the following topics: conceptual philosophy (structural typology), building techniques (shapes, connection details) and the coherence of the structural logic (structural usefulness).
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Burguete-Gil, C. "DANGER IN HERITAGE BY FORGETFULNESS. VICENTE SANCHO ARCHITECTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 739–44. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-739-2020.
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Abstract. We are used to considering the risks on the architectural heritage as direct attacks on it, such as abandonment, degradation of materials, … However, the loss of said assets can be caused simply by ignorance of them. This is the case of Vicente Sancho Fuster and his work. Vicente Sancho Fuster worked during the first decade of the 20th century in Valencia. His work is part of the trend of Valencian Art Nouveau, along with Vicente Ferrer and Demetrio Ribes. However, he is barely known due to his sudden death at age 35. His work continues being virtually unknown today, even by architects, despite its enormous interest and significance for the history of local and national Art Nouveau architecture. The greatest impediment to the study of his creation is the location of the works he created, because the references found are marked by inaccuracy and lack of data. As a result we find both: works attributed to Vicente Sancho Fuster that are not his own, and works attributed to other authors but in which his signature appears. At the same time, when his work is compared with some of the Art Nouveau buildings which have been protected by municipal law, it can be shown that both deserve to have the same consideration.
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Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.
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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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McCleskey, Sarah E. "Staffing in Academic Art and Architecture Departmental Libraries: Case Studies." Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (2006): 46–55. http://dx.doi.org/10.1086/adx.25.1.27949402.
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Bertels, Inge. "Expressing Local Specificity: The Flemish Renaissance Revival in Belgium and the Antwerp City Architect Pieter Jan Auguste Dens." Architectural History 50 (2007): 149–70. http://dx.doi.org/10.1017/s0066622x00002914.
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While globalizing trends stimulate the creation of entirely new regions, established regional and local identities remain. Architectural historians, among others, explore the ways in which regionalism has been — and continues to be — defined and redefined. Current issues in this debate include what regional architectural traditions might be; whether regions can be defined by architecture; and how regional traditions of architecture have been defined and interpreted by artists, authors and scholars. Nineteenth-century Belgian architecture is particularly relevant in this context. The formation of Belgian Art Nouveau’s style and identity have both been the object of numerous studies, but while Art Nouveau is probably the best-known creation of Belgian nineteenth-century architecture, it is hardly the only one, nor indeed the only interesting one. One of the sources identified for Belgian Art Nouveau has been the milieu of the so-called Flemish Renaissance Revival, which produced such architectural gems as Emile Janlet’s (1839–1919) Belgian pavilion at the World Exhibition in Paris (1878) and Jean Winders’ (1849–1936) own house and studio (1882–83) in Antwerp (Fig. 1).
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Mansbach, S. A. "Modernist Architecture and Nationalist Aspiration in the Baltic: Two Case Studies." Journal of the Society of Architectural Historians 65, no. 1 (2006): 92–111. http://dx.doi.org/10.2307/25068240.
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Modern art developed comparatively late in the eastern Baltic, with a variety of meanings, political purposes, and national references different from those to be found elsewhere in Europe and the Americas. Shaped by specific historical events and determined by distinctive local interests, Baltic modern architecture and art of the early twentieth century was charged with a national mission to reflect the political aspirations of the emergent new states of Estonia, Latvia, and Lithuania. The present article investigates this charged nationalism within the modern art in the Baltic by focusing on the function of architecture in the newly established republics of Lithuania and Estonia during the years following World War I. The comprehension of the creative ways in which Baltic modern architecture was simultaneously employed domestically to articulate a national self-image and implemented internationally to signal democratic and republican progress might serve as a model with which to probe more penetratingly the roles of modern art generally, as well as to provide a new perspective from which to assess national narratives.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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Pieczka, Michał. "ARCHITECTURE OF EXHIBITIONS – CASE STUDIES OF CONTEMPORARY SPACES FOR ART AND ARTIST." space&FORM 2020, no. 42 (2020): 85–98. http://dx.doi.org/10.21005/pif.2020.42.b-03.
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Bjorkdahl, Kristian. "Pipe Dreams of the Nouveaux Riches." Culture Unbound 13, no. 1 (2021): 114–36. http://dx.doi.org/10.3384/cu.3376.
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World expos are occasions for the type of rhetorical display known as "epideictic," and as such, they provide glimpses into how a nation wants to be seen at a particular point in time. In this article, I probe into Norway’s pavilion at the 1992 expo in Seville, Spain, for answers to what Norway wanted to be in the early 1990s. I will argue that Norway’s pavilion, a “deconstructed structure” that centered on a somewhat ambiguous pipe, signals a country in the process of reinventing itself under the aegis of petroleum. More specifically, I suggest that Norway’s ’92 pavilion can be read as an early instantiation of rhetorical techniques that would later become key to Norway’s claim to being both a leading petroleum producer and an environmental frontrunner. The pavilion itself pulled off this balancing act in much the same way that politicians and others would later learn to handle it – by techniques of rhetorical association and dissociation (Perelman & Olbrechts-Tyteca 1969 [1958]). Having chosen “the cycle of water” as the overarching theme for the exhibition, the makers of the pavilion (the largest sponsor of which was the state oil company, Statoil) managed to make petroleum safe by renaming it “offshore” and by associating it, also in many other ways, with water. The pavilion’s deconstructive architecture can thus be understood as an early validation of the rhetorical practice of “putting together” and “taking apart” to make new things that serve the nation’s interests – in this case a “cycle of water” in which petroleum was a natural part. Although I posit only similarity, and not causality, the rhetorical techniques of Norway’s ’92 pavilion were in this way strikingly similar to what later became a stock argument, e.g. that Norway offers “the world’s cleanest petroleum” (see Ihlen 2007).
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González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.
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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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Margherita Maria Ansaloni, Giuditta, Arianna Bionda, and Andrea Ratti. "yachting rule of art." Convergences - Journal of Research and Arts Education 14, no. 27 (2021): 83–92. http://dx.doi.org/10.53681/c1514225187514391s.27.80.
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Art and architecture have been unbreakably linked together for centuries, and the question that spontaneously arises is why it cannot be the same for art and yacht design. The field in which the research is carried out is placed at the crossroads between art and architecture, of which yacht design can be considered a category. There is a lack of references to the artistic field in the yachting sector in literature, so the parallelism between architecture and “floating” architecture is performed: the ships are the emblem of closure, and the stylistic evolution has begun bearing fruit in recent years. The paper aims to outline the current state of the art of the relationship between art and yachting. The first part analyses the relationship between art and architecture, while the second part discusses art concerning naval design: here, the case studies analysis highlights how art onboard is still considered an accessory rather than a backbone of the project.
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Liapina, Olena. "«Atypical Kyiv»: examples of «Northern Art Nouveau» in the urban housing of the early 20th c." Text and Image: Essential Problems in Art History, no. 2 (2018): 53–67. http://dx.doi.org/10.17721/2519-4801.2018.2.03.
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At the turn of the 19 – 20th centuries Kyiv experienced a building boom: once a rural town transformed into a modern city. The widely spread one or two-storied classical-styled houses were replaced with multistoried apartment houses, designed in a new architectural fashion. By that time, various forms of Art Nouveau dominated European architecture. Kyiv also picked up this trend. Buildings in Kyiv of that time represent a motley mixture of the most popular variants of style each having certain peculiarities. The new urban buildings’ constructions followed classical traditions while facades were designed after the latest European patterns. The National Romantic styleis a remarkable and unusual form of the architectural Modern. It emerged in Northern Europe and was inspired by Scandinavian flora and fauna, local folklore and traditional architecture. The National Romantic style followed the motto “Back to nature”: architects designed simple forms and chose building materials of a local origin. Unexpectedly we see the buildings in this Nordic style at the streets of Kyiv. How did they appear in a Southern town? As they were built as apartment houses for lease, the clients asked architects to make houses more attractive for the future tenants. It was the case as of the metropolitan Saint-Petersburg masters (F. Lidval, P. Svatkovskyi) so of the local architects and engineers (V. Peshchanskyi, О. Verbytskyi). In Kyiv, the National Romantic style has its own specific features. It is monumental, laconic in details and abundant in natural textures. Thus, Kyiv version of the Nordic style did not simply copied the original, but rather cited the patterns and creatively reinterpreted Scandinavian architectural forms.
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Kashtanova, Elena. "Vasilii Polenov’s Architectural Projects." Experiment 25, no. 1 (2019): 158–74. http://dx.doi.org/10.1163/2211730x-12341336.
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Abstract Vasilii Polenov can be described as one of the most “architectural” Russian artists of the late nineteenth century. In his sketches and paintings of the Gospel cycle, his historical works, theatrical scenery, and landscape paintings, the artist could not imagine realizing the main themes of his work without reference to architecture. Polenov’s architectural work can be divided into three types: church projects—such as those at Abramtsevo, the school at the Kologriv monastery in Kostroma province, and the Church of the Holy Trinity in Bekhovo in Tula province; manor architecture in the style of Scandinavian Art Nouveau at the estate he founded on the banks of the Oka River near Tula; and his only urban project—the House of Theatrical Education in Moscow. Polenov pursued the Neo-Russian style with particular alacrity in the sphere of church architecture, which is the focus of this essay, for it was here that the artist offered his own original interpretation of the national theme.
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Nekrošius, Liutauras. "ARCHITECTURE AS AN ART COLLECTION: PALANGA CASE / ARCHITEKTŪRA KAIP MENO KOLEKCIJA. PALANGOS ATVEJIS." JOURNAL OF ARCHITECTURE AND URBANISM 36, no. 3 (2012): 222–38. http://dx.doi.org/10.3846/20297955.2012.732799.
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The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.
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Gehlot, Kunika, Soma Anil Mishra, and Kavya Trivedi. "LITERARY ARCHITECTURE." International Journal of Research -GRANTHAALAYAH 6, no. 10 (2018): 121–29. http://dx.doi.org/10.29121/granthaalayah.v6.i10.2018.1169.
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Architecture and Literature are the social forms of art peculiar to the mankind. Architecture creates a story with a thread of spaces whereas Literature builds a visual representation of a place with words. They have been practiced together from ancient times in order to leverage the experience of users in their respective fields. The primary purpose of the research is to study the amalgamation of these domains of art in order to enhance the prospects of designing in a better-experienced way. Architects and Writers work on the same base with an alike goal and, Architectural concepts could be kindled and inspired by anything in the world henceforth, it could be stimulated by novels and narrations of literature. Thus, the result and conclusion would be exploring an exercise and posing an example of the novel The Fountainhead by Ayn Rand, manifested by the literature review and case studies, henceforth triggering the thoughts of future evolution and enhancement of practice on the topic
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Niebrzydowski, Wojciech. "The Impact of Avant-Garde Art on Brutalist Architecture." Buildings 11, no. 7 (2021): 290. http://dx.doi.org/10.3390/buildings11070290.
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Brutalism was an architectural trend that emerged after World War II, and in the 1960s and 1970s, it spread throughout the world. The development of brutalist architecture was greatly influenced by post-war avant-garde art. The greatest impact on brutalism was exerted by such avant-garde trends as art autre, art brut, and musique concrète. Architects were most inspired by the works of such artists as Jackson Pollock, Jean Dubuffet, Pierre Schaeffer, Eduardo Paolozzi, and Nigel Henderson. The main aim of the research was to identify and characterize the most important ideas and principles common to avant-garde art and brutalist architecture. Due to the nature of the research problem and its complexity, the method of historical interpretative studies was used. The following research techniques were employed: analysis of the literature, comparative analysis, multiple case studies, descriptive analysis, and studies of buildings in situ. The research found the most important common ideas guiding brutalist architects and avant-garde artists: rejection of previous principles and doctrines; searching for the rudiments; mirroring the realities of everyday life; glorification of ordinariness; sincerity of the material, structure, and function; use of raw materials and rough textures.
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Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (2020): 97–108. http://dx.doi.org/10.3846/jau.2020.13053.
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The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.
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Pechenkin, Ilya E. "I.V. ZHOLTOVSKY’S EARLY WORKS AS A SPECIAL CASE OF CONSTRUCTING THE CLASSICS DURING THE MODERNIST ERA." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2020): 128–50. http://dx.doi.org/10.28995/2073-6401-2020-4-128-150.
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I.V. Zholtovsky’s (1867–1959) the earliest works are traditionally considered by researchers like a sort of marginalia in his professional biography, although it is reasonable to assume that he was formed as an architect just during the pre-revolutionary period. According to S.O. Khan-Magomedov, Zholtovsky was engaged in something like laboratory experiments in 1900–1910s, selecting the forms and techniques that were most perfect from an artistic point of view. However, that process should be viewed not so much in the plane of abstract artistic quality as in the context of stylistic searches of the early 20th century aimed at overcoming eclecticism. It is usually to associate those searches with Art Nouveau, but in Russia the idea of acquiring a true style was embodied in neoclassic tendency. The new classical architecture as a phenomenon was built against the background of the steady modernization of the society and culture, so that the talking about the revival of the historical traditions had a small relation to reality. The originality of the aesthetic choice became truly significant in architecture, and Zholtovsky’s radical Palladianism, based not on approximate imitation of the classics, but on the exact quotation of famous villas and palazzo, fully corresponded to the trend.
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Franklin, Adrian. "Art tourism: A new field for tourist studies." Tourist Studies 18, no. 4 (2018): 399–416. http://dx.doi.org/10.1177/1468797618815025.
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This article argues the case for art tourism as a new field of tourist studies. At present, art tourism is currently obscured under cultural tourism’s voluminous bounds – which are as inappropriate as they are unwieldy and overloaded. More specifically, it cannot adequately contain art tourism’s distinctive origins, forms of experience and articulation between art worlds, cities and regions and tourism industries. In part, a more dedicated research field is also needed to keep track of its rapid growth and development as a primary driver of regional and urban regeneration and for the much expanded exhibitionary complex it encompasses. As a place-changing vehicle for city life, art tourism also needs separate forms of data collection to assist in its effective planning and design. Museums that have historically catered for local art publics now need to relate increasingly to growing touring art publics. The article sets out the historical and contemporary significance of art tourism in order to identify the breadth of a new tourism agenda, as well as its connections to other disciplines including art, architecture, social anthropology, cultural economy, urban studies, museology, aesthetics and the sociology and geography of art.
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Cummings, Sally Nikoline. "Entangled interpretations and a transnational art exhibition:The case of (…) Ketsin! Art from the Kyrgyz Republic (Shoreditch, May 2013)." Museum and Society 13, no. 3 (2015): 336–55. http://dx.doi.org/10.29311/mas.v13i3.334.
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Through the case study of a visual arts exhibition on the Kyrgyz Revolution, (...) Ketsin! (May 2013), this article traces the complex set of factors that influence how a transnational exhibition is interpreted. Combining literatures on visual representation, the role of intentionality in authorship, and, museum and gallery studies, I propose here the notion of ‘entangled interpretations’ to convey the overlapping and muddled layers rather than discrete parts that together constitute interpretation. These layers comprise: the artworks; other works in the same genre and other works by the same artists; the exhibition design and display; the architecture of the venue; the artists’ intentions; the roles of commissioner, sponsor and curator; and, the split audience: original and intended.
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Russo, Michele. "AR in the Architecture Domain: State of the Art." Applied Sciences 11, no. 15 (2021): 6800. http://dx.doi.org/10.3390/app11156800.
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Augmented reality (AR) allows the real and digital worlds to converge and overlap in a new way of observation and understanding. The architectural field can significantly benefit from AR applications, due to their systemic complexity in terms of knowledge and process management. Global interest and many research challenges are focused on this field, thanks to the conjunction of technological and algorithmic developments from one side, and the massive digitization of built data. A significant quantity of research in the AEC and educational fields describes this state of the art. Moreover, it is a very fragmented domain, in which specific advances or case studies are often described without considering the complexity of the whole development process. The article illustrates the entire AR pipeline development in architecture, from the conceptual phase to its application, highlighting each step’s specific aspects. This storytelling aims to provide a general overview to a non-expert, deepening the topic and stimulating a democratization process. The aware and extended use of AR in multiple areas of application can lead a new way forward for environmental understanding, bridging the gap between real and virtual space in an innovative perception of architecture.
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Koch, Christian, Geir Karsten Hansen, and Kim Jacobsen. "Missed opportunities: two case studies of digitalization of FM in hospitals." Facilities 37, no. 7/8 (2019): 381–94. http://dx.doi.org/10.1108/f-01-2018-0014.
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Purpose Digital practices of facility management (FM) are undergoing transformation. Several Nordic countries have ambitious hospital-building projects, driven by large public clients with long-term experience of operating complex building campuses. There is thus an opportunity for creating state-of-the-art digital FM. This paper aims to investigate the role of digital FM in new hospital projects in Scandinavia. Design/methodology/approach Based on a literature review, a framework of understanding of digital FM in hospital operation is established. Two longitudinal cases are presented and analysed, one for a greenfield hospital and the other for an extension of an existing hospital. Findings The literature highlights the importance of integration between technical digitalization, competences, organization and management of digital FM. The projects are in different phases and represent quite advanced preparations for digital FM. State-of-the-art computer-aided FM systems are prepared before operation. External consultants are involved, posing a dilemma of in-house/outsourced human resources in the future digital FM operation. Research limitations/implications Two case studies provide insights, but they have limited generalizability. Practical implications The study underscores the importance of preparation of management, organization and competences for digitalization. Originality/value Documented research on building information modelling (BIM) integrations in FM is still scarce. This article adds to the few empirical studies in the area. The findings illustrate that real estate administrators investing in FM software for new hospital buildings face challenges of aligning BIM models from design and construction to the FM system.
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Lipstadt, Hélène. "Can ‘art Professions’ Be Bourdieuean Fields Of Cultural Production? The Case Of The Architecture Competition." Cultural Studies 17, no. 3-4 (2003): 390–419. http://dx.doi.org/10.1080/0950238032000083872.
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Wattolik, Eva. "Tomás Saraceno’s Art Work “In Orbit” (2013) against the Backdrop of Space Architecture." Arts 8, no. 1 (2019): 13. http://dx.doi.org/10.3390/arts8010013.
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When discussing the correlation between technological progress and the development of modern architecture, case studies from the fine arts can be instructive. This article undertakes a close architectural analysis of Tomás Saraceno’s walkable art installation “In Orbit” (2013) by releasing previously unpublished technical specifications. A brief history of envisioned and constructed space architecture of the last hundred years—which can be divided into three phases—serves to locate the installation within the currents of predictive utopia, realized architecture and technological development. It becomes clear that Saraceno not only takes up pre-existing architectural techniques, but also develops them further.
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Simhony, Naomi. "Exceptionally Jewish: Israeli Synagogue Architecture in the 1960s and 1970s." Arts 9, no. 1 (2020): 21. http://dx.doi.org/10.3390/arts9010021.
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This article examines three exceptional synagogues designed in Israel in the 1960s and 1970s. It aims to explore the tension between these iconic structures and the artworks integrated into them. The investigation of each case study is comprised of a survey of the architecture and interior design, and of ceremonial objects and Jewish art pieces. Against the backdrop of contemporary international trends, the article distinguishes between adopted styles and genuine (i.e., originally conceived) design processes. The case studies reveal a shared tendency to abstract religious symbolism while formulating a new Jewish-national visual canon.
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RODRÍGUEZ VIEJO, JESÚS. "The Performative Manuscript: Art, Agency and Public Ritual in Ottonian Mainz." Journal of Ecclesiastical History 70, no. 2 (2019): 229–64. http://dx.doi.org/10.1017/s0022046918002646.
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The German city of Mainz under Archbishop Willigis (975–1011) witnessed a major flourishing of the arts, particularly in the field of architecture. During this period, a benedictional, now in St Gall, was also commissioned. Its only figurative content is an image of Christ in Majesty on its first folio. Taken as a case study, analysis of this permits an approach to the barely-explored concept of performativity in early medieval illuminated manuscripts. This Maiestas Domini, the list of blessings contained in the book and contemporary depictions of religious ceremonies invites consideration of the joint role that image and manuscript played in the dynamic liturgical rites during which the benedictional was handled.
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Drobnjak, Boško. "Architecture as a textual phenomenon: Alexander Brodsky's architectural practices of appropriation." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 531–42. http://dx.doi.org/10.5937/saj1903531d.
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This paper analyses architecture created through appropriating existing materials while focusing on strategies of intertextuality. It argues that the meaning of an architectural object does not derive from itself, or its poetic concepts, but rather from its relationship with other architectural objects, other art works as texts, cultural texts, and everyday practices. My aim is to show various theoretical problems of the theory of architecture and art, which as a network of overlapping texts of culture, surround the architectural production of Alexander Brodsky. Here I use different and varied theoretical concepts, selecting two case studies by Brodsky - The Pavilion for Vodka Ceremonies and Rotunda-upon which the paper is based as an interdiscursive study.
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Schwarz, Kevin R. "Architecture, Materialization and the Duality of Structure: a Maya Case Study of Structurally Shaped Innovation." Cambridge Archaeological Journal 23, no. 2 (2013): 307–32. http://dx.doi.org/10.1017/s0959774313000267.
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This article addresses the problem of structural determinism in archaeological explanations of material culture change, specifically architecture. A discussion of Giddens' structuration theory emphasizes the duality of structure. The concept is updated by drawing on Gell's theory of agency in art and recent ideas on play, innovation, freedom and consensus prevalent in anthropology and archaeology. This approach shows that material culture is changed through structurally shaped innovation, such that agency is distributed across time, among groups regionally and among elites and commoners. The theoretical exposition develops a case study including discussion of an architectural grammar, ethnohistoric analogy and activity-area studies involving ceramic incense burners. The case study is the Classic–Postclassic transition (ad 750–1200) among the Maya of Petén, Guatemala. While earlier explanations of architectural change in this region focused on an in-migration event, the current investigation posits a Postclassic reconfiguration of Maya architecture, specifically changes in ‘C’-shaped stone benches, based on structurally shaped innovation and a distributed view of agency. The benches served as stages for more heterarchical ritual performances with the incense burners as opposed to the hierarchical ritual performances common in the Classic period. This account overcomes structural determinism by allowing for diversity and cultural specificity in our views of agency.
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Hess, Daniel B. "EARLY 20TH-CENTURY WOODEN TENEMENT BUILDINGS IN ESTONIA: BUILDING BLOCKS FOR NEIGHBORHOOD LONGEVITY." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 2 (2011): 110–16. http://dx.doi.org/10.3846/tpa.2011.13.
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During the early 20th century, the urban housing supply in Estonia expanded quickly to meet growing housing demand, resulting in tenement districts conceived for maximum profitability of rental units. In Karlova, a district near the city center of Tartu, about five hundred wooden houses, built between 1911 and the early 1920s and displaying simple Art Nouveau details, are set amid a charming district with a distinct milieu. This article focuses on three time periods during which the development of its built environment gave Karlova its distinctiveness: (1) the years leading up to World War I; (2) the interwar period; and (3) the two decades since 1991, or the post-transition period. Although the district was neglected during the Soviet era, it remains remarkably intact and has even experienced, since the 1990s, gentrification. The high-quality housing stock and charming built environment has much to offer to its diverse population of students, professionals, families, and longtime residents. Santrauka Dvidešimtojo amžiaus pradžioje gyvenamųjų namų pasiūla Estijoje greitai augo atitikdama į augančius gyvenamojo ploto poreikius. Minėtos situacijos rezultatas - daugiabučių namų kvartalai sukurti taip, kad iš nuomojamų patalpų būtų gaunamas maksimalus pelnas. Karlova – kvartalas netoli Tartu centro. Jį sudaro apie penki šimtai medinių namų, pastatytų tarp 1911 ir 1920 metų. Pastatams būdingos paprastos Art Nouveauarchitektūrinės detalės, jie pastatyti išskirtinėje patrauklioje aplinkoje. Pateikiamame straipsnyje nagrinėjami trys laikotarpiai, per kuriuos užstatymo kaita aptariamoje teritorijoje sukūrė išskirtinį jos tapatumą: 1) laikotarpis iki Pirmojo pasaulinio karo; 2) tarpukaris; 3) du dešimtmečiai po 1991 m. Nežiūrint to, kad sovietiniais metais teritorija buvo nesaugoma ir ja nesirūpinama, Karlova išsaugojo nepažeistą architektūrinį urbanistinį vientisumą, o po 1990 m. teritorijoje prasidėjo gentrifikacijos procesai. Aukštos kokybės gyvenamasis užstatymas ir žavi urbanistinė aplinka gali daug pasiūlyti įvairioms gyventojų grupėms: studentams, profesionalams, šeimoms ir vyresnio amžiaus žmonėms.
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Hassanpour, Badiossadat, and Adi Irfan Che Ani. "Transparent Assessment Model in Architecture Design Studio: Eastern Mediterranean University as Case Study." Open House International 40, no. 2 (2015): 37–43. http://dx.doi.org/10.1108/ohi-02-2015-b0006.
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Art and architecture are multidisciplinary fields with complicated assessments that, similar to the teaching and the learning process, are inconsistent with common assessment models. During submission, the presence of jurors, who have different approaches and standards for evaluating design projects, makes this issue more complicated. Numerous assessment and grading models are being used in architecture departments around the world. Some of these methods are based on the experiences of instructors from their lives as students, whereas some are based on university systems. Grading policies seem to be clear in most fields, but when the object of grading is an artistic product with different levels to be assessed and graded, the issue becomes more complex. This observation is especially true in the case in which quality is given a numerical grade. The nature of skills that students are expected to develop and that are going to be assessed is often subjective. Such skills include invention, problem solving, and presentation. Problems of reliability, personal criterion, and unique perceptions lend difficulty in assessing such skills using traditional methods. This research suggests that a criteria-based assessment and grading model is a more effective model in promoting student learning, making assessment and grading less complex and more explicit. The effectiveness and reliability of the proposed and implemented criteria-based grading system has been tested at Eastern Mediterranean University using distributed questionnaires and a Rasch measurement system.
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Urbanowicz, Katarzyna, and Lucyna Nyka. "MEDIA ARCHITECTURE AND INTERACTIVE ART INSTALLATIONS STIMULATING HUMAN INVOLVEMENT AND ACTIVITIES IN PUBLIC SPACES." CBU International Conference Proceedings 4 (September 19, 2016): 591–96. http://dx.doi.org/10.12955/cbup.v4.819.
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This paper examines the potential for media architecture and interactive art installations to stimulate human involvement and activities in public spaces. On the basis of theoretical approaches, case studies and interdisciplinary surveys, the paper provides insight into how screens projecting media and interactive installations in city spaces can inspire people to become active on many levels. The research is focused, both on temporary and permanent art installations, that support new technologies to encourage people to interact with art objects and become actors in an urban performance. Media and interactive art can positively contribute to the urban landscape, foster public involvement, increase intensity of public life, and effectively enhance the identity of urban communities. The paper shows that, despite this potential for media architecture and interactive art projects, specific pre-conditions are needed for their success in urban environments. The paper focuses on the convergence of scale between the intervention itself and the assumed urban strategy, as well as on the time allowed for individual perception and active participation of people in the particular urban art scenario. As the research shows, the promotion of art pieces, through guided tours of the city, tends to reduce the perception of the installations themselves and almost excludes social interactions. Thus, while not so spectacular in scale, image, or number of visits, modest interventions that involve locals and allow time for relationship building between people, could be most effective in reaching urban renewal objectives.
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True, Emine Malkoc, and Çigdem Kiliçaslan. "A Spatial Analysis of the Urban Public Space: Case Study the Museum of Islamic Art Park, Doha." Open House International 43, no. 4 (2018): 25–30. http://dx.doi.org/10.1108/ohi-04-2018-b0004.
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The starting point of this study is to examine the open space of the Museum of Islamic Art Park, located in Doha, through the design criteria to find out, qualitively and quantatively, its sufficiency for users. The park area, located by the sea, is one of the most modern open spaces in Qatar's capital and was designed to complement the adjacent Museum of Islamic Art. Beyond a mere park, the design claims to bring together the public with the new urban space. In this context, the study is aimed at determining the use of the space by analysing its physical features, evaluating the sufficiency of the programme elements' quality and quantity, determining the potential of the research area as a public open space by evaluating its visual life quality and attractiveness, guiding park designs with similar features, and providing a reference for other spatial analysis and evaluation research. Firstly, literature on the research subject and area was studied. The evaluation criterias were determined by the findings from the literature and by visiting the area and these were used to create the analysis form to apply to the research area. Next, using the analysis forms in the field, the research area was evaluated under General information, Physical and Sensorial analysis. At the end of the study, the existing literature and fieldwork findings were evaluated with a holistic approach. It was found that the space brings together people from all ages and social groups; as well as providing an attractive social environment, the park hosts several urban spatial components in one place. Finally, recommendations were made for enhancing the visual/spatial quality and attractiveness of the area.
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Naser, Faradiba Liana, Hanif Khairi, Rafeah Legino, and Rahman Rosman. "Cultural Consciousness: A case study of dying art on Batik Block in Malaysia." Environment-Behaviour Proceedings Journal 6, SI5 (2021): 111–17. http://dx.doi.org/10.21834/ebpj.v6isi5.2935.
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Malaysia's traditional batik block is a national treasure. However, it is slowly dying out, especially on the east coast. With globalisation and rapid technological change, batik block production is becoming limited as younger generations lose interest in block making. Few master block makers remain in Malaysia. Cultural awareness of block makers towards the Batik community and society is required. This research paper aims to make the traditional batik block more interesting and stimulating through innovation that does not change the original block state. The art of block making will continue to flourish to preserve Malaysia's traditional culture. Keywords: Cultural Consciousness, Dying Art, Batik Block eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA CE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2934
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Effendy, Sigit Mulyansyah, Nadira Elkalam, and Isami Kinoshita. "The Role and Potential of Art for New City Landmark: Case of Kampung Pelangi, Semarang, Indonesia." Environment-Behaviour Proceedings Journal 3, no. 9 (2018): 148. http://dx.doi.org/10.21834/e-bpj.v3i9.1541.
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Over the last few years, revitalization through painting in the slum area become popular in some cities in Indonesia. The attractive colors and illustrations have escalated the village on social media, especially for youth. The study focuses on investigating the roles of art in Kampung Pelangi potential for city landmark. Interviews and observations were done as a preliminary study, and survey online intended to understand the university students’ perception as a youth representative. The results have investigated that despite art has brought the dominant visual in the landscape, the unity with the existing landmark is needed to bring harmony to enhance the current image of the city.Keywords: New urbanism; landmark; the role of art; student’s perceptioneISSN: 2398-4287 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.https://doi.org/10.21834/e-bpj.v3i9.1541
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Horn, Andrew. "Andrea Pozzo and the Jesuit “Theatres” of the Seventeenth Century." Journal of Jesuit Studies 6, no. 2 (2019): 213–48. http://dx.doi.org/10.1163/22141332-00602003.
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Considered within the context of Jesuit theatre and liturgy, and within the broader culture of spectacle and ritual in the era of Counter-Reform, the works of art and architecture commissioned by the Jesuits in the seventeenth century can be read as “theatres” of religious performance. This concept is given an ideal case study in the work of Jesuit artist Andrea Pozzo (1642–1709). In this essay I present Pozzo’s work within the context of ritual and prayer for which it was produced, focusing on two of his religious scenographies and two of his lesser-known painting projects. As I consider their use of allegory, emblems and symbols, visual narratives, spatial illusions, and architecture, I argue that both the scenographies and the permanent church decorations achieve persuasion through the engagement of the observer as a performer in a ritual involving both internal and external performance.
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Yuliastuti, Nany, and Annisa Mu'awanah Sukmawati. "CREATIVE URBAN KAMPUNG BASED ON LOCAL CULTURE, A CASE OF KAMPUNG BUSTAMAN SEMARANG." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (2020): 128–37. http://dx.doi.org/10.3846/jau.2020.11450.
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Urban kampung has the uniqueness and becomes the historical development of the city. Urban kampung has local culture, which potentially purposes to create a creative urban kampung. Kampung Bustaman in Semarang City allegedly has some local asset to develop towards a creative kampung by using its local culture. This study employed a qualitative method through a qualitative descriptive analysis to formulate the creative kampung concept on Kampung Bustaman. The findings show that Kampung Bustaman has local culture as local assets – goat processing and culinary related to goat. Local community assisted by the other parties and local institution should develop these local assets to enhance the local economy and strengthen social ties. It can be realized by food processing to be more valuable, kampung events, and art. A strong commitment of community is required to ensure the creative activities and promote creative urban kampung. It concludes that creative kampung is a kampung that can optimize its local assets for communities’ welfare of through creative ideas.
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Bajic-Brkovic, Milica. "CIT in developing countries: The case of Trinidad and Tobago." Spatium, no. 12 (2005): 32–39. http://dx.doi.org/10.2298/spat0512032b.
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Trinidad and Tobago is faced with the challenge of developing strategies to integrate successfully in the new knowledge economy. Many governmental actions towards "wiring" the nation are currently taking place. Creation of the "intelligent nation" is among country's national development objectives. Vis-a-vis plans yet to be designed and implemented over the next ten years there is a reality of the www option that has gained a momentum, and is already playing an important role in Trinidad and Tobago. While during the first years the www has been accepted as a medium for communicating and sharing information, today it has moved onto the next generation transforming into the development supporting tool. The experience of Trinidad and Tobago in using the CIT-based alternative is the focus of this paper. It explores the state of the art in the field, and discusses the way the alternative has been utilized so far in the country's development and management practice. It also identifies the potentials for further development, and suggests a number of proposals for future strategies and actions.
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Sluijs, Jasper, and Anneke Smelik. "Interactivity and Affect in Intermedial Art: Theorizing Introverted and Extraverted Intermediality." Hors dossier, no. 13 (June 29, 2010): 177–96. http://dx.doi.org/10.7202/044046ar.
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The article takes two case studies of intermedial computer art, a monumental piece of interactive sound architecture, Son-O-House (2004), and an animated “open movie”, Elephants Dream (2006) as the starting point for an analysis of intermediality. The authors identify two directions in intermedial works of art: “introverted” and “extraverted”. Taking their cues from Deleuze’s notion of difference and combining them with the ideas of Dutch artist Dick Raaijmakers on the aesthetics of intermedial art, the authors claim that introverted intermediality is directed inwards, drawing self-reflexive attention to the intermedial relations of the work, while extraverted intermediality is directed outwards, engaging the user through an affective register. The concepts of introversion and extraversion point to the dynamics of intermediality and enable a more specific analysis of intermedial artworks.
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Lluch, Antonio Martínez, Fernando Vegas López-Manzanares, Camilla Mileto, and Maria Diodato. "Microwaves as a Remedial Treatment of Wood." Advanced Materials Research 778 (September 2013): 620–27. http://dx.doi.org/10.4028/www.scientific.net/amr.778.620.
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A pilot experiment of microwave treatment was carried out on an Art Nouveau residential building erected at the beginning of the 20th century in Valencia, Spain. The timber structure was affected by a combined damage caused by Anobium punctatum (common furniture beetle or common house borer) and Kalotermes flavicollis (yellownecked dry-wood termite). After performing an exhaustive preliminary study on the building and analyzing the different alternatives of wood treatment, it was decided to use a microwave machine especially designed to eliminate this type of wood boring insects.This machine generates microwaves, a type of electromagnetic radiation, with a frequency of 2.45 GHz. This circumstance makes it possible to produce a high-frequency alternating electric field that causes the rotation of the molecular dipoles of water. Because of this continuous rotation the temperature of the water rises considerably.By heating up the humidity inside a living being, as in the case of xylophagous insects, an artificial fever in the body is generated, and since the animal is not capable of tolerating this temperature, it dies.In order to eliminate xylophagous insects, the wood moisture content (usually between 10% and 12%) and the presence of water in wood boring insects (around 90%) must be taken into account. Due to the greater content of humidity the increase of the temperature is higher and quicker in insects than wood.After having studied and experimented with different combination of power and time of exposition to the microwaves, this machine was found capable of eliminating any type of insect that may live inside the timber without harming the wood itself.Prior to this pilot intervention, several research works were carried out with the same microwave machine, both on structural timber and wooden works of art. In all these studies it was observed that no damage was caused either to the wood or to the finish of the works of art including pigments, polishes, stains etc. On the other hand, 100% efficacy was achieved in the elimination of xylophagous insects.This article describes the design, experimentation and perfecting process of this microwave machine and its pilot application on structural timber in an Art Nouveau residential building. As an example of method, the intervention followed the main steps of diagnosis and treatment testing including the analysis of several options of intensity and time that led to the positive final results obtained.
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Nelson, Roger. "Curating as (Expanded) Art History in Southeast Asia: Recent Independent Projects in Ho Chi Minh City, Luang Prabang, and Phnom Penh." ARTMargins 9, no. 2 (2020): 33–60. http://dx.doi.org/10.1162/artm_a_00262.
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A small yet influential strain of independent contemporary curatorial practice has emerged in Southeast Asia, which is performing (expanded) art historical functions. This mode of independent curating now constitutes an important base for exciting new research—making use of diverse archives as well as other methodologies—to study the often little-known histories of the region's modern arts, including its architecture, cinema, and photography. That such research is taking place in the context of independent contemporary curatorial practice is significant because it locates modern art history largely outside of large and state-funded institutions, including museums and universities, thus enabling the development and proliferation of art historical research in areas of Southeast Asia, including its mainland sub-regions, which have comparatively little funding and official infrastructure for the arts. This article explores the emerging practice of independent curating as (expanded) art history in Southeast Asia, through comparative discussion of three case studies: the Roung Kon Project in Phnom Penh, which researches histories of cinema in Cambodia; the Buddhist Archive of Photography in Luang Prabang, which researches histories of photography in Laos; and Spirit of Friendship in Ho Chi Minh City, which researches histories of artist groups in Vietnam.
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Akinsha, Konstantin. "Why Can't Private Art “Trophies” Go Home from the War?" International Journal of Cultural Property 17, no. 2 (2010): 257–90. http://dx.doi.org/10.1017/s0940739110000111.
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AbstractThis article is dedicated to the collection from the Bremen Kunsthalle, comprising 1715 drawings, 50 paintings, and about 3000 prints found by Soviet troops in castle of Karnzow near Berlin in May 1945. The collection was not seized by Soviet trophy brigades but was looted by soldiers and officers of the 38th Field Engineers' Brigade of the Red Army.After their return to the USSR and demobilization, some of the officers donated their loot to different museums around the Soviet Union. One of the most important parts of the collection, with 362 drawings and two paintings—among them works of Dürer, Rembrandt, Goya, and Van Gogh, was appropriated by Captain Viktor Baldin. In 1948 Baldin deposited his loot in the A. V. Shchusev State Research Museum of Architecture in Moscow. Later Baldin became the director of the museum and advocated return of the art to its rightful owners.Since the days of Gorbachev's perestroika, these art works have frequently attracted public attention and provoked fierce debates. The Federal Law on Cultural Valuables adopted in 1998 did not cover art works looted by private individuals. Rather, such conflicts have to be solved within the framework of Russian criminal law.In contrast, other works of art from the same Bremen Kunsthalle collection were restituted from the United States, Ukraine, and Estonia. Another 101 drawings and prints of the collection, seized by another member of Baldin's brigade, were returned from Russia to Bremen in 2000, but that was in “exchange” for an original mosaic from the legendary Amber Chamber. However, despite more than 20 years of efforts by German officials and endless negotiations, the Baldin Collection remains in the Russian Federation. The return of those stolen drawings any time soon now looks highly improbable. The case of the Baldin Collection became the most striking example of the Russian nonrestitution of cultural property looted during World War II.
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Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.
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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian and European Jewry and the history of collections and donations to public museums.
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Gemci, Ayse Gul, and Bahar Ferah. "A triangulation process of street music in public spaces: a case study of Istanbul's Istiklal Avenue." Open House International 45, no. 4 (2020): 427–48. http://dx.doi.org/10.1108/ohi-05-2020-0039.
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Purpose This paper aims to discuss the spatial interactions of street music in public spaces. It proposes to clarify why relationship between street music and people in public spaces is important and how street music evokes an external stimulus on people. Design/methodology/approach The conceptual framework of this paper is based on the triangulation process of Whyte and the qualities of public spaces, forming a relationship between space and people produced from the seminal literature of the paper. Accordingly, a case study based on the qualitative research method was conducted in Istiklal Avenue, where street music performances can be observed for long term. During the field work which spans a period of 12 months, 10 spots of street music performances have been observed and photo–video documentation was collected. Findings This paper provides empirical insights on how the triangulation process reflects social interactions in public spaces. This also suggests the triangulated position of street music as an external stimulus relating with the people as actors of daily urban flux. Research limitations/implications Regarding to the chosen research approach which is based on deeper understanding, this paper interrelates the interactions of street music and people in public space. Social implications This paper includes qualitative research steps of data collection and disaggregates findings with a “Cross Matrix Table” proposed at the end of the study. Originality/value The proposed disaggregating “Cross Matrix Table” and case study fulfil an architectural need to research how everyday street art activity can reflect the qualities of public space.