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Journal articles on the topic 'Arts and Crafts architecture'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Inam, Ameed. "Influence of Arts and Crafts on Indian Architecture Styles." Journal of Architecture and Civil Engineering 09, no. 12 (2024): 15–20. https://doi.org/10.35629/8193-09121520.

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The rich tapestry of Indian architecture is profoundly influenced by its diverse art and craft traditions, which have evolved over centuries. This paper explores the symbiotic relationship between arts and crafts and the architectural styles of India, examining their historical significance and contemporary relevance. It delves into traditional forms such as intricate stone carvings, frescoes, woodwork, and metal crafts that have shaped iconic structures, from ancient temples to Mughal palaces. The study further investigates how regional art movements, like the Pahari miniatures and Madhubani

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Filippov, Vasily D. "Arts & crafts in architecture." Urban construction and architecture 11, no. 4 (2021): 113–24. http://dx.doi.org/10.17673/vestnik.2021.04.14.

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In the middle of the 19th century, the Arts and Crafts movement emerged in England. The development of the movement in England, USA, Germany is described. The influence of the ideas of the novel News from Nowhere by William Morris on the emergence of the idea of a garden city by Ebenezer Howard and on the preservation of the historical heritage of cities is shown. Describes the influence of Peter White on the emergence of Arts and Crafts in the United States, on the formation of the Chicago School, as well as the worlds first manifestation of modern in the architecture of Louis Sullivan. Shows

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ALAWODE, Musa Ajibola, and Taofeek Adedotun SULEMAN. "Alkebulan Symphony: Arts, Crafts and Culture in Architecture." Àgídìgbo: ABUAD Journal of the Humanities 13, no. 1 (2025): 28–44. https://doi.org/10.53982/agidigbo.2025.1301.03-j.

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This paper examines the interconnection between the art, craft, culture and architecture of Africa. In doing this, it gives a brief explanation of African art, craft, architecture and culture. It also examines the manifestation of culture in African architecture and the role of art in architecture. The study adopts qualitative research design, using historical and descriptive approaches. It equally relies on secondary sources of data collection. In the course of research, it was discovered that art, craft, culture and architecture are inseparable, because they complement one another. Also, cul

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Dulencin, Juraj. "Detail in architecture: Between arts & crafts." Selected Scientific Papers - Journal of Civil Engineering 11, no. 1 (2016): 71–76. http://dx.doi.org/10.1515/sspjce-2016-0008.

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Abstract Architectural detail represents an important part of architecture. Not only can it be used as an identifier of a specific building but at the same time enhances the experience of the realized project. Within it lie the signs of a great architect and clues to understanding his or her way of thinking. It is therefore the central topic of a seminar offered to architecture students at the Brno University of Technology. During the course of the semester-long class the students acquaint themselves with atypical architectural details of domestic and international architects by learning to re

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Dilly, Barbara J. "Amana Style: Furniture, Arts, Crafts, Architecture, and Gardens." Annals of Iowa 64, no. 4 (2005): 387–88. http://dx.doi.org/10.17077/0003-4827.10948.

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Kirk, Sheila. "Philip Webb: Pioneer of Arts & Crafts Architecture." Architectural Design 75, no. 2 (2005): 125–26. http://dx.doi.org/10.1002/ad.62.

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Morris, David. "‘Here, by experiment’: Edgar Wood in Middleton." Bulletin of the John Rylands Library 89, no. 1 (2012): 127–60. http://dx.doi.org/10.7227/bjrl.89.1.6.

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Edgar Wood and Middleton are closely entwined. Until his fifties, Wood engaged in the life of his native town, while his architecture gradually enriched its heritage. The paper begins with Woods character and gives an insight into his wider modus operandi with regard to fellow practitioners. A stylistic appraisal of his surviving Middleton area buildings draws attention to his individual development of Arts and Crafts architecture, a pinnacle of which was Long Street Methodist Church and Schools. The impact of J. Henry Sellers is examined, and the emergence of their subsequent modernism is tra

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Laminah, Laminah. "Arsitektur Dan Berbagai Kerajinan Melayu." Al-Amin: Jurnal Ilmu Pendidikan dan Sosial Humaniora 2, no. 2 (2025): 141–59. https://doi.org/10.53398/alamin.v2i2.259.

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Traditional architecture is a part of culture that grows and develops in tandem with the progress of an ethnic group or nation, making it one of the identities that support that culture. The ideal representation, social aspects, and materials reflecting a culture are combined in traditional architecture.The Malay people not only have traditional houses but also possess an intriguing culture and arts, as well as beautiful handicrafts. This research was conducted using a qualitative approach with a literature review research design. Therefore, this study involves reviewing readings related to pr

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McKay, Bill, and Antonia Walmsley. "Māori Architecture 1900–18." Architectural History Aotearoa 1 (December 5, 2004): 57–62. http://dx.doi.org/10.26686/aha.v1i0.7895.

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This decade can be noted for several distinct approaches to Māori architecture, reflecting a variety of nationalistic impulses. This paper offers a brief overview of the diversity of Māori architecture and ideas in this period. Pākehā, in the search for national identity, and also reflecting the interests of the global Arts and Crafts movement, were enthused by the local example of the carved and decorated whare whakairo, native timbers, Māori adzing techniques and local flora and fauna. This can be seen in the work of architects such as JW Chapman Taylor, as well as the symbolism and trademar

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Oliver, Stephen. "Basil Oliver and the End of the Arts and Crafts Movement." Architectural History 47 (2004): 329–60. http://dx.doi.org/10.1017/s0066622x00001799.

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Little attention has yet been paid to the work of the East Anglian Arts and Crafts architect Basil Oliver (1882–1948) who is best known, if at all, for his book The Renaissance of the English Public House, published in 1947. Indeed he practised in the period, after the Great War, when the Arts and Crafts Movement is generally considered to have been a spent force, and so his obscurity comes as no surprise. We do not look to Oliver for insight into the fashionable styles of architecture such as emerging Modernism or even ‘art deco’. However, he is representative of a number of architects from t

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ISMITA, SINGH. "impact of architecture movement on architecture education." IJSER Volume 8, Issue 4 (2017): 365–41. https://doi.org/10.5281/zenodo.5418522.

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Academia did San Luca later served model for the Académie royale de peinture et de sculpture founded in France in 1648, and which later became the Académie des beaux-arts brought  revolutionary development of the European architecture which lead  to the development of philosophical schools over the world. The Industrial Revolution was a one of the pivoting points in human history and cultural. Idea of a professional architect with formal training and academic qualifications is a product of the 19th century, when architectural courses were instituted for the first time a

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Bassett, Don. "Architecture and Art in the Pages of the NZIA Journal to 1918." Architectural History Aotearoa 1 (December 5, 2004): 1–6. http://dx.doi.org/10.26686/aha.v1i0.7888.

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While Adolf Loos had declared in 1910 that architecture and art were two different things, the architectural profession in New Zealand continued to think of architecture as one of the arts for decades after that date. This paper will examine this issue for the period from 1912 to 1920 as revealed in the pages of the Journal of Proceedings of the New Zealand Institute of Architects. John Ruskin, always recognised as a major influence upon the Arts and Crafts Movement, is shown to have been a forceful influence behind the wider thinking of the architectural profession in New Zealand throughout t

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Vale, Brenda, and Yvonne Shaw. ""First find your peasant ..."." Architectural History Aotearoa 16 (December 5, 2019): 72–86. http://dx.doi.org/10.26686/aha.v16.8932.

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Within the context of Edwardian architecture, this paper concerns the interior of dwellings in the 1900s and in particular the furnishings and objects inspired by the Arts and Crafts movement that people might have chosen to have in their homes. The Arts and Crafts section of the 1906 International Exhibition in Christchurch included work by the Haslemere Peasant Arts Society and Haslemere Peasant Industries from England. This paper explores how this movement began, and speculates why its works were part of an exhibition that included works by well-known Arts and Crafts protagonists, such as M

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Crawford, Margaret, Mark Swenarton, and Eileen Boris. "Arts and Crafts as an Ideological Myth." Journal of Architectural Education (1984-) 44, no. 1 (1990): 59. http://dx.doi.org/10.2307/1424976.

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Tyler, Linda. "Noel Bamford: the first director of the Auckland School of Architecture." Architectural History Aotearoa 14 (August 17, 2022): 65–71. http://dx.doi.org/10.26686/aha.v14i.7794.

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Auckland's keenest advocate of the Arts and Crafts movement was Frederick Noel Bamford (1881-1952) who was the first director of the Auckland School of Architecture from 1917-19. Apprenticed to carpenter and architect Edward Bartley (1839-1919) during the years that St Matthews-in-the-city was being designed, Bamford excelled at drawing and travelled to London to become a student at the Royal Institute of British Architects' School in 1904. Along with fellow expatriate architectural student Arthur Patrick Hector Pierce (1879-1918), Bamford found work in the office of Edwin Lutyens (1869-1919),

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Magomedov, Amirbek J., and Madina A. Omarkadieva. "TRADITIONAL CRAFTS OF DAGESTAN IN THE CONTEXT OF HISTORICAL AND CULTURAL RELATIONS WITH THE REGIONS OF RUSSIA, COUNTRIES OF THE CAUCASUS AND THE MIDDLE EAST." History, Archeology and Ethnography of the Caucasus 18, no. 2 (2022): 284–305. http://dx.doi.org/10.32653/ch182284-305.

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The present study examines the formation and mass development of artistic crafts in Dagestan for the past millennium. The evolution of traditional arts and crafts of Dagestan can be seen through the history of their formation, contacts of the inhabitants with foreign cultures. The leading approach in the study of the problem that combines historical-cultural, historical-comparative and artistic-descriptive methods, which allow for a comprehensive consideration of the cultural influences of neighboring (Transcaucasia, Russia) and the Middle Eastern countries on the development of arts and craft

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Wadende, Akinyi. "Chwuech: Sustained Art Education among Luo Women of Western Kenya." Journal of Adult and Continuing Education 17, no. 2 (2011): 5–19. http://dx.doi.org/10.7227/jace.17.2.3.

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This article presents the findings of a qualitative study on the Bang jomariek, a women's group in West Reru in Western Kenya who engage in the production of indigenous arts and crafts (pots, baskets, and architecture) to generate income and explore politics, medicine, and other matters that affect them and their community. The women shared their motivations for engaging in the production of these art forms and the characteristics of these educational processes and their environment. I highlight the transformative experience on their lives as a result of the arts and crafts-based adult educati

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Saglam, Hakan. "The reciprocity between art and architecture." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (2019): 112–16. http://dx.doi.org/10.18844/prosoc.v6i4.4413.

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The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance

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Muzna Matloob. "Tomb of Tahir Khan Nahar in Sitpur: An Analysis of its Architectural Features and Decorative Elements." PERENNIAL JOURNAL OF HISTORY 3, no. 2 (2022): 319–36. http://dx.doi.org/10.52700/pjh.v3i2.125.

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The true spirit of people is reflected in the folklore, custom, tradition, art and craft of the region. Punjab (Pakistan) has impressive folk art, diversity of cultural heritage, stunning historic architecture and variety of arts and crafts. It is regarded to be a glimpse into Pakistani culture. The historic tomb of Tahir Khan Nahar is situated in Sitpur, tehsil Alipur built in circa 1520 AD.  The tomb of Tahir Khan Nahar is the earliest known pre-Mughal funerary monument created in imitation of the celebrated monument Rukn-i-Alam though having its own personality to be regarded as the f

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Tajiev J. K., Ruzmetov K. Sh., Ruziev E. I. ,. "INTRODUCTION TO TECHNOLOGICAL EDUCATION STUDENTS WITH THE TYPES OF NATIONAL ORNAMENTS AND TEACHING THEM TO IMPLEMENT." Psychology and Education Journal 58, no. 1 (2021): 3592–98. http://dx.doi.org/10.17762/pae.v58i1.1313.

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Patterns have a special place in many areas of Islamic culture, such as folk crafts, applied arts, architecture. Uzbek national patterns differ from the patterns of other nations by their elegance, perfection and originality. The article discusses examples of introducing future technology education teachers to the types of national patterns and teaching them to perform them

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Vale, Brenda, and Robert Vale. "Lott's Bricks, The Arts and Crafts movement and Arnold Mitchell." Architectural Research Quarterly 15, no. 2 (2011): 119–30. http://dx.doi.org/10.1017/s1359135511000546.

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Perhaps unexpectedly, architects are seldom talked about in terms of the building toys they once played with or what they constructed with them. Exceptions are Witold Rybczynski and Frank Lloyd Wright. The former describes John Ruskin mastering the laws of building for load-bearing towers and arches by the time he was seven or eight (around 1825) because of playing with wooden building blocks (introduced at the end of the 1700s). However, he also describes himself playing with Bayko. This was a Bakelite building set from the 1930s [1], probably modelled on Mobaco, a cardboard and wood Dutch co

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Székely, Miklós. "Vocational Schools and Arts & Crafts Influences in Transylvania from the Great Exhibition to Bauhaus." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 67–94. http://dx.doi.org/10.24193/subbhistart.2020.04.

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"The paper discusses the approximately 100-year presence and transformation of the approach and mentality of arts and craft movements which emerged in the mid-19th century from the aspect of industrial education workshops in Transylvania. In late 19th-century Hungary, the approach of artistic innovation, spread with the help of William Morris’s and Walter Crane’s works, is perhaps most immediately seen in the creative workshops that approached the relationship between aesthetics and technology rather differently. It appeared in the works of the British Arts & Crafts movement and also in th

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Searing, Helen. "Review: International Arts and Crafts by Karen Livingstone, Linda Parry." Journal of the Society of Architectural Historians 64, no. 4 (2005): 580–81. http://dx.doi.org/10.2307/25068216.

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Айгул, Aigul, Jumamedel Imankulov, and Didar Alshorazov. "Reconstruction of vanished cities." проект байкал, no. 79 (April 6, 2024): 68–72. http://dx.doi.org/10.51461/issn.2309-3072/77.2287.

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The preservation of historical heritage has the potential to act as a means of regenerative design in line with the concept of sustainable architecture. The idea of revitalising monuments is a tool to preserve and restore large green spaces and biodiversity. It is possible to create a multiplicative effect between historical and requested values of the contemporary environment: revival of dervish hotels – “hanakas” for digital nomads, wine taverns for tourists, craft workshops, gardens, art etc. to preserve crafts and natural environment, while participating in climate change mitigation.

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Hilton, Alison. "From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe." Russian History 46, no. 4 (2019): 241–61. http://dx.doi.org/10.1163/18763316-04604002.

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Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Aust

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Murphy, Kevin D. "Review: Arts and Crafts Architecture: History and Heritage in New England, by Maureen Meister." Journal of the Society of Architectural Historians 75, no. 2 (2016): 229–31. http://dx.doi.org/10.1525/jsah.2016.75.2.229.

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Balmori, Diana. "Cranbrook: The Invisible Landscape." Journal of the Society of Architectural Historians 53, no. 1 (1994): 30–60. http://dx.doi.org/10.2307/990808.

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As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular att

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Brittain-Catlin, Timothy. "Horace Field and Lloyds Bank." Architectural History 53 (2010): 271–94. http://dx.doi.org/10.1017/s0066622x00003944.

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In 1980, Andrew Saint told members of the Victorian Society that the Arts and Crafts architect Horace Field (1861-1948) was ‘frequently referred to but rarely discussed’. Thirty years later the situation is largely unchanged. Yet Field played an influential role in the architectural development of the twentieth-century English and Welsh high street. He was a significant figure in the process by which the architectural styles of bank premises were, by the late 1920s, transformed from ones very similar to those of commercial or municipal offices into a distinct and domestic interpretation of the

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PARK, Jisook, and Mijeong KIM. "Development of Sewing Crafts Program to Promote 'Community Competence' Based on Work-Oriented Education Theory: Focusing on the case of making Duru Pouch-type Pavilion." Society for Art Education of Korea 89 (March 1, 2024): 97–134. http://dx.doi.org/10.25297/aer.2024.89.97.

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As the untact culture spread due to post-COVID-19 and Edutech emerged as a spotlight industry, the craft program was developed while sympathizing with the reality that students' solidarity with the community was weakening. This study focuses on finding out the effectiveness of pavilion production classes using sewing crafts programs based on work-oriented education in cultivating community competence. This study aims to integrate sewing crafts and art programs, provide a place for students to learn to develop a sense of community and improve their abilities, analyze the educational value of se

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Asri Putri Anugraini and Firda Alfiana Patricia. "Pendampingan Membuat Anyaman Untuk Menciptakan Kreativitas Siswa Sekolah Dasar." ASPIRASI : Publikasi Hasil Pengabdian dan Kegiatan Masyarakat 2, no. 3 (2024): 72–76. http://dx.doi.org/10.61132/aspirasi.v2i3.624.

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Craft arts will continue to develop and become more interesting and unique as time goes by. The world of art is actually able to create diversity that is of interest to many groups. There are many unique phenomena in the development of woven art or also known as woven. Wicker is basically an inanimate object that can be related to daily activities, especially in the world of architecture or craft products which include interior and exterior aesthetic values. This woven material can be made into a miniature form which can produce various kinds of results such as baskets, mats, bags and crafts.

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Wegelen, Hans. "’n Oorsig oor boukonstruksie as vak in argitektuur aan die Universiteit van Pretoria in die tydperk 1943-2005." Acta Structilia 12, no. 1 (2005): 83–96. https://doi.org/10.38140/as.v12i1.1752.

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Building Construction is traditionally a core subject in the degree course in Architecture at the University of Pretoria. The subject examines the skill of building, and delivers an important contribution to the study of the design of buildings. The course of the subject since inception of the Department of Architecture in 1943 at UP is described, during which time it had to keep up with a changing world. A review of early global construction training reveals the thread of craft and workmanship through the Middle Ages, the struggle and demise of the Arts and Crafts Movement, the industrialisat

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Tyler, Linda. ""The hours and times of your desire": Sholto Smith's romantic vision for Colwyn (1925)." Architectural History Aotearoa 8 (January 1, 2011): 58–65. http://dx.doi.org/10.26686/aha.v8i.7101.

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Early in 1920, French-born architect Sholto Smith (1881-1936) decided to abandon his Moose Jaw practice, and his Canadian wife and family, and emigrate to New Zealand. His decision seems to have been precipitated by a memorable encounter with a woman who would later become a celebrated pianist for the Auckland radio station 1YA, Phyllis Mary Hams (1895-1974). Sholto Smith had met Hams during World War I while he was on leave from the Canadian Expeditionary Force and visiting Colwyn Bay, North Wales. Sholto Smith's major contribution to Arts and Crafts Auckland, the house he designed as a gift

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Galkina, Marina V. "Historical and Cultural Aspects of the Formation of Russian Decorative and Applied Arts." Observatory of Culture 20, no. 4 (2023): 430–44. http://dx.doi.org/10.25281/2072-3156-2023-20-4-430-444.

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The article examines the historical and cultural aspects of the processes of formation of artistic tradition in Russian decorative and applied arts and folk crafts from the XI to the middle of the XV century. Using the example of outstanding pieces of various types and directions of decorative art, the main periods and stages of the formation of the general stylistics of the masters’ creativity and the ways of spreading similar artistic and figurative solutions are determined. The examples given by the author touch upon issues directly related to the processes of integration of Russian traditi

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Marsilia, Vita. "ENTERPRISE ARCHITECTURE SISTEM PENJUALAN DENGAN METODE TOGAF ADM PADA DEKRANASDA KABUPATEN PRINGSEWU." JMBI (Journal of Marketing and Business Intelligence) 1, no. 1 (2023): 27–35. https://doi.org/10.56327/jmbi.v1i1.26.

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Enterprise architecture is a picture of a combination of several business processes, the information needed, along with the technology that supports the business. Dekranasda Pringsewu Regency is the Crafts and Arts Council which sells various kinds of handicrafts from craftsmen in the Pringsewu district area. The purpose of this study was to design a website-based sales application system at Dekranasda Pringsewu Regency, which previously used a conventional system. The methodology used in creating the enterprise architecture model is TOGAF ADM (Architecture Development Method). The research wa

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Richards, Simon. "‘Vernacular’ accommodations: wordplay in contemporary-traditional architecture theory." Architectural Research Quarterly 16, no. 1 (2012): 37–48. http://dx.doi.org/10.1017/s1359135512000279.

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One might be forgiven for thinking that the concept of ‘vernacular’ architecture is straightforward. First, it suggests a contemporary approach to building that uses local materials and crafts, as well as the indigenous architecture of tribal peoples, such as piledwellings over tropical waters, mud houses in the desert, or animal-hide teepees on the savannah. These buildings can be distinguished easily from other types of buildings that use industrialised construction techniques and materials, such as concrete, sheet glass, plastics and steel. Second, it might suggest an alternative and more w

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Arciszewska, Barbara. "Review: The Encyclopaedic Dictionary in the Eighteenth Century. Architecture, Arts and Crafts by Terrence M. Russell." Journal of the Society of Architectural Historians 58, no. 1 (1999): 79–82. http://dx.doi.org/10.2307/991442.

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Kim, Hyon-Sob. "The appearance of Korean architecture in the modern West." Architectural Research Quarterly 14, no. 4 (2010): 349–61. http://dx.doi.org/10.1017/s1359135511000145.

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Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts a

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Lochhead, Ian. "Resisting Modernism or the Last Gasp of the Arts and Crafts?: Church Building in Canterbury and North Otago in the 'Thirties." Architectural History Aotearoa 3 (October 30, 2006): 52–59. http://dx.doi.org/10.26686/aha.v3i.6797.

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The dominant historical narratives of twentieth-century architecture present the 1930s as the period during which Modernism's claim to be the architectural style of the century was consolidated and when the new architecture began to spread across the globe. In New Zealand, as in the rest of the world, this master narrative has tended to obscure the significance of buildings constructed in more traditional styles. The five New Zealand buildings included in the RIBA's Centennial Exhibition, International Architecture 1924-1934, were not, however, the latest examples of Modernism in this country,

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Chorieva, Madina A. "SOCIO-POLITICAL, CULTURAL AND SPIRITUAL LIFE OF CENTRAL ASIA AND IRAN IN THE X-XI CENTURIES." Journal of Social Research in Uzbekistan 02, no. 01 (2022): 52–63. http://dx.doi.org/10.37547/supsci-jsru-02-01-06.

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In the X-XI centuries, the power of the Samanid, Karakhanid and Khorezmshah dynasties was established in Central Asia. There is a tradition of patronage of science and culture on the part of local rulers. Many of them favored spirituality and enlightenment, which prompted them to patronage. The socio-economic interests of the peoples of the region in connection with the formation of local centralized states also dictated the need for the development of material and spiritual culture. There is an intensive development of architecture based on scientific calculation, innovation and progressive t

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Thistlewood, David. "A. J. Penty (1875-1937) and the Legacy of 19th-Century English Domestic Architecture." Journal of the Society of Architectural Historians 46, no. 4 (1987): 327–41. http://dx.doi.org/10.2307/990272.

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Arthur J. Penty, an English architect in private practice in York at the turn of the century, became associated with Barry Parker and Raymond Unwin as a freelance designer and exerted a fundamentally important (though largely unsung) influence on the stylistic principles now associated with Parker and Unwin's work at the First Garden City, Letchworth (founded 1903) and at Hampstead Garden Suburb in London (commenced 1905). He was a competent Arts and Crafts designer during a late phase of this idiom's effectiveness in England, believing it to be both culturally and socially appropriate in its

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Whelan, Debbie. "Snippets from the north: Architects in Durban and their response to identity, common culture and resistance in the 1930s." VITRUVIO - International Journal of Architectural Technology and Sustainability 4, no. 1 (2019): 26. http://dx.doi.org/10.4995/vitruvio-ijats.2019.11774.

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<p class="Abstracttext-VITRUVIOCxSpFirst">Previously colonized by both Holland and Britain, South Africans have always borrowed; many taking aesthetic clues from memories of ‘home’. Applied seemingly irrelevantly, these ‘clues’ often border on the pastiche. Pre and post Union in 1910, the British-controlled colonies of Natal and the Cape absorbed imported architectural influences which not only introduced an Arts and Crafts layer to Victorian Gothic and Classical revivals, but introduced vital new ideas, namely Art Deco and Modernism.</p><p class="Abstracttext-VITRUVIOCxSpFirst"

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Larmour, Paul. "Philip Bell: a champion of the Modern Movement in Northern Ireland." Architectural Research Quarterly 17, no. 1 (2013): 49–62. http://dx.doi.org/10.1017/s1359135513000353.

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Architecture in Northern Ireland in the twentieth century followed much the same pattern as elsewhere in the British Isles moving, broadly, from historic styles around the turn of the century, through a phase of Arts and Crafts activity for a decade or so, until settling down to a concentrated period of interest in Neo-Georgian styling in the 1920s and '30s. This inter-war era included, however, some examples of Modernism, primarily of an ornamented Art Deco type but occasionally of a more plain variety which ranged between Functionalism and the International Style. Examples of this type of mo

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Yang, Chujun. "A Study on the Application of Lingnan Cultural Elements in Commercial Exhibition Design." Economic Society and Humanities 1, no. 2 (2024): 1–6. http://dx.doi.org/10.62381/e244201.

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This study explores the integration of Lingnan culture elements into commercial display design, highlighting their impact on marketing and brand enhancement. Lingnan culture, a vital part of traditional Chinese heritage, encompasses a diverse range of elements including academia, arts, crafts, and architecture, each contributing uniquely to regional identity. Incorporating these elements into commercial displays not only imbues them with a distinct cultural essence but also enhances their artistic and unique appeal, thereby attracting consumers and boosting their purchasing desire. The researc

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Lafontaine Carboni, Julien. "Repertoire as Infrastructure for Architectural Historiographical Crafts in the Sahrawi Refugee Camps." Journal of Architectural Education 77, no. 2 (2023): 377–89. http://dx.doi.org/10.1080/10464883.2023.2233386.

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Lörincz, Simina Anamaria. "»Non è altro lo edificare se none un piacere uolunptario …«." architectura 51, no. 2 (2024): 129–41. http://dx.doi.org/10.1515/atc-2021-2002.

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Abstract In a time concerned with the emancipation of architecture from the mechanical arts to the liberal ones, Filarete challenged the mainstream rational-objective approach by proposing a poietic definition of architecture which spanned beyond craft and science. »Non è altro lo edificare se none un piacere volunptario…« is not yet another account of architecture, but it has become its supreme definition, possessing an almost universal value and demonstrating a vision ahead of its time. This paper investigates the multiple facets of this definition by situating it in the context of Renaissan

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Broome, Jon. "Research and the RIBA. Lea's Pottery: Lea: determination and ingenuity." Architectural Research Quarterly 6, no. 3 (2002): 197–99. http://dx.doi.org/10.1017/s1359135503241683.

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David Lea's Bridge Pottery (arq 6/2, pp130–143), like his other designs, demonstrates his unique gift in handling form and material and light and detail to create serenity and magic from the mundane and ordinary. This pared down modern design incorporates the essential features of the vernacular - human scale, a sense of place and the texture of natural materials - an Arts and Crafts tradition for our time, modest and informal but without the nostalgia and mediaevalism. It appears effortless but, in reality, it is difficult to achieve, requiring a clear vision and an uncompromising approach in

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YOKOTE, Yoshihiro. "STUDY ON RALPH ADAMS CRAM'S VIEW OF JAPANESE ARCHITECTURE AND THE RECEPTION IN AMERICAN ARTS AND CRAFTS MOVEMENT." Journal of Architecture and Planning (Transactions of AIJ) 78, no. 687 (2013): 1197–205. http://dx.doi.org/10.3130/aija.78.1197.

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Jun, Huang. "REGIONAL CHARACTERISTICS OF COPPER CRAFTS IN BULGARIA. DESIGN AND APPLICATIONS OF TRADITIONAL DECORATIVE ART IN MODERN TIMES." Diplomatic Economic and Cultural Relations between China and Central and Eastern European countries 10, no. 1 (2025): 416–30. https://doi.org/10.62635/1njs-2jfr.

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The artistic representational factors of bronze culture in Central and Eastern Europe widely exist in urban social activities, architectural forms, folk customs, living habits, local arts, operas, songs, dances and other material or non-material forms. This paper explores the application model of regional culture in the design of modern copper crafts in Central and Eastern European cities, taking Bulgaria as an example. The necessity of bronze cultural elements in the country’s culture in the design of modern copper crafts is discussed, and the unique characteristics of the regional Cultural r

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Amboro, Joko Lulut, Anung Bambang Studyanto, and Setyawan. "Re-inventing Vernacular Arts and Crafts: Creation of a Cauldron Inspired from the Ornament Motifs of Sunan Padangaran Mosque, Indonesia." International Society for the Study of Vernacular Settlements 11, no. 5 (2024): 104–18. http://dx.doi.org/10.61275/isvsej-2024-11-05-08.

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The Sunan Padangaran Mosque is one of the historical sites in Indonesia which contains unique architecture in the form of ornaments. This research examines how the architectural ornaments of the Sunan Padangaran Mosque can be integrated into the design of making traditional cauldrons as an effort to preserve and innovate local arts and craft. It focuses on the process of adapting mosque ornament motifs in making cauldrons. It uses qualitative methods involving case studies. Data is collected through mosque ornaments and in collaboration with local pot craftsmen. The research leads to an experi

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Park, Jin-Ho. "Schindler, Symmetry and the Free Public Library, 1920." Architectural Research Quarterly 2, no. 2 (1996): 72–83. http://dx.doi.org/10.1017/s1359135500001275.

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Schindler's Free Public Library competition project of 1920 is analysed. Archival documents are interpreted and an analytic model is constructed. Schindler's standing as a Modernist is considered and his early career is rehearsed, especially his involvement with Frank Lloyd Wright. The formal analysis focuses on the use of symmetry. An interpretation of Schindler's employment of the diagonal axis in the Library is proffered. Historical precedents for diagonal butterfly symmetry in the English free school and the Arts and Crafts movement are examined. A method of analysis using the partial orde

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