Relevant bibliographies by topics / Arts, Architecture, Arts

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Arts, Architecture, Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Arts, Architecture, Arts"

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Hyman, John. "Architecture and organic unity = Arquitectura y unidad orgánica." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 91. http://dx.doi.org/10.20318/revhisto.2019.4896.

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Abstract: Buildings and monuments are among the most important works of art. But the conception of the arts that emerged in the 18th century, and remained the orthodoxy in philosophy for about two centuries, either excludes architecture from the fine arts or relegates it to the intermediate or decorative arts. This essay addresses this puzzle, assesses the truth in certain formalist doctrines about architecture, and advances the view that works of art are organic unities, i.e. integrated sets of solutions to various problems, some aesthetic and others technical, mathematical, theological, political, etc.Key words: art, architecture, aesthetics, formalism.Resumen: Los edificios y monumentos se encuentran entre las obras de arte más importantes. Pero la concepción de las artes que surgió en el siglo XVIII y permaneció como la ortodoxia en la filosofía durante aproximadamente dos siglos excluye la arquitectura de las bellas artes, o la relega a las artes intermedias o decorativas. El presente ensayo aborda este enigma, evalúa la verdad en ciertas doctrinas formalistas sobre la arquitectura, y avanza la opinión de que las obras de arte son unidades orgánicas, es decir, conjuntos integrados de soluciones a diversos problemas, algunos estéticos y otros técnicos, matemáticos, teológicos, políticos, etc.Palabras clave: arte, arquitectura, estética, formalismo.
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Fabian, Carole Ann. "Avery Architectural & Fine Arts Library." Art Libraries Journal 36, no. 1 (2011): 28–33. http://dx.doi.org/10.1017/s030747220001676x.

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The Avery Architectural and Fine Arts Library at Columbia University in the City of New York is one of the world’s great architectural research libraries. In addition to its commitment to maintaining a comprehensive collection of bibliographic and archival materials for architecture, the library, its staff and services directly support academic programs in architecture, urban planning, historic preservation, art history and archaeology, as well as the liberal arts education of undergraduates. The Avery is also home to the Avery index to architectural periodicals. As publisher of this leading abstracting and indexing resource for research in architecture and related topics, the Avery is solely responsible for all editorial, business and technical operations and serves as an authoritative source for the terminology and literature of the field.
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Petcu, Elizabeth J. "Amorphous Ornament:." Journal of the Society of Architectural Historians 77, no. 1 (2018): 29–55. http://dx.doi.org/10.1525/jsah.2018.77.1.29.

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Leon Battista Alberti famously likened the relationship between architectural structure and superstructure to the dualism of skeleton and skin. In Amorphous Ornament: Wendel Dietterlin and the Dissection of Architecture, Elizabeth J. Petcu scrutinizes how the Architectura treatise (1593–98) of Strasbourg artist Wendel Dietterlin the Elder (ca. 1550–99) subverted Alberti's theory and the aesthetic of stability it promoted by popularizing a style of amorphous architectural motifs that recall bone, cartilage, muscle, and flesh, melding built framework with decorative surface. Drawing these corporeal conceits from contemporary anatomical publications, Dietterlin inspired buildings, architectural prints, and objects that challenged tectonic conventions, upset the traditional split between exterior and interior, and emulated the figural arts’ involvement in representing interior human forms. In assessing how Dietterlin's Architectura turned the proverbial body of architecture inside out, Petcu demonstrates that Renaissance comparisons between body and building did not always project ideals of architectural beauty and reveals overlooked origins of baroque-era fusions of architecture and the figural arts.
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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 read them, understand them and subsequently draw them by creating architectural blueprints. In other words, by general analysis of a detail the students learn theoretical thinking of its architect who, depending on the nature of the design, had to incorporate a variety of techniques and crafts. Students apply this analytical part to their own architectural detail design. The methodology of the seminar consists of experiential learning by project management and is complemented by a series of lectures discussing a diversity of details as well as materials and technologies required to implement it. The architectural detail design is also part of students’ bachelors thesis, therefore, the realistic nature of their blueprints can be verified in the production process of its physical counterpart. Based on their own documentation the students choose the most suitable manufacturing process whether it is supplied by a specific technology or a craftsman. Students actively participate in the production and correct their design proposals in real scale with the actual material. A student, as a future architect, stands somewhere between a client and an artisan, materializes his or her idea and adjusts the manufacturing process so that the final detail fulfills aesthetic consistency and is in harmony with its initial concept. One of the very important aspects of the design is its economic cost, an actual price of real implementation. The detail determines not only the physical expression, it becomes the characteristic feature from which the rest of the building is derived. This course motivates students to surpass mere technical calculations learned from books towards sophistication and refinement, pragmatism and experimentation, and encourages a shift from feasibility to perfection.
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Bergdoll, Barry. "The Synthesis of the Arts and MoMa." Art and Architecture, no. 42 (2010): 110–13. http://dx.doi.org/10.52200/42.a.tlvmhucy.

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1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.
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Jasper, David. "The arts and modern Christian architecture." Theology 114, no. 5 (2011): 353–62. http://dx.doi.org/10.1177/0040571x11411541.

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Renard, John. "Religion, the Arts, and Islamic Architecture." Religion and the Arts 2, no. 1 (1998): 69–81. http://dx.doi.org/10.1163/156852998x00043.

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Gaber, Tammy. "Fine Arts in Egypt." American Journal of Islam and Society 25, no. 4 (2008): 160–61. http://dx.doi.org/10.35632/ajis.v25i4.1451.

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The “Fine Arts in Egypt: 100 Years of Creativity” conference, which tookplace on 19-22 October 2008 at Helwan University, Cairo, celebrated thecentennial of the establishment of one of the leading fine arts educationalinstitutions in Egypt and the Arab world. It was convened on the premisesof Cairo’s Opera House.Held under the auspices of Egypt’s first lady, Suzanne Mubarak, theopening ceremony featured welcome speeches by Farouk Hosni (minister ofculture), Abdulla Barakat (president, Helwan University), Mohamed Mekkawy(dean, Fine Arts), and Aleya Abdel-Hadi (conference organizer).Following these speeches, Benedetto Todar (dean of architecture, Sapienza,Rome) and Hazem El Kowedi (governor, Helwan) gave keynote addresseson architecture ...
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Gómez, Hannia. "The Dwellers: The Integration of Art and the Architecture in the Ciudad Universitaria de Caracas." Art and Architecture, no. 42 (2010): 46–52. http://dx.doi.org/10.52200/42.a.sbsuof7n.

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When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.
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Mones-Hattal, Barbara. "Computer graphics for the arts, computer graphics for the arts, architecture and design." ACM SIGGRAPH Computer Graphics 21, no. 3 (1987): 209. http://dx.doi.org/10.1145/378174.378182.

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Dissertations / Theses on the topic "Arts, Architecture, Arts"

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Pustina, Petter. "Arts & Crafts Laboratory." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135596.

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Neumuller, Nadège. "Varron et les beaux-arts : architecture, sculpture, peinture." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC047.

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La thèse de doctorat est consacrée aux aspects afférents à l’art dans l’œuvre de Marcus Terentius Varro, encyclopédiste romain du premier siècle avant notre ère. Son œuvre, en partie conservée, en partie réduite à l’état de fragments, a été transmise notamment par Pline l’Ancien, Aulu-Gelle et différents grammairiens romains. En guise de propédeutique, un développement sur un ouvrage de Varron, les 'Disciplinarum Libri', est proposé, situant les arts libéraux dans un cadre philosophique, suivi de la genèse de la critique d’art varronienne, remontant à Platon et Aristote ainsi qu’à Xénocrate d’Athènes. En parallèle, les conceptions artistiques de Cicéron, contemporain de Varron, sont présentées. S’ensuit une partie consacrée à l’architecture qui s’intéresse aux demeures des hommes, puis aux demeures des dieux. Un excursus se focalise sur la 'uilla' de Varron à Casinum ainsi que sur son tombeau. Dans la partie suivante sont présentés les regards du Réatin sur les sculpteurs grecs et hellénistiques, puis sur ceux de son temps, chacun faisant l’objet d’un développement particulier. La même approche est ensuite employée au sujet de la peinture, proposant des notices individuelles sur les peintres grecs et romains et offrant des prolongements par le biais de l’étude d’une Satire Ménippée particulièrement liée au sujet de la thèse ainsi que par l’analyse de l’œuvre qui a offert à Varron un terrain privilégié pour exprimer ses jugements de critique d’art : le 'De imaginibus'. Une ample synthèse conclusive expose les influences exercées par les opinions et les écrits d’un Varron aux goûts esthétiques marqués d’éclectisme, appréciant des œuvres du passé et du présent, figurant des dieux et des hommes, des paysages et des objets, avec toutefois une préférence marquée pour le classicisme et la tradition. Enfin, un développement final envisage la question de l’influence des écrits varroniens relatifs aux arts sur le classicisme augustéen ainsi que sur la politique de restauration conduite par le vainqueur d’Actium<br>This thesis is devoted to aspects related to art in the work of Marcus Terentius Varro, a Roman encyclopedist from the first century BCE. His work, partly preserved, partly reduced to fragments, was passed on namely by Pliny the Elder, Aulus Gellius, and various Roman grammarians. The first part will emphasize on one of Varro’s works, the 'Disciplinarum Libri', in order to situate liberal arts in a philosophical framework, and on the genesis of varronian art criticism, dating back to Plato and Aristotle as well as Xenocrates of Athens. In parallel the artistic concepts of Cicero, contemporary with Varro, are presented. This section is followed by one dedicated to architecture, relating to men’s dwellings, and the homes of the gods. An excursus focuses on the villa of Varro in Casinum and on his tomb. In the next section, the views of the Reatinian on Greek and Hellenistic sculptors as well as the ones of his era are presented, each being subject of a particular development. The same approach is then applied on painting, offering individual notes on the Greek and Roman painters. Extensions are brought through the study of a Menippean Satire which is particularly related to the topic of the thesis, and by the analysis of 'De imaginibus', the work which gave Varro a fertile ground for expressing judgments of art criticism. A thorough conclusive synthesis exposes the influences exerted by the opinions and writings of Varro, whose aesthetic tastes can be described as eclectic. He enjoyed the works of past and present, depicting gods and men, landscapes and objects, but kept a marked preference for classicism and tradition. A final development considers the question of the influence of art-related varronian writings on Augustan classicism, and considers the restoration policy led by the victor of Actium
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Lotz, Pedri Stefanus. "Sensory circulation : a centre for visual arts." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11242008-121355.

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Liu, An. "Read-In Arts." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4878.

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As interior designers, we strive to design everything for our clients, from complex environments to the joinery of a chair. We rarely consider inviting our clients or the users to join us in finishing the space. Read-In workshop is not a school, but a kind of home, a home belonging to children, which provides the possibilities for children to play, to learn, to occupy, to personalize, and to share. An emotional space that will not limit the user, but keep inspiring them. It helps children notice, think, and grow. Half of the interior space will be a fixed design, designed and fabricated during the first construction phase. The other Half will be designed as a flexible and changeable “framework” space, which allow the users to reorganize, repaint, and refinish, depending on their evolving educational needs and aesthetic tastes. Therefore, this “incomplete” workshop will share control with children. The contents of the framework will be continuously updated by the children who participate in the Read-In arts programs.
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Beck, Catherine Tacci. "A discipline-based approach towards teaching architecture on the secondary level." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.

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Gordon, Catherine. "The Arts and Crafts architecture of the Cotswold region." Thesis, University of Manchester, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.601222.

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The Cotswold region is a relatively well-defined, upland district that reaches across the heartland of Britain. It has a rich and complex history and is renown for its natural beauty and its outstanding vernacular architecture. During the second half of the nineteenth century, after a long period of decline, it began to attract the interest of artists, designers and craftsmen, among them William Morris. They were followed by several prominent architects associated with the Arts and Crafts Movement, who welcomed the opportunity to work in the Cotswolds as its unspoilt character provided the perfect environment to foster their principles and beliefs. They were responsible for an impressive number of new buildings and repair and alteration works in the region. This thesis is divided into three parts. The first part provides a general background to the Arts and Crafts Movement in Britain, and to the Cotswold region itself, its history, topography and building traditions. It also describes the special appeal of the region to Arts and Crafts designers and craftsmen who established workshops in the region. Particular reference is made to the achievements of Ashbee and the Guild of Handicraft in Chipping Campden and of Ernest Gimson and the Barnsley brothers in Sapperton. The second part of the thesis examines Cotswold Arts and Crafts architecture according to type. The majority of commissions were for domestic buildings, which range from large country houses to cottages. There are also some important Arts and Crafts community projects and minor ecclesiastical works found throughout the region. A significant proportion of commissions concerned the repair and reuse of old buildings, and these include many of the most inventive and imaginative designs. In the third part of the thesis. the late flowering of Arts and Crafts architectural talent in the region is summarised. Some of the best works date from the inter-war years. Many of these were deSigned by a younger generation of architects and craftsmen, notably Norman Jewson and F.L. Griggs, who gave new direction and purpose to the Movement's architectural ideals. This remarkable group of Arts and Crafts buildings share an admirable sympathy for their surroundings, and they reveal an inventive and informed response to the dominant vernacular precedent. The high standard of design and craftsmanship that was established, together with the notable emphasis on conservation, had important implications at a local and national level. This thesis aims to reveal the significance of this group of Cotswold Arts and Crafts buildings to an evaluation of the Movement's architectural achievements in general.
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Osborn, Connie J. (Connie Jo) 1969. "Martial arts academy : an examination of duration and discrepancy." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/69429.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (leave 45).<br>Other than the martial component, the primary concern for many of the martial arts is answering the question, "what is self?". The task of answering that question has historically belonged to the martial arts to the extent that they both came out of Buddhist schools of thought. For many of the martial arts self knowledge is one of the principle components. Both Buddhism and Taoism talk about a 'way' of the world, which is also the 'way' of self. Self is the same for everyone as all beings are cut from the same cloth of self. When one asks the question "what is self?", it is quite surmising to hear that self has no inherent features. We have all heard the Buddhist claim that 'all is void', and will probably be more surprised to discover that this means that there is in fact no self at all. The significance of this is revealed when one experiences that the nature of all things is change. This is why there are no features to self, as soon as one defines self, that limited definition falls away and is replaced by a new one. The discovery of this is not as efacing as it may seem, as it offers in exchange for a fixed self, one that can accommodate all things. It is void that permits the presence of things. According to Buddhist thought, all suffering arises from the desire to have things remain the same. Accepting that they won't or can't liberates the self to the enjoyment of being in present time. The immediacy and inherent meaning in all things becomes infinitely available. Within change it is evident that all things are continuous, without distinction one from the other. In every sense, self belongs to the greater body of all existence. In martial arts the practice of meditation is essential. The first lesson of meditation is often to simply observe ones breath. In the observation of the full duration of breathing, the constancy of change becomes apparentand the experiencing of the exclusive truth of now is layed bare. In the performance of martial arts this is vital. As soon as the artists mind stops or fixes in a particular moment, fear may enter, or she may rely on thought rather than being to perform and thus lose the fluidity of free action and become victim to defeat. If in the design of a martial arts academy it was the intention of the architecture to provide evidence of change, it would not be necessary to create change because change is happening at all times and in all places. It may only be necessary to call attention to it. In tracing the lines of overflow of the Rio-Grande River for the course of forty recorded years, I reaffirmed the truth of change. While examining the discrepancy between and among each line I could not find the defining line of the river. I wanted to build th is into the architecture, and so this became my thesis.<br>by Connie J. Osborn.<br>M.Arch.
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Mattis, Olivia. "Edgard Varèse and the visual arts /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659569x.

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Human, Martie. "Encore - performing arts centre." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11212003-110815.

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Winters, Edward John. "Appreciating the visual arts : painting, architecture and images of ourselves." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272117.

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Books on the topic "Arts, Architecture, Arts"

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Arts and crafts architecture. Phaidon, 1995.

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Limited, Bertram Rota. Architecture and applied arts. Bertram Rota Ltd, 2003.

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Sheila, Blair, ed. Islamic arts. Phaidon Press, 1997.

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(Firm), Hugh Pagan Limited. Architecture and the allied arts. Hugh Pagan, 1992.

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University of Queensland. Architecture Theory, Criticism and History Research Group, ed. Architecture, disciplinarity, and the arts. A & S Books, 2009.

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Arts in the '20s: Architecture and decorative arts in Europe. Verbavolant, 2005.

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Visit Orsay: Architecture, sculpture, painting, graphic arts, photography, decorative arts. Art Lys, 2008.

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Arets, W. M. J. Wiel Arets, architect: Maastricht Academy for the Arts and Architecture. 010 Publishers, 1993.

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Decorative arts and architecture of the 1920s: Le arti d'oggi. Thames & Hudson, 2005.

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David, Lowe. Beaux arts New York. Whitney Library of Design, 1998.

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Book chapters on the topic "Arts, Architecture, Arts"

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Hendry, Joy. "Arts, Architecture, and Native Creativity." In Reclaiming Culture. Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979421_6.

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Vodopivec, Aleš, and Rok Šnidaršič. "Fine Arts and New Architecture." In Edvard Ravnikar. Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-211-99204-3_31.

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Kidder, Paul. "The most fragile of arts." In Minoru Yamasaki and the Fragility of Architecture. Routledge, 2021. http://dx.doi.org/10.4324/9781003111566-4.

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Vikhorev, Konstantin, Natasha Alechina, and Brian Logan. "The ARTS Real-Time Agent Architecture." In Languages, Methodologies, and Development Tools for Multi-Agent Systems. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-13338-1_1.

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Félix-Jäger, Steven. "Architecture: Communal Gathering in a Theo-Poetic Space." In Spirit of the Arts. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67919-8_8.

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Malnar, Joy Monice. "The 2015 Chicago Architecture Biennial: The State of Sensory Design." In Sensory Arts and Design. Routledge, 2020. http://dx.doi.org/10.4324/9781003086635-10.

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Raslan, Elaf, Marwa Khalifa, and Abeer Elshater. "Mapping Arts and Urban Development in Cairo’s Downtown." In Architecture and Urbanism: A Smart Outlook. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52584-2_30.

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Duvernoy, Sylvie. "Renaissance Architecture." In Handbook of the Mathematics of the Arts and Sciences. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70658-0_10-1.

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Duvernoy, Sylvie. "Baroque Architecture." In Handbook of the Mathematics of the Arts and Sciences. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70658-0_9-1.

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Duvernoy, Sylvie. "Renaissance Architecture." In Handbook of the Mathematics of the Arts and Sciences. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-57072-3_10.

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Conference papers on the topic "Arts, Architecture, Arts"

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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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Sardarov, Armen S. "Genesis of Architecture and Synthesis of Arts." In The 2nd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200923.009.

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Mamedova, L. A. k. "Synthesis problems of visual arts in architecture." In Scientific achievements of the third millennium. SPC "LJournal", 2021. http://dx.doi.org/10.18411/scienceconf-03-2021-56.

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COROIU, PETRUTA-MARIA. "BYZANTINE ARTS AESTHETIC PRINCIPLES IN MUSIC AND ICONOGRAPHY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.001.

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Tarczewski, Romuald. "BETWEEN ART AND ARCHITECTURE - MODELING OF ORGANIC FORMS IN ARCHITECTURE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.067.

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Rodrigues dos Santos, Cecilia. "Le Corbusier et le Brésil : une Synthèse des Arts Majeurs, et aussi des Arts Mineurs." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.880.

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Resumé: Ce travail examine les discours des architectes Lucio Costa et Le Corbusier sur la Synthèse des Arts, et les analyses faites à partir de l’application de ces idées dans les projets d’Architecture Moderne Brésilienne des années 1940, en particulier le projet du siège du Ministère de l’Éducation et de la Santé à Rio de Janeiro. L’objectif du présent travail est alors de révéler et de mettre l’accent sur la collaboration entre Le Corbusier et les architectes brésiliens ainsi que sur les Arts mineurs, représentés ici par l’art de l’azulejo, dans le processus de Synthèse des arts, comme supports et véhicules des expressions artistiques des Arts majeurs ou Beaux-arts. Abstract: The objective of this work is, mainly through the speeches of Lucio Costa and of Le Corbusier on the "Synthèse des Arts" and the analysis of the application of these ideas to the works of the Modern Architecture in the years 1940 in Brazil, to reveal and to emphasize the important role of the Arts Mineurs and the Industrial Design in the process of the Synthesis of the Arts, as "vehicles" of the biggest expressions of the art intended to be integrated to the architecture, considering elements like ceramic tiles. Mots-clés: Synthèse des Arts; Arts Majeurs et Arts Mineurs; Architecture Moderne Brésilienne. Keywords: Synthesis of the Arts; Major Arts and Mineurs Arts; Modern Brazilian Architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.880
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Piatkowska, Ksenia. "ARCHITECTURE IN BRANDING AND OVERBRANDING PROCESS. HOW GLOBALIZATION INFLUENCED ARCHITECTURE QUALITY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.063.

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Isbasoiu, Iulian. "CHURCH ARCHITECTURE IN THE ROMANIAN ORTHODOX CHURCH. THE ROMANIAN ARCHITECTURAL CHURCH STYLES." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.070.

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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.

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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783
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Podhalanski, Boguslaw. "WHAT IS THE METROPOLITAN ARCHITECTURE?" In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.139.

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Reports on the topic "Arts, Architecture, Arts"

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Thomason, L. S., Robert Weber, and John Kohler. Architecture Reporting and Monitoring System (ARMS). Defense Technical Information Center, 1995. http://dx.doi.org/10.21236/ada327623.

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Qi, Fei, Zhaohui Xia, Gaoyang Tang, et al. A Graph-based Evolutionary Algorithm for Automated Machine Learning. Web of Open Science, 2020. http://dx.doi.org/10.37686/ser.v1i2.77.

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As an emerging field, Automated Machine Learning (AutoML) aims to reduce or eliminate manual operations that require expertise in machine learning. In this paper, a graph-based architecture is employed to represent flexible combinations of ML models, which provides a large searching space compared to tree-based and stacking-based architectures. Based on this, an evolutionary algorithm is proposed to search for the best architecture, where the mutation and heredity operators are the key for architecture evolution. With Bayesian hyper-parameter optimization, the proposed approach can automate the workflow of machine learning. On the PMLB dataset, the proposed approach shows the state-of-the-art performance compared with TPOT, Autostacker, and auto-sklearn. Some of the optimized models are with complex structures which are difficult to obtain in manual design.
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Amrine, John M., Jeff M. Berger, David J. Blaufuss, et al. Project Ares: A Systems Engineering and Operations Architecture for the Exploration of Mars. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada258082.

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Robinson, Eric. A Preliminary SKOS Implementation of the Art and Architecture Thesaurus: Machine-Actionable, Controlled Vocabulary for the Semantic Web. SOAR@USA: Scholarship and Open Access Repository, 2011. http://dx.doi.org/10.46409/sr.cdhv9180.

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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine &amp; Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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