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

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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3

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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7

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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8

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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JoonhyongLEE. "Proposal for Arts-in-Architecture Maintenance Reform." Ajou Law Review 8, no. 4 (2015): 425–56. http://dx.doi.org/10.21589/ajlaw.2015.8.4.425.

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Borden, Iain. "The value of arts and humanities research to life in the UK." Architectural Research Quarterly 12, no. 3-4 (2008): 216–22. http://dx.doi.org/10.1017/s1359135508001140.

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The document that follows was written by Iain Borden as the contribution on ‘Architecture’ to the Arts and Humanities Research Council's report for the UK Government on ‘The Value of Arts and Humanities Research to Life in the UK’ and offers a further contribution to arq's ongoing discussions about the nature of architectural research.

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Kucharczyk Brusb, Beata, and Beata Komara. "Aesthetic sensibility and technical skills of an architect as a result of the fine arts learning—Curricula changes at the Faculty of Architecture, Silesian University of Technology in Gliwice." Global Journal of Arts Education 8, no. 2 (2018): 54–60. http://dx.doi.org/10.18844/gjae.v8i2.3778.

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The paper presents the consequences for the architectural profession resulting from the evolution of the process of fine arts teaching on the example of the changing curricula at the Faculty of Architecture, Silesian University of Technology. The curricula in arts subjects ranging from the 90s up till now will be analyzed. Conducted analysis of the changes lead to a number of conclusions about impoverishment of aesthetic sensitivity and artistic skills of students and contemporary graduates. Currently, students mostly use computer drawings because they have poor ability to create understandable freehand sketches. We postulate the return to the past, good practices, to increase the number of the fine arts teaching hours, seeking better links between engineering design and artistic as well. It is principle that the use of new technologies workshop (including a PC) must go hand in hand with advanced knowledge about art solutions in every architectural project.Keywords: Fine arts teaching programmes, handwritten sketches, architecture student’s aesthetic sensitivity.

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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.

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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.

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Azmi, Muhammad Mustaqim, and Bani Noor Muchamad. "PUSAT SENI BELADIRI KUNTAU DI DESA BARIKIN." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (2021): 26–34. http://dx.doi.org/10.20527/lanting.v10i1.534.

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The Kuntau Martial Arts Center in Barikin Village is a facility that accommodates the local community in learning, developing and preserving the local Banjar martial arts. The architectural problem raised in this report is how the design of the banjar’s typical kuntau martial arts center can accommodate training activities and kuntau performances. The concept proposed for the design is the concept of a Cultural Education Recreation with a Vernakular-based Regional Architecture approach. This Concept raises the character of kuntau culture and banjar culture into the form of kuntau martial arts center building

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Theocharopoulou, Ioanna. "Architecture and Advertising: Terms of Exchange? Arts and Architecture, 1944-1950." Thresholds 18 (January 1999): 6–11. http://dx.doi.org/10.1162/thld_a_00496.

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17

Kamen, Ruth. "Viewpoint." Art Libraries Journal 26, no. 2 (2001): 3–4. http://dx.doi.org/10.1017/s0307472200012104.

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Architecture, the focus of this issue, is held to be the ‘mother of the arts’. It is also referred to as the ‘queen of the decorative arts’. But in the family of art libraries and art librarianship, architecture is often a neglected stepchild. So I welcome the invitation extended in this issue of the Art Libraries Journal to the ‘Cinderella of the arts’, and hope that her appearance at the art ball will extend beyond midnight.Over the past quarter of a century or so that I have been an architectural librarian, I have sometimes wondered why architecture libraries are isolated from their sister libraries in the world of art and design, and why architecture libraries and librarians feel the need to separate themselves from their art and design siblings. Is it because the art community is uncomfortable with architecture? If so, is this because architecture is outside the mainstream of art education or art history teaching? Or is it because architecture libraries are generally part of professional institutes, schools of architecture or architectural firms, whose concerns and affiliations may have more in common with the engineering sciences (civil, structural, materials, environmental), the building and construction industries, urban and landscape design, town and country planning, and estate, project and business management, than with the more scholarly and historical focus of art libraries in museums and universities?

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18

Brunette, Peter, and David Wills. "Deconstruction and the Visual Arts: Art, Media, Architecture." Journal of Aesthetics and Art Criticism 54, no. 4 (1996): 405. http://dx.doi.org/10.2307/431930.

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19

Brumfield, William. "The Decorative Arts in Russian Architecture: 1900-1907." Journal of Decorative and Propaganda Arts 5 (1987): 12. http://dx.doi.org/10.2307/1503933.

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20

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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21

Gronier, Caroline. "Léon Parvillée : dialogue entre architecture et arts décoratifs." Livraisons d'histoire de l'architecture, no. 17 (June 10, 2009): 95–106. http://dx.doi.org/10.4000/lha.212.

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22

Crosbie, Michael J. "The Judicious Eye: Architecture against the other Arts." Journal of Architectural Education 63, no. 2 (2010): 177–78. http://dx.doi.org/10.1111/j.1531-314x.2010.01089.x.

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23

Obracaj, Piotr. "Theatre architecture. A synthesis of arts in theatre." Czasopismo Techniczne 3 (2019): 51–62. http://dx.doi.org/10.4467/2353737xct.19.033.10207.

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24

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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Díez Martínez, Daniel. "Hacia Arts & Architecture La revolución editorial de John Entenza (1938-1945)." Cuaderno de Notas, no. 19 (July 31, 2018): 1. http://dx.doi.org/10.20868/cn.2018.3813.

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Resumen En enero de 1945 Arts & Architecture puso en marcha el programa CaseStudy House, un experimento ideado por John Entenza que les reservaríaa él y a su revista un lugar importante en la historia de la arquitectura moderna del siglo XX. Desde que asumió la dirección de Arts & Architectureen 1940, Entenza supo rodearse de creadores y artistas como Alvin Lustig,Ray y Charles Eames, Herbert Matter o Julius Shulman, que contribuyerona elevar el estándar gráfico de su publicación y le confirieron una identidadinnovadora que respaldaba visualmente el discurso intelectual vanguardista de compromiso con la arquitectura y el diseño modernos que defendía en sus páginas. Este artículo analiza los orígenes, las estrategias de trasformación y los nombres propios que hicieron realidad una revista que, cincuenta años después de su desaparición en 1967, sigue resultando tan atractiva y radical como cuando se editaba.AbstractIn January 1945 Arts & Architecture launched the Case Study House program, an experiment devised by John Entenza that would reserve for him and his magazine an important place in the history of modern architecture of the twentieth century. From the moment he took over the direction of Arts & Architecture in 1940, Entenza knew how to seduce creators and artists such as Alvin Lustig, Ray and Charles Eames, Herbert Matter and Julius Shulman, who contributed to raise the graphic standard of his publication and gave it an innovative identity that visually supported the avant-garde intellectual discourse of commitment to modern architecture and design that it defended in its pages. This article analyzesthe origins, the strategies of transformation and the proper names that made the magazine a reality that, fifty years after its disappearance in 1967, continues to be as attractive and radical as when it was published.

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Quesada García, Santiago. "Landscape as a Model of Architecture: A Contemporary Imitation." Arte, Individuo y Sociedad 33, no. 4 (2021): 1395–411. http://dx.doi.org/10.5209/aris.72335.

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The act of designing architecture is based on the use of various models chosen as referents. Such models may come from architecture itself or from the arts like sculpture, painting, music, literature, and so forth. They usually provide the components for architectural design. This stance leads to the notion of architectural design as the construction of a new order derived from elements, examples, or prototypes verified in time by virtue of experience. Thus, the praxis of the design process is mainly referred to as a conscious imitation of models. The thesis of this work is that landscape constitutes one of these models. Landscape should be considered a contemporary model for architectural imitation because it is a concept that reveals a dynamic reality oriented towards the future. The values of landscape produce a wish to emulate it, to assimilate it. In a renewed object–subject relationship, landscape proposes itself as a paramount issue for architectural design. This paper contextualizes and explains what comprises such renewed mimesis and why landscape is a subject that provokes a desire for active emulation in contemporary architecture.

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Maheswara, Made Bagus Angga, Tri Anggraini Prajnawrdhi, and I. Wayan Wiryawan. "Tato Arts Center in Badung, Bali." Journal of A Sustainable Global South 1, no. 2 (2017): 18. http://dx.doi.org/10.24843/jsgs.2017.v01.i02.p05.

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The centre of arts was a place for activity that related to the arts itself, as a place to show the local art and culture, and provide us information about the artworks that made by the artist and show it to the visitors or consumers by displaying these artworks into art exhibition that expected to be able reach a wider market. This art centre published as a gallery that will accommodate tattoo artist to show their artwork as a paintings and tattoos on synthetic leather. The research of this study using qualitative method by spreading questionnaires, studying literature with local regulations including the application of the characteristics of traditional Balinese architecture that are harmoniously environmentally friendly, and field observation techniques on objects related to facilities found in art centers such as galleries, exhibitions and tattoo studios where the results of the research steps are the results of questionnaires with 70 respondents 98, 6% were in-terested in tattoo art and agreed to realize the planning of the Tattoo Art Center in Badung, The result of this literature study and observation were the architecture that used generally between Balinese architecture with modern architec-ture in the building that used neo vernacular concept. This building was applying the neo vernacular concept in the gallery section where the gallery facade applies the Tri Angga concept, such as the head, body and legs which were in traditional forms, using pyramid roofs which have mudras and participate in Ciledu and used local materials in the form of bricks and natural stones through application it produced concept of neo vernacular. Index Terms— neo vernacular, art center, tattoo, gallery, facade.

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Duque, Estela. "Modern tropical architecture: medicalisation of space in early twentieth-century Philippines." Architectural Research Quarterly 13, no. 3-4 (2009): 261–71. http://dx.doi.org/10.1017/s1359135510000114.

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In the interwar years European historians and critics of architecture tried to assimilate science into architecture and arts. For example Sigfried Giedion's Space, Time, and Architecture (1941) attempted to bring Einsteinian spacetime into architectural theory, while Nikolaus Pevsner's An Outline of European Architecture (c. 1943) used space as a criterion to differentiate architecture from other art forms. These brought to the idea of ‘space’ a distinctly modern meaning, making it a universal signifier; whereas in the last decade, architectural historians have argued for the historical specificity of space and a deeper examination of the social and spatial practices embedded in the making of space. This study inquires into the atemporal readings of space, using Lefebvre's theory on the production of space by ‘interested subjects’.

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Athanassaki, Lucia. "Sponsoring the Arts: Melic Perspectives." Classica - Revista Brasileira de Estudos Clássicos 31, no. 2 (2018): 9–29. http://dx.doi.org/10.24277/classica.v31i2.740.

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This paper explores the melic poets’ take on art and its sponsors. Since much has been written on the relationship of epinician poets with their patrons, this paper broadens the focus of enquiry to include other melic genres and, in addition to the verbal, to look at the visual arts as well, i.e. melic representations of communities that sponsor songs and of communities or individuals that sponsor other art-forms such as sculpture, architecture, and precious objects. Taking as starting point Xenophon’s depiction of Simonides in Hiero, I discuss epigrams XXVII and XXVIII Page and relevant testimonia that show Simonides’ keen interest in Athenian dithyrambic contests; Bacchylides’ Ode 19, probably composed for the Great Dionysia; Pindar’s Pythian 7, Paean 8, and fragment 3 in conjunction with Homeric Hymn to Apollo 281-99, Herodotus 1.31, Cicero, De oratore 2. 86. 352-353, [Plutarch] Consolatio ad Apollonium, and Pausanias – all of which offer precious insights into Pindar’s views on sponsoring monumental sculpture and architecture; and Bacchylides’ description of the golden tripods that Hieron offered to Apollo in Ode 3. On the basis of this evidence I argue that whatever the nature and the range of remuneration of poets and artists may have been, melic rhetoric shows that it was the relationship of poets, artists and their sponsors with the gods that was ultimately at stake. This is why both the poetry and the traditions about Simonides, Pindar and Bacchylides privilege the divine favour that poets, artists and patrons alike either obtained or were hoping to obtain by offering masterpieces to the gods.

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Gómez Alonso, Carlos, Eva Álvarez Isidro, and Ana Torres Barchino. "Conversando con...Momoyo Kaijima." EGA Revista de expresión gráfica arquitectónica 22, no. 31 (2017): 12. http://dx.doi.org/10.4995/ega.2017.8861.

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<p>Momoyo Kaijima es profesora en la Facultad de Arte y Diseño de la Universidad de Tsukuba en la Prefectura de Ibaraki y profesora visitante en la ETH de Zürich, en Royal Academy of Fine Arts, en Rice School of Architecture y en Harvard GSD. A lo largo de los años, Atelier Bow Wow ha colaborado con Krešimir Rogina, arquitecto de Zagreb y socio de la firma internacional Penezic&amp;Rogina, en la realización del Grožnjan International Summer School of Architecture, siendo Rogina el nexo indispensable para propiciar la visita de Kaijima a Valencia.</p>

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Villanueva, Carlos Raúl. "The Integration of the Arts." Art and Architecture, no. 42 (2010): 53–55. http://dx.doi.org/10.52200/42.a.sxigo0sv.

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The arts bear witness to the cultural meaning of each period; we can discover the features that marked a historic individuality thanks to them. The more they demonstrate the union of concept or formal participation between them, the more clearly the social axis around which the man/culture duality revolves unfolds itself. The presence of this axis favours the agglutination of artistic expression. What is more, the unity of human content is fertile and a necessary condition so that the total integration flourishes. Architecture, painting, sculpture and technique combine around a common aim, around a collective purpose. The coming together of objectives facilitates the plastic synthesis.

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Schwartz, Laura. "Advocating for digital projects in the arts: UC San Diego Visual Arts and Architecture Digital Collections." Art Libraries Journal 45, no. 2 (2020): 61–67. http://dx.doi.org/10.1017/alj.2020.4.

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Through a close examination of the UC San Diego Visual Arts and Architecture Digital Collections, this article reviews the context of the UC San Diego Library's Digital Collection including the tools leveraged to create a successful digital library environment and the importance of cultivating relationships with content donors, including challenges and opportunities. Marketing and publicity of digital collections as part of the project lifecycle will also be discussed, as well as the importance of advocating for arts content within the library's digital collection.

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Morshed, Adnan. "Modernism as Postnationalist Politics:." Journal of the Society of Architectural Historians 76, no. 4 (2017): 532–49. http://dx.doi.org/10.1525/jsah.2017.76.4.532.

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After completing architectural studies in the United States in 1952, Muzharul Islam returned home to Pakistan to find the country embroiled in acrimonious politics of national identity. The young architect began his design career in the midst of bitterly divided notions of national origin and destiny, and his architectural work reflected this political debate. In Modernism as Postnationalist Politics: Muzharul Islam's Faculty of Fine Arts (1953–56), Adnan Morshed argues that Islam's Faculty of Fine Arts at Shahbagh, Dhaka, embodied his need to articulate a national identity based on the secular humanist ethos of Bengal, rather than on an Islamic religious foundation. With this iconoclastic building, Islam sought to achieve two distinctive goals: to introduce the aesthetic tenets of modern architecture to East Pakistan and to reject all references to colonial-era Indo-Saracenic architecture. The Faculty's modernism hinges on Islam's dual commitment to a secular Bengali character and universal humanity.

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Tokuda, H., and C. W. Mercer. "ARTS: a distributed real-time kernel." ACM SIGOPS Operating Systems Review 23, no. 3 (1989): 29–53. http://dx.doi.org/10.1145/71021.71023.

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Barber, Daniel. "Militant architecture: Destabilising architecture's disciplinarity." Journal of Architecture 10, no. 3 (2005): 245–53. http://dx.doi.org/10.1080/13602360500162469.

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Jia, Jiao Jiao, Song Fu Liu, and Xiao Juan He. "Peter Zumthor Ideas of Architectural Creation." Applied Mechanics and Materials 423-426 (September 2013): 1183–86. http://dx.doi.org/10.4028/www.scientific.net/amm.423-426.1183.

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The paper studies the theories of Peter Zumthor, one of the most important architect in contemporary Swiss. In the context of the arts, the phenomenology of architecture and the development of modern architecture, the paper relies on Zumthors architectural works, tries to explore the origin of Zumthors architectural creation, revisit and reconstruct the trajectory of his theories and practice.

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Koleva, Donka. "The Architectural Cultural Values of Veliko Tarnovo - A Window to History." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 199–208. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_015.

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Old Capital Veliko Tarnovo - the historical and spiritual capital of Bulgaria has preserved extremely valuable evidence of its history, architecture and arts. Tarnovo architecture reveals the spiritual development and masterful genius of the Bulgarians, interesting facts, continuity and creative development in the construction of temples, schools, community centers and other civic buildings over the centuries, as well as the formation of two architectural schools: medieval Tarnovo architecture with picturesque style and Tarnovo Revival architecture in baroque style by master Nikola Fichev. Keywords: Tarnovo Architecture, Master Nikola Fichev, Architectural Schools, Architectural Value

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Doig, Allan. "Architecture and Performance Dean Walter Hussey and the Arts." Theology 99, no. 787 (1996): 16–22. http://dx.doi.org/10.1177/0040571x9509900104.

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Yu, Shuishan. "Chinese Architecture and the Beaux-Arts (review)." China Review International 17, no. 3 (2010): 324–28. http://dx.doi.org/10.1353/cri.2010.0075.

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CROWLEY, D. "Czech Cubism: Architecture, Furniture and Decorative Arts 1910 1925." Journal of Design History 6, no. 3 (1993): 222–24. http://dx.doi.org/10.1093/jdh/6.3.222.

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Bilir, Ayse. "From the surface of painting to architecture space: Cloud image." Global Journal of Arts Education 6, no. 3 (2017): 71–76. http://dx.doi.org/10.18844/gjae.v6i3.1696.

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In the act of acquiring knowledge, as it is in many other fields of life, the ability to use technology has taken the lead in the world of education as well. Engineering education is one of these areas. The increasing dependence of people on technology is alarming. In this study, it is examined that how students at the Faculty of Engineering evaluate their visual perception change and the point of view to the arts and arts education after they receive plastic arts education at a basic level. Written opinions were gathered from 150 students who took the elective course ‘Plastic Arts Education’ at the Faculty of Fine Arts at Hacettepe University. 14-week syllabus is used in this course including one theoretical hour and two practical hours each week. This syllabus covers two or three dimensional applied studies, the research and examination of art and its movements, artists, works of art, and exhibition and museum visits. Results show that students have chosen this course since they fed up with their theoretical courses, or the workload of courses, realize they have a bias towards art thinking that it merely and simply requires ability, and they are excited to recognize the difference between ‘look’ and ‘see’. Keywords: plastic arts, art education, engineering students.  

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Cleary, Richard. "Romancing the Tome; Or an Academician's Pursuit of a Popular Audience in 18th-Century France." Journal of the Society of Architectural Historians 48, no. 2 (1989): 139–49. http://dx.doi.org/10.2307/990352.

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The Parisian building industry prospered throughout most of the 18th century serving a wide range of clients. At one end of the scale were the members of the nobility and amateurs of architecture who approached the design of a building with a well-trained eye and an ability to speak of the principles governing good taste. The majority of clients, however, had little if any knowledge of or interest in art theory and relied on instinct, fashion, and the advice of experts. Concern for the effect an untutored public could have on the future of French architecture led Jacques-François Blondel, the foremost architectural educator of the 18th century, to develop specialized approaches for reaching potential clients. These included courses for nonprofessionals at his Ecole des Arts and a novel, L'Homme du monde éclairé par les arts (1774), written in collaboration with Jean-François Bastide, a man of letters who was the author of another work of fiction featuring architecture, "La Petite Maison" (1758).

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Fortuny Agramunt, Jaume. "Ideen zum räumlichen Zeichnen durch ein Farbkonzept. Gestaltungskriterien und Beispiele." Barcelona Investigación Arte Creación 7, no. 1 (2019): 69. http://dx.doi.org/10.17583/brac.2019.3981.

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This paper is the transcript of the conference read on May 9, 2017 during the workshop The Power of Colors - The Spatial Experience with the Help of Art, at the Peter Behrens School of Arts, University of Applied Sciences, Hochschule Düsseldorf. It shows the ideas that art is capable of transmitting to architecture to design space through color planning. The reading describes in detail the creative process of the artist and professor at the University of Barcelona, Jaume Fortuny Agramunt, during the rehabilitation of architectural spaces through spatial experience with the help of art. Dr. Fortuny explains seven of his projects carried out in three Spanish cities (Badalona, Sant Quirze Del Vallès and Barcelona) within his line of research that he calls Analysis of the Relational Process Form-Space. These projects show how positive can be the transfer of knowledge to architecture from the area of Fine Arts to architecture from the field of Fine Arts, both from sculpture and painting, and the strong use of art for the everyday life of the society where it is generated.

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J., Balaniuk. "FREDERICK KIESLER IMPACT ON FORMATION OF CONTEMPORARY PLASTIC ARTS WORLDVIEW." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (2020): 1–7. http://dx.doi.org/10.23939/sa2020.02.001.

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The main idea of the article is the research of Frederick Kiesler impact on formation of contemporary plastic arts instead of ideas of “clear architecture” which were common at that time. Kiesler hadn’t been satisfied with the modern functional architecture of his time – the white painted box. In his extreme architectural vision, Kiesler hoped to perform this same ultimate cleansing – to regenerate and liberate humanity to start all over, free again. His main idea in arts was the cooperation between parts of different arts, Kiesler used his own term “correalizm” to show the continuing collaboration between human and surrounding both technical and nature. Reconsideration of traditional ways by Frederick Kiesler gave a new life to formulation of new spatial art. Twentieth-century art are filled with contradictions and still is not researched enough. But those art was a crucial point for birth the new genres, which impressed by diversity and paradoxes. This new genres of arts first of all were based on synthesis of their forms. That period was also formed a new generation of artists, who affected on development of all sphere of arts by their works, and Kiesler was among them. Despite the word famous, the genius of Frederick Kiesler and his creation isn’t researched enough in foreign and domestic publishing. Among published works about Kiesler in Ukraine belong to Kyiv and Lviv architecture schools: Proskuriakov V., Proskuriakov O., Bilenkova S., Korotun I., Nykyrsa M. and others. Also the last interesting research works were demonstrated during the International architecture online conference “The influence of futuristic ideas of F. Kiesler on the development of architectural practice and theory in Ukraine and the world”. The initiators of this conference were Chernivtsy National University and National University “Lviv polytechnic”. The aim of this article is demonstrate some of Kiesler’s periods of life and creation, which are characterized by innovation approaches and synthesis of arts, correalizm and influenced on creation of contemporary spatial art. Kiesler also fell short in his own ambitions to educate students to think about the work they were producing. His work marks a prescient moment in the history of modern design. His laboratory research engaged scientific study of dynamic bodily habits and sensorial affects to support shifting biopolitical structures aimed at advancing capitalist markets and evolving control societies. Although Kiesler’s body of work would later suggest alternative and more-resistive liberatory applications, his efforts to produce responsive systems designed to modulate to the qualities and intensities of dynamic bodies-in-motion most often seemed to facilitate and promote a society of unconsciously motivated actions. In a contemporary context where architecture research laboratories are continuing to emerge internationally - with ever-greater claims toward innovative study of continuous forms, responsive systems, and sensational affects - Kiesler’s challenges and failures as an educator are even more poignant today. Regardless of one’s own values or institutional biases, to teach students to unwittingly speculate, experiment, and produce is simply not enough. As educators, we are also responsible for teaching students to think about what they are learning to do.

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Shi, Jian He, and Xian Wei Wu. "On the Central Concept of Architectural Philosophy: Art." Applied Mechanics and Materials 174-177 (May 2012): 1892–94. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1892.

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Aesthetic taste as the main value of life is the central task of building arts. Artistic characteristics of architecture reflect human glory and always exist in our thousands of years of architectural history. The art pursuit of architecture is still the focus for the public especially architects. Therefore, the central concept of the construction philosophy is the art of architecture.

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Badiou, Alain, and Alex Ling. "Hegel, the Arts and Cinema." Journal of Continental Philosophy 1, no. 1 (2020): 97–116. http://dx.doi.org/10.5840/jcp2020421.

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Alain Badiou embarks on a close reading of Hegel’s Aesthetics to consider how his own recently-developed concept of the “index”—designating the crucial point of mediation between finite works and the absolute (or the means by which “works of art obtain their seal of absoluteness”)—might figure therein, as well as to explore what Hegel would have made of cinema, had he lived to experience it. After first examining the various ways that this “index of absoluteness” functions in the Hegelian conception of art—both according to its canonical forms (sculpture, architecture, painting, music, and poetry including theatre) and its historical classifications (classical, symbolic and romantic)—Badiou proceeds to investigate whether Hegel’s aesthetic system could and should have foreseen the eventual birth of cinema, together with its general characteristics; and whether this new development would ultimately refute or confirm his famous thesis on the end of art.

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Yao, Quanming, Ju Xu, Wei-Wei Tu, and Zhanxing Zhu. "Efficient Neural Architecture Search via Proximal Iterations." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 04 (2020): 6664–71. http://dx.doi.org/10.1609/aaai.v34i04.6143.

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Neural architecture search (NAS) attracts much research attention because of its ability to identify better architectures than handcrafted ones. Recently, differentiable search methods become the state-of-the-arts on NAS, which can obtain high-performance architectures in several days. However, they still suffer from huge computation costs and inferior performance due to the construction of the supernet. In this paper, we propose an efficient NAS method based on proximal iterations (denoted as NASP). Different from previous works, NASP reformulates the search process as an optimization problem with a discrete constraint on architectures and a regularizer on model complexity. As the new objective is hard to solve, we further propose an efficient algorithm inspired by proximal iterations for optimization. In this way, NASP is not only much faster than existing differentiable search methods, but also can find better architectures and balance the model complexity. Finally, extensive experiments on various tasks demonstrate that NASP can obtain high-performance architectures with more than 10 times speedup over the state-of-the-arts.

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Toipah, Toipah. "THE TREASURE ARTS AND ISLAMIC CULTURES: MOSQUES’ ARCHITECTURES AND CALLIGRAPHIES IN ARCHIPELAGO." Teosofia 9, no. 1 (2020): 13. http://dx.doi.org/10.21580/tos.v9i1.5359.

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<pre><em>This article discusses about architectures and ornaments in the mosques, calligraphy, and others. One of the mosques that have been built since the time of </em>Walisongo<em> is the Great Mosque of Sang Cipta Rasa, Cirebon. </em><em>Therefore, the author formulates some problems. First, how is the architectural construction of art? Second, how is its philosophy in terms of the architecture and ornamentation in a mosque? Third, how are types of calligraphy which belong to mosques in the archipelago? To answer these questions, the author uses historical and semiotic approach. The research is a literature study. The method used in this article is analysis-descriptive. The results of this article explained that ornamentation is the development of a sense of beauty that develops abstract patterns taken from processing natural motifs. While calligraphy expresses an abstract understanding of God, so calligraphy is expressed to pour out the power of the revelation of the Qur'an.</em><em></em></pre>

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MARTIN, SYLVIE, and Richard Wittman. "The École Nationale des Arts Décoratifs in Paris: Architecture and the Applied Arts between the World Wars." Studies in the Decorative Arts 8, no. 2 (2001): 77–104. http://dx.doi.org/10.1086/studdecoarts.8.2.40662781.

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Budiman, Agus, Trianti Nugraheni, and Purnomo Purnomo. "The Effect of Architecture of Arts Education Tourism Towards Interest in Learning Arts for High School Students." Harmonia: Journal of Arts Research and Education 20, no. 2 (2020): 117–25. http://dx.doi.org/10.15294/harmonia.v20i2.24845.

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The implementation of tourism activities not only has a purpose for traveling or entertainment. In education, tourism can have a function as a learning activity carried out by someone in their visit to a tourist attraction location. This study aims to determine the effect of organizing an art education tour on the interest in learning art for high school students. This study uses a quantitative research approach with a sample of 84 students who took part in an art education tourism program held at UPI (Indonesian University of Education). This study took a sample using total sampling techniques in which all respondents were taken into consideration the analysis of research data. Data collection used in this study is to use a closed questionnaire in the form of a scale. Research data analysis uses simple regression test data analysis techniques to find out whether there is an influence of art education tourism activities on high school students’ interest in learning art at school. The results of the study can be concluded that educational tours have an influence on high school students’ interest in learning art; this is indicated from the results of the coefficient of determination (R Square) of 0.479, which implies that the influence of educational programs on the dependent variable (interest in learning art) is 47.9%. The results of the analysis show how much the independent variable (X) can affect the dependent variable (Y).

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