Relevant bibliographies by topics / Avant-garde concept of architecture

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  2. Dissertations / Theses
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Academic literature on the topic 'Avant-garde concept of architecture'

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Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Avant-garde concept of architecture"

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SLASTENIN, P. V. "THE CONCEPT OF SIMPLICITY IN CONTEMPORARY ARCHITECTURE." Urban construction and architecture 1, no. 3 (September 15, 2011): 6–8. http://dx.doi.org/10.17673/vestnik.2011.03.1.

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This article is an attempt to crystallize some thoughts about the place of simplicity in contemporary architecture. The article briefly describes the viewpoint of the avant-garde artist K. Malevich and modern architects J. Pawson, K. Sejima and R. Nishizawa with regard to concept of simplicity and its origin. Some possible ways to achieve simplicity in art and architecture, such as economy and minimum, are considered in this article.
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Lohtaja, Aleksi, and Taneli Viitahuhta. "Walter Benjamin, taiteen toinen tekniikka ja avantgarden kulttuuripolitiikka." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 38–50. http://dx.doi.org/10.17409/kpt.63289.

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This article provides a fresh look into Walter Benjamin’s famous essay, “Artwork in the Age of Mechanical Reproduction” (1936). Following Benjamin scholar Esther Leslie, we claim that Benjamin’s lesser-known concept of “second technique” is integral for understanding both the meaning of essay as well as mapping the political and artistic aims of the 1920’s avant-garde movements in general. The article is structured around two cases of avant-garde, both of which are central already for Benjamin, but remain somewhat under-theorized in connection to Benjamin. These are the Soviet constructivist film and the idea of glass construction in Weimar-era German architecture. Keywords: Walter Benjamin, second technique of art, avantgarde, film, architecture
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Moravčíková, Henrieta. "An Intriguing Work of Engineering and Architecture: The Collonnade Bridge in Piešt’any." Bridges and Infrastructures, no. 45 (2011): 90–93. http://dx.doi.org/10.52200/45.a.sp7eqbzt.

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The period around the year 1930 could be termed the culminating point with respect to the Modern architectural avant-garde in Slovakia. It was then that the concepts emerged from the most important works, the first Slovak architectural journals began to be published, the School of Applied Arts opened, as a Slovak variant of the German Bauhaus, and an entire range of other artistic and social initiatives indicated that Slovakia’s cultural environment could not only absorb avant-garde impulses, but develop them in a unique way. It was precisely at this moment that the history of one of the most famed bridges in Slovakia, the Colonnade Bridge in Piešt’any, began to be written.
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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (December 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.

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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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Nekrošius, Liutauras. "PARALLELS OF EUROPEAN STRUCTURALISM IDEAS IN LITHUANIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 30, no. 3 (June 30, 2006): 111–24. http://dx.doi.org/10.3846/13921630.2006.10697072.

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One of the most controversial periods of architectural history, which has been identified with avant-garde of philosophy, art, music and science, in Lithuania is laconically described as soviet modernism. One of contemporary architectural phenomena, which is characterized as a part of soviet modernism, is structuralism. In Lithuania it developed as a reaction to creative results of a modernistic style. The text concentrates on one segment of a wider research of structuralism ideas in contemporary Lithuanian architecture. The paper discusses the basic concepts of structuralistic architecture and their genesis, reviews the manifestation of these ideas in Lithuania and other European countries. Attention is paid to ideas which determined changes in townscape. Supposedly, such a review will help to define peculiarities in the genesis and development of structuralistic tendencies in Lithuania and understand their influence on architectural development in the country.
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Adamov, Oleg. "Anticipations of the Ideas of Contemporary Architecture in the Russian Avant-Garde." E3S Web of Conferences 263 (2021): 05027. http://dx.doi.org/10.1051/e3sconf/202126305027.

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Leading contemporary architects stated their adherence to the ideas of the Russian Avant-garde that could be “injected” into the Western cultural background and might regenerate or revitalize it. Their approach could be accounted as “superficial sliding”, but quite deep interpenetration to the ideas and images of this culture is also revealed. So the point is, in what ways the inheritance occurs and cross-temporal interaction works in a design culture? The purpose of this paper is to clarify a nature of the multiple links between the working concepts of the masters of the Russian Avant-garde and contemporary Western architects emerging while their creative activity in relation to spatial constructions and affecting the meanings of architectural forms and images. The essay tried to apply the process approach to study the architectural phenomena, treated as a development of structuralism and post-structuralism methods, involving the construction of both synchronic and diachronic models. Comparative analysis of individual ways of designing and creating forms specific to the architects is also used. As a result the individual semantic structures are identified and their interconnections are found out at the different levels of conceptualizing: “picture” imitation and transfiguration; fragmentation; reticulated constructions; cosmos generating; spatial primary units; animated stain; bionic movement; autopoiesis. Tracing the links and transferring the ideas is possible at the meta-level by comparison the whole semantic structures specific for the different times architects, identified by means of reconstruction of their individual creative processes and representation of the broad figurative-semantic fields, referring to the various cultural contexts.
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Didenko, К. "INVOLVEMENT OF THE THEORY OF SOCIAL CONSTRUCTION FOR CONSIDERATION OF ARCHITECTURAL AND CITY BUILDING PRACTICE." Municipal economy of cities 1, no. 154 (April 3, 2020): 185–91. http://dx.doi.org/10.33042/2522-1809-2020-1-154-185-191.

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Social aspects of the formation of architectural complexes in metropolian Kharkov have not yet been analyzed in homeland architectural theory. The study into "Kharkov constructivism", due to unfortunate historical ocurrence, is still in fact at the initial stage. Thesises of Kharkov authors illuminate this phenomenon in general or analyze some of the most significant sights. Approaches to the study of social aspects of architecture and urban development went through several stages. Architectural theory of the late 1940s- the beginning of 1950s was sharply critical of the architectural and urban planning experiments in the 1920s. The XXth century Soviet history of architecture in the 1960s and 1970s was marked by ideological rehabilitation of constructivism, including social experiments of the 1920s - early 1930s. A turn from apologetics of the 1960s - 1980s to critical analysis of the architecture and urban development of the avant-garde was indicated at the beginning of 2000s by the studies considering Soviet architectural and urban planning practice in the context of public behavior management as a tool for structuring general population to achieve political goals. Foreign studies into the Soviet avant-garde sprang up in the 1970s - early 1980s affected by Western sociology where architecture began to be viewed as a tool for managing social processes and new types of structures and models of urban planning organization- as “a transition from social to material”. Many studies highlighted the influence of Soviet architectural and urban planning programs of the 1920s and 1930s on the system and structure of public consciousness. There was established that large-scale housing, cultural and domestic construction was carried out as part of the capital's administrative and government center creation programs and the formation of an industrial complex. There were identified four conceptual approaches for housing construction, they were consistently implemented during the realization of the two above-mentioned programs: garden city, communal house, housing complex and social city. In these programs, the concepts of "garden city" and "communal houses" were practically tested and reasonably rejected, and the most productive models were residential complexes and social city. Keywords: social construction, architectural and urban concepts, soviet human, metropolian Kharkov.
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Hall, Michael. "What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870." Journal of the Society of Architectural Historians 59, no. 1 (March 1, 2000): 78–95. http://dx.doi.org/10.2307/991563.

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In a challenging but little-studied article published in Architectura in 1985, David B. Brownlee argued that the religious concept of the development of doctrine influenced the belief of architects in the Anglican Church in the 1840s that they should attempt to "develop" architecture in a radical new direction. The result was the style we now call "High Victorian." This article takes up Professor Brownlee's argument in two ways. First, it looks at how architects in the 1850s sought to create a progressive style by drawing on ideas and images from contemporary science, specifically geology, for which development was also a key word. Second, it addresses the question of why the idea of development fell so suddenly from favor in avant-garde architectural circles in the 1860s. It argues that as science and religion withdrew into their separate spheres, architects turned instead to an ideal based not on historical development but on the imitation of a stylistic paradigm. This approach was influenced by High Church belief that the sacraments, most importantly the Eucharist, were the material realization of a timeless supernatural reality. Changing attitudes to time and precedent had important consequences for the way architects viewed restoration, archaeology, and the use of historical models.
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Saglam, Hakan. "The reciprocity between art and architecture." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (September 24, 2019): 112–16. http://dx.doi.org/10.18844/prosoc.v6i4.4413.

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The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”. Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.
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Srećković, Biljana. "Architecture and music/sound: Points of meeting, networking, interactions." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 75–88. http://dx.doi.org/10.5937/saj1401075s.

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This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).
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Dissertations / Theses on the topic "Avant-garde concept of architecture"

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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.

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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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Elliott, Deborah E. "The new architecture Iakov Chernikhov and the Russian Avant-Garde /." Connect to resource, 2006. http://hdl.handle.net/1811/6023.

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Thesis (Honors)--Ohio State University, 2006.
Title from first page of PDF file. Document formattted into pages: contains 61 p.; also includes graphics. Includes bibliographical references (p. 60-61). Available online via Ohio State University's Knowledge Bank.
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Cunningham, David. "A time of affirmation : on the concept of an avant-garde." Thesis, University of Westminster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251655.

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Otero-Pailos, Jorge 1971. "Theorizing the anti-avant-garde : invocations of phenomenology in architectural discourse, 1945-1989." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/8313.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2002.
Includes bibliographical references (p. 465-500).
My dissertation is an intellectual history of "phenomenology," as it came to be understood within architectural discourse during the Cold War. The principal thesis is that contacts with phenomenology were at the crux of the 1970s shift from modernist to postmodernist thinking in architecture. I support this thesis through critical analyses of the work of Ernesto Rogers, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton, who are largely credited with introducing phenomenology to architecture, and with the expansion of the debates on Postmodern architecture to include issues of human-environment relations, such as the social function of traditional building practices, and place-bound identity politics. At present their invocations of phenomenology are often charged with a naive essentialism generally understood to be inconsistent with postmodern thought. This dissertation takes issue with that simplistic view by providing a more complete account of their contributions to architectural thinking. It situates each author in the context of the historical emergence of a new type of architectural avant-garde practice, that of the historian, which to this day has received little scholarly attention. I argue that they are important transitional figures, whose work is enframed by both the closing stages of a postwar modernist understanding of architecture and the opening stages of postmodernist epistemologies. Around their interest in phenomenology cohered an intellectual formation that I call the anti-avant-garde, to situate it within the 1970s debates concerning the terms of architectural avant-gardism.
(cont.) The anti-avant-garde opposed the autonomy of practice or theory, charging equally against the formalism of neo-avant-garde architects such as Peter Eisenman, and against the self-sufficiency of theory proclaimed by critical historians like Manfredo Tafuri. Instead, the anti-avant-garde asserted a theory of "authentic" experience, in which theory and practice became indistinguishable. I argue that this put the anti-avant-garde in the contradictory position of having to efface its own theorizing. This dissertation critically evaluates the anti-avant-garde's full impact in architectural thinking and pedagogy by laying bare its theoretical program.
by Jorge Otero-Pailos.
Ph.D.
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Savasir, Gokcecicek. "Re-thinking The Limits Of Architecture Through The Avant-garde Formations During The 1960s: Projections And Receptions In The Context Of Turkey." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609369/index.pdf.

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An inquiry into the voyage of avant-garde within the domains of art and architecture makes it evident that avant-garde is ambiguous in meaning as a word, a term, a phenomenon and a concept. This study aims to decipher avant-garde and to offer a map for its conceptualization in architecture. Taken not as a monolithic statement but as a unitary concept incorporating a number of subjects and formations for granted, in this study, architectural avant-garde is conceptualized as diverse expressions of activated energy of various subjects that reveal completely different attitudes and productions. Unfolding the concept in different dimensions, this study is an endeavor to delve deeper into various layers of theoretical and historical formations
to form a framework for conceptualizing architectural avant-garde through scanning the twentieth-century avant-gardes
to focus on the avant-garde formations of the 1960s by applying this conceptual framework, and the debate on their receptions in the present architectural context of Turkey. Being on the verge of architecture, the avant-gardes during the 1960s, namely Constant Nieuwenhuys, Yona Friedman, Japanese Metabolists, Archigram, Archizoom, and Superstudio, point out that architecture is both an intellectual activity and a physical production. Projections and resonances of these avant-gardes in the Turkish architectural context of the subsequent periods are trail blazed through the expressions of a group of receiving subjects from the Turkish scene of architecture. Hence, this study offers to lay a common ground for debating on the limits of architecture by forming not only the topography of architectural avantgarde in this era, but also a &
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on architectural avant-garde.
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Alexandrova, Rositza Stephanova. "Reclamations : the aesthetic economy of architecture, advertising, and the filmic avant-garde." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611403.

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Zheng, Yalan M. S. "The 798 Art Zone, the European Avant-Garde in China." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378197416.

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Leiter, R. Jeffrey. "Erich Mendelsohn--constructing an image of modernity between Expressionism and the 1920's avant-garde." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/68325.

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Callwood, Chaneel Marie. "Architectural nights : an articulation of the structure of "The Garden of Forking Paths" by Jorge Luis Borges and "One Hundred Years of Solitude" by Gabriel Garcia Marquez." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23932.

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Ruivo, Pereira Ricardo. "Architecture and counter-revolution : the ideology of the historiography of the Soviet "avant-garde"." Thesis, Open University, 2018. http://oro.open.ac.uk/53798/.

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The thesis produces a history of the Western historiography of Soviet architecture, looking at its trends and the evolution of its narratives. It focuses on the development of historiographical categories and their transformations, as an exercise of what Reinhart Koselleck calls conceptual history, framed as a Marxist critique of ideology. While the Soviet “avant-garde” has seen growing popularity since the 1960s in the West, it has been systematically presented as precedent to politically charged present practices and discourses. This thesis frames this link to the present as a “historiographical link”, an ideological projection of meanings the Western historiography of Soviet architecture produces over its own geo-political reality. “The avant-garde” as a meta-category is itself constructed in this context as a means of legitimation of Western presents, where the relationship between history, design and politics is articulated through the category of what Tafuri calls “the project”, in a process that depoliticises the very idea of the politicisation of architecture itself.
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Books on the topic "Avant-garde concept of architecture"

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Pangarsa, Galih Widjil. Merah putih arsitektur Nusantara. Yogyakarta: Diterbitkan oleh Penerbit Andi untuk Jurusan Arsitektur, Fakultas Teknik, Universitas Brawijaya, Malang, 2006.

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Pangarsa, Galih Widjil. Merah putih arsitektur nusantara. Yogyakarta: Diterbitkan oleh Penerbit Andi untuk Jurusan Arsitektur, Fakultas Teknik, Universitas Brawijaya Malang, 2006.

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Lesnikowski, Wojciech G. French avant-garde architecture 1989. [Chicago: Art Institue of Chicago], 1989.

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Architecture's desire: Reading the late avant-garde. Cambridge, MA: MIT Press, 2010.

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Kubova, Alena. L' avant-garde architecturale en Tchécoslovaquie: 1918-1939. Liège: P. Mardaga, 1992.

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Giorgi, Gabriele De. La terza avanguardia in architettura =: The third avant-garde in architecture. Roma: Diagonale, 1998.

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Russian avant-garde: Theories of art, architecture, and the city. London: Academy Editions, 1995.

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Khan-Magomedov, S. O. Arkhitektura sovetskogo avangarda. Moskva: Stroĭizdat, 1996.

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G: An avant-garde journal of art, architecture, design, and film, 1923-1926. Los Angeles: Getty Research Institute, 2010.

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Lupton, Ellen. Letters from the avant-garde: Modern graphic design. New York: Princeton Architectural Press, 1996.

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Book chapters on the topic "Avant-garde concept of architecture"

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Ostwald, Michael J., and Josephine Vaughan. "The Avant-Garde and Abstraction." In The Fractal Dimension of Architecture, 243–81. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32426-5_9.

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Yoshida, K. "Architecture and ignorance." In Avant-Garde Art and Nondominant Thought in Postwar Japan, 150–72. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003001591-7.

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Kaloshina, L. L., and N. P. Dubrovina. "Identification of author's techniques in architecture of Leningrad avant-garde." In Reconstruction and Restoration of Architectural Heritage 2021, 45–49. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003136804-9.

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Bardzinska-Bonenberg, Teresa. "Ideas Behind the Changes in the 20th c. Avant-Garde Architecture." In Advances in Intelligent Systems and Computing, 113–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20151-7_11.

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Wenderski, Michal. ""What we do is no imitation, but an effort parallel to . . . " — Selected Works of Art and Architecture as Representation of Mutual Influences and Similarities." In Cultural Mobility in the Interwar Avant-Garde Art Network, 80–108. New York : Routledge, 2018. | Series: Routledge research in art history: Routledge, 2018. http://dx.doi.org/10.4324/9781351027908-4.

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Ulivieri, Denise, Marco Giorgio Bevilacqua, Mattia Patti, and Alessia Domenichini. "For “A Positive and Feasible Architecture”. The Contribution of Mario Chiattone to the Avant-Garde Movements of the Early 20th Century." In Digital Modernism Heritage Lexicon, 553–75. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76239-1_24.

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Pilný, Ondřej, Ruud van den Beuken, and Ian R. Walsh. "Introduction: Cultural Convergence at Dublin’s Gate Theatre." In Cultural Convergence, 1–13. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_1.

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Abstract The pioneering efforts of the Dublin Gate Theatre (est. 1928) stimulated the influx of experimental plays from the European Continent and North America to Ireland and inspired Irish theatre-makers to revolutionize their dramaturgy. This book examines the Gate’s poetics over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre and of Hollywood cinema and popular culture. It also investigates cultural exchanges pertaining to the development of Irish-language theatre and the politics of the Gate. The introduction summarizes existing research about the Gate, outlines the book’s concept of cultural convergence and its overall approach – which is intent on the exploration of wider global contexts of the work of the Gate – and outlines the argument of the authors in the subsequent chapters.
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"An Applied Mathematical Model for Business Transformation and Enterprise Architecture Projects." In Using Applied Mathematical Models for Business Transformation, 211–47. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1009-4.ch007.

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This chapter presents the holistic and dynamic knowledge management system (H&DKMS) concept that is implemented in a proof of concept to prove the feasibility of the chapter using the book's HMM approach. The H&DKMS supports business transformation projects (BTP) and enterprise architecture projects (EAP) (simply project). The H&DKMS is supported mainly by an adopted fictious case from the insurance domain. The uniqueness of the proposed HMM promotes a holistic architecture and implementation model that supports complex case studies. The integrated knowledge management and decision-making process are used in a day-to-day business and technology problems solving. In this chapter, the proposed solution (or model) is supported by a real-life case of business transformation methodology in the domain of H&DKMS that in turn is based on the alignment of various standards and avant-garde methodologies.
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"Avant-Garde." In The Visual Dictionary of Interior Architecture and Design, 32. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0019.

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"The Limits of “Non-Plan”: Architecture and the Avant-Garde." In Avant-Garde / Neo-Avant-Garde, 283–95. Brill | Rodopi, 2005. http://dx.doi.org/10.1163/9789401202589_017.

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Conference papers on the topic "Avant-garde concept of architecture"

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Tokarev, Arthur. "Architecture of Soviet Avant-garde in the South of Russia: Past and Future." In Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ahti-19.2019.28.

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Marzot, Nicola. "The Cyclicality of the Anthropic Space in Urban Morphology: an architectural perspective." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4812.

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This paper intends to offer a systematic reflection on the significance of “cyclicality” in the processual development of the anthropic space, ranging from the territorial to the architectural scale. The reflection will essentially focus on those theoretical contributions emerging from the disciplinary field of architecture and urban design. Among them, three outstanding research positions can be clearly listed over the last century and will therefore be analyzed in-depth: Saverio Muratori’s definition of “Storia Operante”; John Habraken’s system of “Support and infill” and the Re_Cycle Italy research network program on “Recycle”. Beyond those stances, modern precedents can be traced back in some Neo avant-garde movements, especially Japanese Metabolism and Radical architecture. The topic rapidly assumes nowadays an increasing interest because of the financial crisis which is still affecting the world on a global scale and the subsequence necessity to critically reflect on the responsible reuse of heritage to face the challenging demand of a sustainable approach in the building market. The reflection is intentionally limited to the western country panorama, since there is an historical evidence of its long-lasting legacy in the transformation of the city form over the millennia. One of the expected results of the paper is to contribute to the definition of a new design strategy, in order to profit from the increasing presence of waiting lands and vacant buildings to drawn the society of the near future, offering room for experimentation to the emerging driving forces which claim a role in its deployment.
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Cova Morillo, Miguel Angel De la. "Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.729.

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Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice. Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729
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