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Journal articles on the topic 'Center of contemporary art and architecture'

Author: Grafiati

Published: 28 June 2021

Last updated: 29 July 2025

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1

Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.

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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ function

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Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.

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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likenes

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Dau, Kenny Chris Imantaka, and J. C. Heldiansyah. "PUSAT SENI KONTEMPORER DI BANJARBARU." JURNAL TUGAS AKHIR MAHASISWA LANTING 10, no. 2 (2021): 173–83. http://dx.doi.org/10.20527/jtamlanting.v10i2.865.

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The Contemporary Art Center in Banjarbaru is a place that presents a place to facilitate artists and the general public who are interested in various elements of art that are developing now, such as installation art. This center of contemporary art aims to create an environment that can indicate the behavior of artists and contemporary art, so that it can be used as an art space for artists and the general public to collaborate with each other in various branches of art. By using combined metaphor method and character concept, it is expected to be able to create an art center design with conte

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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.

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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contraste

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Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.

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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers com

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Wang, Yawen. "Ullens Center for Contemporary Art Design Alterations." Highlights in Art and Design 3, no. 2 (2023): 1–5. http://dx.doi.org/10.54097/hiaad.v3i2.9827.

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Taking the past life of 718 Factory as an example, this paper explores the spatial transformation of old industrial heritage in Beijing and its current development; and how the cultural heritage of the industrial era can be combined with contemporary art that represents the "future style" in the contemporary context. The paper is a time-line analysis of architectural positioning, spatial planning, material utilization and other dimensions, which provides a reference for the transformation of urban industrial relics.

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Darma, Septia, and Neneng Yulia Barky. "PENERAPAN ARSITEKTUR KONTEMPORER PADA BANGUNAN ART CENTER AND GALLERY DI KOTA MEDAN." JAUR (JOURNAL OF ARCHITECTURE AND URBANISM RESEARCH) 7, no. 2 (2024): 129–33. https://doi.org/10.31289/jaur.v7i2.11346.

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North Sumatra is one of the largest islands in Indonesia with the capital city in Medan. It has an area of 72,460.744 km2, with a population of 2,494,512 people, and is surrounded by 21 districts. known as the paris of Sumatra van, which has a lot of interesting cultural diversity. It can be seen from several aspects of people's lives, ranging from grammar, customs, clothing, food, and art. Medan City itself has quite recognizable arts including Malayu art, and Batak art. According to Perda (Regional Regulation of Medan City on the Preservation of Cultural Heritage Buildings and Environments),

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Qutrunnada, Annisa Sesa. "SEMARANG JAVANESE ARTS CENTER IN SEMARANG WITH BEHAVIORAL ARCHITECTURE APPROACH." Canopy: Journal of Architecture 12, no. 1 (2023): 22–32. http://dx.doi.org/10.15294/canopy.v12i1.70950.

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Semarang City is one of the cities on the island of Java that also serves as the capital of Central Java Province. As a Javanese city, Semarang has its traditions, culture, and unique Javanese art with its charm. The Javanese art in Semarang is greatly influenced by hybrid culture factors, where the art has undergone many cultural acculturations throughout the city's history. Unfortunately, many of these arts are not well spotlighted due to a lack of activities to showcase them (events) and the limited spaces available to accommodate various Javanese art activities in Semarang. This has caused

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Rahayu, Silfina, and Anna Oktaviana. "BANJARBARU PERFORMING ART CENTER YANG RESPONSIF DI ERA NEW NORMAL." JURNAL TUGAS AKHIR MAHASISWA LANTING 11, no. 2 (2022): 231–45. http://dx.doi.org/10.20527/jtamlanting.v11i2.1482.

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The design of the Performing Art Center in Banjarbaru City was the background of the lack of art container that accommodates and can only facilitate art activists on a small scale. So it can be said that the Banjarbaru City really needs a place that can accommodate art containers creativity, plus the problem in the pandemic era makes the art apparent death. The design of Performing Art Center aim to produce a design concept that can be an art container place responsive to the new normal with new normal concept and the new normal phenomenological approach, as for the appearance of the building

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Pane, J. B., J. Rilatupa, and S. Simatupang. "The development of an arts centre with the application of futuristic architecture." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.

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Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the

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Rahman, N. Vinky, and Esra Monica Aruan. "Performing Art and Culture Center Hamdan." International Journal of Architecture and Urbanism 3, no. 3 (2019): 342–50. http://dx.doi.org/10.32734/ijau.v3i3.3750.

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Performing Art and Culture Center is a building that functions as a center of activity to accommodate the creativity of the community in the field of art as well as public space facilities in the city of Medan. The center for arts and culture is expected to be able to respond to the problem of Medan City in providing community space and informal education facilities so that this function aims as a community space that can accommodate artistic activities with adequate facilities. The method used in designing this project is a data collection through field surveys and literature studies. This pr

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Wibowo, Stevanus Agustian, Ika Ratniarsih, and Failasuf Herman Hendra. "Implementation of Contemporary Architecture in the Shape of the Main Building in the Central Area of the Creative Arts and Music Industry in Surabaya." Jurnal IPTEK 29, no. 1 (2025): 87–94. https://doi.org/10.31284/j.iptek.2025.v29i1.6660.

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The main building of the Creative Arts Music Industry Center in Surabaya has a function to facilitate the growth and development of the creative arts music industry in Surabaya. Among them are Pop, Rock, Dangdut, Jazz, Classical, and Traditional Music. The facilities in this building include indoor music performances, a music library, music education, music production, music recording, and a music collaborator. The main building is designed with the application of a contemporary architectural theme. Contemporary architecture is architecture that has the freedom to express itself and has the de

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Pierce, Imogen Van. "Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.

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What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of

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Kalitko, Krzysztof. "„Postrzępienie” — nowa koncepcja przestrzeni miasta i jego architektury." Kultura i Społeczeństwo 49, no. 1 (2005): 37–46. https://doi.org/10.35757/kis.2005.49.1.3.

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The idea of chaos, disorder, incidentality of phenomena and their disjoined and ambivalent presence hale gained notoriety. In contemporary architectural discourse and urbanism, the author proposes to define these phenomena as “jaggedness” which fits contemporary architecture always trying to dismantle, break, or abandon the present nurture of construction. It departs radically from its foundation as in the projects of Coop Himmelblau, Woods, Hadid, Koolhaas or Libeskind, where the relation between the building and the ground become a complex and refined game.The category of “jaggedness” is sui

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Knight, George. "The Yale Center for British Art: a Building Conservation." Louis I. Kahn – The Permanence, no. 58 (2018): 50–59. http://dx.doi.org/10.52200/58.a.8ah55zai.

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The Yale Center for British Art was designed by acclaimed American architect Louis I. Kahn to house a collection of British art on the campus of Yale University. The Center, Kahn’s third and final museum building, was designed between 1970 and 1974 and opened its doors to the public in 1977. By 2002 it was evident that the building was fast approaching a crossroads: finishes had reached the end of their lives, program space was in desperate demand, patron amenities and life safety measures no longer met contemporary standards and, worst of all, infrastructural systems strained to sustain the e

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Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.

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Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectu

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Sokolyuk, Lyudmyla, Viktoria Naydenko, and Anastasiia Khudiakova. "Interplay Between the Arts in the Works of Ukrainian Artists at the Turn of the 21st Century: Kharkiv School." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 36–44. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269776.

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The paper addresses the interplay between the arts in the art practice of Ukraine at the turn of the 21st century in the context of the changes that occurred in connection with the introduction of Ukrainian artistic culture to the new trends in contemporary art. This phenomenon is analyzed using the example of the activities of the Kharkiv-based artists, asthis large art center in Eastern Ukraine has its deeply-rooted specific art traditionіs: academic art education and art-industrial education were introduced here significantly earlier than in other Ukrainian cities. At present, both of these

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De Carvalho, Daniela Dias. "Urban design and architecture through notation." Ekistics and The New Habitat 73, no. 436-441 (2006): 323–29. http://dx.doi.org/10.53910/26531313-e200673436-441133.

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The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the C

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., Andalucia, and Marini . "North Sumatera Convention Center." International Journal of Architecture and Urbanism 2, no. 2 (2018): 132–37. http://dx.doi.org/10.32734/ijau.v2i2.397.

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Sumatera Utara has enhancement of population growth around 2.33% per year and economic growth around 14.7% per year. By all means, this data effect on trade sector, industry sector, entertainment sector, and education sector. From the data above can be obtained that Medan needs supporting facilities to organizing even such as conference, exhibition, a party even, or concert which nationally or internationally. There are a few even for entertainment and art in Medan seen from rarely held music or art performance nationally or internationally. Moreover, there is a very few venue to hold it. Nort

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Kossel, Elmar. "Der Wiederaufbau von Florenz 1945." Architectura 46, no. 1 (2016): 72–103. http://dx.doi.org/10.1515/atc-2016-0005.

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AbstractFlorence suffered heavy destruction due to blasting by the german Wehrmacht in the area around the Ponte Vecchio in 1944. On the question of how the historic, in the core medieval buildings should be rebuilt, a vigorous debate was ignited, which also was intensively conducted in public. The debates core was about the question of wether the old center should be reconstructed exactly as it was or should a modern and contemporary solution be given priority. The art historian Bernhard Berenson and the archeologist Ranuccio Bianchi Bandinelli exemplified the position in the debate for the F

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Gabriela, García de Cortázar Galleguillos. "La sala de espera. Breve historia de una tipología menor = The Waiting Room. A short history of a minor typology." rita_ Revista Indexada de Textos Académicos, no. 18 (November 30, 2022): 258–77. https://doi.org/10.24192/2386-7027(2022)(v18)(14).

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A pesar de su ubicuidad y de que todos hemos pasado mucho tiempo en ellas, la sala de espera no ha sido objeto de estudio para la arquitectura; la sala de espera no es una tipología arquitectónica por sí misma, ni un objeto de deseo. Sin embargo, en contraste con la aparente banalidad de sus versiones contemporáneas (como las esperas de consultas y trámites), la sala de espera funciona como un dispositivo reglamentario del uso del espacio y del tiempo, administrando la pérdida de este último. Este artículo traza la historia de la sala de

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Kubec, Jan. "Copernicus Science Centre – marvel of erosion logic or a functional machine? A case study of a public architecture building at the beginning of the 21st century." BUILDER 285, no. 4 (2021): 75–77. http://dx.doi.org/10.5604/01.3001.0014.8076.

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Throughout the recent two decades the issue whether architecture is still at its core a public art and whether construction in the public zone in all forms there of still remains the main purpose of architectural practice has been questioned. Given the crisis that has attended architectural language the last half of the 20th century, we have to acknowledge that one of the most difficult issues facing architects today is the way in which a public building is still able to express certain intrinsic values as these are embodied in (1) volumetric organisation, (2) structural order, and (3) represe

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Nashman Fraiman, Susan. "The Torah Ark of Arthur Szyk." Arts 9, no. 2 (2020): 60. http://dx.doi.org/10.3390/arts9020060.

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This paper discusses the design and symbolism of a hitherto unpublished work by the artist Arthur Szyk (1894–1951), an ark for the Torah which he designed for the Forest Hills Jewish Center of Queens, New York, and which was dedicated in 1949. The Torah Ark is the central focus of all synagogue worship. Szyk’s ark is unique in its multiplicity of symbols and texts, which was at odds with the modernist idiom of post-World War II synagogue architecture. This research, which also brings previously unpublished material, analyzes the possible sources for the work and its distinctive message, which

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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.

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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by

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Milbrath, Susan, and Carlos Peraza Lope. "REVISITING MAYAPAN: Mexico's last Maya capital." Ancient Mesoamerica 14, no. 1 (2003): 1–46. http://dx.doi.org/10.1017/s0956536103132178.

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Archaeological excavations begun at Mayapan in 1996 require re-evaluation of this site, sometimes disparaged as representing “decadent” Postclassic Maya culture. New discoveries show that the site was an international center that incorporated specific symbols in its art from areas as far away as Central Mexico and Oaxaca. Indeed, there is evidence of trade with both areas. Another important Postclassic trade route connected Mayapan to Yucatan's eastern coast and Peten, Guatemala. These connections are reflected in similar ceramics and architecture in the three areas. Revival of Terminal Classi

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Gosson, Renée. "Ruins, rhizomes, palimpsests, and traces-mémoires: Guadeloupe’s Mémorial ACTe and the art(s) of representation." Contemporary French Civilization: Volume 46, Issue 4 46, no. 4 (2021): 415–38. http://dx.doi.org/10.3828/cfc.2021.24.

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This study examines the degree to which the world’s largest slavery memorial and arts center enacts emerging theorizations of postcolonial memory to connect the Caribbean’s colonial history to legacies of human exploitation both transnationally and transtemporally. Situated literally on top of the former Darboussier sugar factory site, the Mémorial ACTe is a lieu de mémoire that invites a palimpsestic approach to its symbolic location, architecture, and museography. Through a consideration of contemporary art, first in the ephemeral occupation by artists of the Darboussier ruins pre-demolition

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Bondarenko, Igor A. "Eternal and Temporary in Architecture and Urban Planning." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 1 (March 18, 2019): 5–11. http://dx.doi.org/10.22337/2077-9038-2019-1-5-11.

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The article focuses on the archaic model of the geocentric universe, which was captured in the general structure of buildings and cities. In this model, there is a stationary beginning in the center and a dynamic, changeable shell around. This envelope was associated with the firmament, over which stars and wanderingluminaries float, measuring time cycles. In Modern and Contemporary Periods, other ideas prevailed, aimed at achieving absolute harmony in mortal life, as if the course of history had ended and time stood still. This led to the flourishing of the art of regular planning and such ar

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Mohammad Noh, Liza Marziana, and Nur Emylia Natasha Muchamad Imron. "Navigating Challenges and Cultivating Creativity: A Path to Establishing Malacca as Malaysia’s Artistic Hub within its World Heritage Accreditation." International Journal of Research and Innovation in Social Science IX, no. I (2025): 353–61. https://doi.org/10.47772/ijriss.2025.9010032.

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Malacca, a UNESCO World Heritage Site, is renowned for its rich historical and cultural heritage, shaped by centuries of global influence. While the city’s colonial-era architecture and multicultural identity remain central to its appeal, Malacca is undergoing a significant transformation as it redefines itself as a contemporary arts hub. This study explores the challenges and strategic pathways necessary to position Malacca as a thriving artistic center, balancing the preservation of its historical significance with the promotion of innovative artistic expressions. Through qualitative researc

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Basri, Muhammad, Nurul Hadidah Al-Hadid, Ziha Fida Utami Tanjung, and Nur Hasanah. "The Period of Progress of Islamic Civilization." EDUCTUM: Journal Research 3, no. 1 (2024): 27–33. http://dx.doi.org/10.56495/ejr.v3i1.448.

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The Islamic civilization's period of advancement from 600-1000 CE, often referred to as the Golden Age of Islam, represents a pivotal era in human history marked by unity in Islamic values, a strong moral foundation, and a cohesive identity among Muslims. This epoch reached its zenith during the times of the Rightly Guided Caliphs, the Umayyad Dynasty, and the Abbasid Dynasty. Key factors, such as steadfast adherence to Islamic values, laid the groundwork for a robust moral foundation and a detailed Islamic legal system. Cultural heritage emerged as a primary driver for scientific development,

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Siza Vieira, Ávaro. "Centro de arte contemporáneo de Galicia en Santiago de Compostela (Galicia, España)." Informes de la Construcción 47, no. 439 (1995): 41–57. http://dx.doi.org/10.3989/ic.1995.v47.i439.1053.

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Tostões, Ana. "José Augusto França interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 83. http://dx.doi.org/10.52200/55.a.w6x7yxwv.

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On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au

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Turgut, Berkay. "Art And Healing: From Ancient Spaces To Modern Therapeutic Design." Made By Artist Journal 1, no. 1 (2025): 30–37. https://doi.org/10.5281/zenodo.14655724.

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The relationship between art, architecture and healing has been an important focus throughout history, evolving from ancient sacred spaces to modern therapeutic environments. This study examines how art and nature have contributed to healing in various eras and how these contributions have been reinterpreted in contemporary architecture. Ancient healing centers, such as Egyptian temples, Greek Asclepions and Roman baths, integrated physical, spiritual and social healing processes, creating environments that promoted general well-being and social cohesion. During the Middle Ages and Renaissance

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Caldenby, Claes. "“Utopias Are for Those Who Cannot Build”: The Structural Philosophy of the Swedish National Board of Building." Arts 7, no. 4 (2018): 73. http://dx.doi.org/10.3390/arts7040073.

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Structuralism in architecture was a widespread international phenomenon in the post-war decades. It was an avant-garde architecture, in many cases even utopian. In contrast to this, the structural philosophy of the Swedish National Board of Building was outspokenly pragmatic. This article, based on documents and interviews with the architects involved, gives the background of the National Board’s interest in “the chronological dimension of architecture”. The National Board was the largest client in Sweden for design and building and experienced managers of a large building stock. In the mid-19

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Bursiewicz, Natalia. "The image of contemporary architecture of Wrocław depicted in recent tourist commercial and Internet media." w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 9 (2021): 28–48. http://dx.doi.org/10.1344/waterfront2021.63.9.02.

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The aim of the paper is to present the tourist and image potential of contemporary public architecture. Wrocław was chosen as the research subject, as it is a historical center with an extremely rich architectural heritage, which has enjoyed great interest among visitors for centuries. With the announcement of Wrocław as the European Capital of Culture 2016, and then the European Best Destination in 2018, its attractiveness increased significantly, which was reflected not only in the number of visitors, but also in the advertising materials themselves. Both before and after arrival, millions o

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Andersen, Tawny. "Editorial." TURBA 3, no. 1 (2024): v—viii. http://dx.doi.org/10.3167/turba.2024.030101.

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Enter any contemporary art museum, gallery, or biennale in 2024 and chances are that the live arts will be center “stage.” While theater, dance, music, and performance art were historically presented in visual arts contexts as fringe or one-off events, since the turn of the twenty-first century—and gaining momentum over the past decade—there has been a growing tendency to “exhibit” live art. As choreographers, directors, and composers who have built their careers in the visual art world—which is significantly more monied than the performing arts world—take home major prizes and awards, leading

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Jahani Sham Asbi, Majid, Hassan Ebrahimi Asl, and Hassan Sattari Sarbanghooli. "Development and Historical Transformations of the Architectural Complex of Sheikh Safi al-Din Ardabili in the Contemporary Era." Journal of Social-Political Studies of Iran's Culture and History 3, no. 1 (2024): 110–36. http://dx.doi.org/10.61838/kman.jspsich.3.1.7.

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Architecture has always been connected to fundamental thought in some way. It appears that the Sheikh Safi al-Din Ardabili complex, as one of the important centers of mysticism and Sufism, is also influenced by mystical ideas and concepts, which have impacted the formation of its architecture. The Sheikh Safi al-Din complex was constructed over various periods; however, historical texts state that Sadr al-Din Musa, the son and successor of the Sheikh, designed the order and structure of the mausoleum himself and was inspired to the architect through a dream. Therefore, it may be possible to re

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Akilan Selvaraj Saroja. "Advancing Security in Lightweight S-WBSN for E-Healthcare." Journal of Electrical Systems 20, no. 10s (2024): 8187–211. http://dx.doi.org/10.52783/jes.7059.

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Wireless body sensor networks (WBSNs) are a critical component of e-healthcare, enabling continuous monitoring of vital signs and other health parameters. However, the limited capacity of WBSNs poses a significant challenge to securing data transmission. A novel architecture for Secure Wireless Body Sensor Networks (S-WBSN) has been introduced, focusing on efficiency and robust security. The S-WBSN architecture employs a combination of the OTP-Q stream block cipher and the Diffie-Hellman key exchange algorithm to ensure secure data transmission and mutual authentication between critical compon

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Karas, Hanna. "Semiosphere of the Hunter National Cultural Space." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 3, no. 1 (2020): 8–17. https://doi.org/10.31866/2616-7581.3.1.2020.204334.

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The Ukrainian Cultural Center in Hunter (the USA) is regarded as a special cultural space, the semiosphere of which is filled with different texts and signs: verbal communication (Ukrainian, English, and other languages), musical texts (vocal, instrumental), the language of architecture, fine arts, language of nature. The main focus is made on the Festival of Classical and Chamber Music in Greene County, New York, that has been held on the initiative of composer Ihor Sonevytskyi since 1983 till the present time. This festival is aimed at the promotion of contemporary Ukrainian musical art. The

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Manley, David, Jonathan Hopkins, Anat Grant, and James Krumhansl. "SAFE Credit Union Performing Arts Center audio enhancement to support architecture." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A169—A170. http://dx.doi.org/10.1121/10.0023162.

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Opened in 1976 and without a major renovation since, the 98,000-sf SAFE Credit Union Performing Arts Center was in dire need of transformation. The building’s aging infrastructure needed a comprehensive modernization to meet accessibility requirements, the escalating requirements of contemporary performance, and to present a new face to the public as the premier cultural institution in the state capital. The existing theater’s acoustics represented a challenge to effectively accommodate the wide range of performance types including Broadway roadshows, the Sacramento Choral Society, and the Sac

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Nekrošius, Liutauras. "ARCHITECTURE AS AN ART COLLECTION: PALANGA CASE / ARCHITEKTŪRA KAIP MENO KOLEKCIJA. PALANGOS ATVEJIS." JOURNAL OF ARCHITECTURE AND URBANISM 36, no. 3 (2012): 222–38. http://dx.doi.org/10.3846/20297955.2012.732799.

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The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant

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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.

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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, church

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Metta, Annalisa. "Corpo a corpo." Ri-Vista. Research for landscape architecture 19, no. 2 (2022): 46–57. http://dx.doi.org/10.36253/rv-11449.

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    Bodies make immaterial, impermanent, and impregnable urban geographies, and thereby affirm and claim the open spaces of the city as fields of opportunity, repositories of not pacified and controversial rituals, therefore fruitful. Bodies have an explicit design value; they are cognitive as well as configurative tools. When we put bodies at the center of the project, we outline performative landscapes in both environmental and aesthetic, emotional and behavioral terms. At the same time, we male authentically erotic landscapes, which are opportunities for mixing, comm

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Zarakhovskyi, Oleksandr, Yevhen Kozlovskyi, and Sergii Neilenko. "ARCHITECTURAL HERITAGE OF CHERKASY AS A RESOURCE OF URBAN TOURISM." GEOGRAPHY AND TOURISM, no. 78 (2025): 14–24. https://doi.org/10.17721/2308-135x.2025.78.14-24.

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The purpose of the article is to justify the uniqueness, tourist attractiveness, and advantages of using the historical planning of Cherkasy and its architectural monuments (dated to the late 19th – early 20th century) in urban tourism. In this context, the current state of preservation and integrity of the city's historical architecture is analyzed, along with the challenges and prospects of its using as a tourist resource. Methods of the research includes a review and analysis of literary and archival sources; the historical method is used to study the genesis and development of the city's a

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Losonczy, Anna Kornélia, and Annamária Orbán. "Understanding Centrality Theories •." Építés - Építészettudomány 50, no. 1-2 (2022): 27–43. http://dx.doi.org/10.1556/096.2021.00048.

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The study is based on the re-combination or synthesis of international scientific literature, and the definition of the notions center, and sub-center. A conceptual-structural framework of socio-spatial characteristics of centers (and sub-centers) is set up, these factors are essential elements of making, maintaining, and rehabilitating a city: Market and Competition; Node and Pole; Faith; Power; Security; Mixture; and Identity. In an evaluation matrix, the meta-physical characteristics (that are the determining factors of the physical attributes) of these archetypes are drawn. Based on famous

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Wilhelm, Mirjam E. "“A Child in Every Artist?” Vjera Biller and Jewish Primitivism in the Berlin Sturm Avant-garde." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (2021): 87–107. http://dx.doi.org/10.3828/aj.2021.17.5.

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This article centers on the “forgotten” Jewish avant-garde artist Vjera Biller, among the most active contributors to the Berlin-based 1920s expressionist movement Der Sturm. Through an in-depth analysis of the artist’s fragmented oeuvre, including her Venice series, it examines Biller’s art practice, her leitmotif of children, and its links to the aesthetics of interwar German Expressionism. It contrasts her approach with that of her contemporary Sturm colleague Marc Chagall and shows how both artists drew extensively on children’s art and “the primitive” for inspiration. Biller also pioneere

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Jeon, You-Chang, and Sung-Wook Kim. "A Study on Constructive Characteristic of Media in the Surface of Contemporary Architecture -Focused on Codification and Seriality of de Young Museum and Walker Art Center." Journal of the Korea Academia-Industrial cooperation Society 12, no. 5 (2011): 2416–24. http://dx.doi.org/10.5762/kais.2011.12.5.2416.

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Nafi, Dian. "The The Identity of Demak: Unveiling Culture, Architecture, Heritage and Historical Significance." International Journal of Architecture and Urbanism 7, no. 3 (2023): 411–17. http://dx.doi.org/10.32734/ijau.v7i3.13801.

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The concept of local identity, known as "jati diri," has gained prominence as a means of understanding and preserving the unique cultural and historical characteristics of cities. This paper focuses on exploring the jati diri of Demak, a city in Indonesia with rich cultural heritage, architecture and historical significance. Through an interdisciplinary approach encompassing history, culture, architecture, and community engagement, this study aims to uncover the essence of Demak's identity, highlighting its historical evolution and contemporary manifestations. The paper delves into the histori

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Schneider, Julia Ju. "A private space in Soviet nonconformist art on the example of Moscow conceptualism." Vestnik of Saint Petersburg State University of Culture, no. 4 (61) (2024): 84–88. https://doi.org/10.30725/2619-0303-2024-4-84-88.

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In conditions of exclusion from the official exhibition culture, the practice of apartment exhibitions and conversations is being formed in the circle of the Soviet underground. The topic of art outside the museum raises a few questions that are rarely addressed in contemporary art criticism. The study of private spaces as an alternative to museums is relevant both for the history of the development of Soviet unofficial art, and from the point of view of studying issues of theory and philosophy of art. Artist’s studios become centers of intellectual and aesthetic vector forms, which largely de

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Mustafa, GÜRGÜLER. "Traditional Textile Art Carpet and Conceptual Art." International Journal of Humanities and Art Researches 8, no. 1 (2023): 85–97. https://doi.org/10.5281/zenodo.7742039.

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The gap arising between human relations is a product of post-industrial technology. The reflection of this situation on the human spirit emerges as a global problem. The proposed solutions are insufficient for the modern individual at the social level. As the crisis of the new generation modern age forces people to search continuously for a new identity, it also directs artists to draw attention to different disciplines, including the material, but this search deepens the gap that emerged. We need to be in a constant state of change, examine different cultures and, when necessary, include them

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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.

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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the av

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