To see the other types of publications on this topic, follow the link: Expressionism (Architecture).
Journal articles on the topic 'Expressionism (Architecture)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Expressionism (Architecture).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Stolyarova, Elena G., and Andrey Ev Berezin. "Aesthetic principles of expressionism in modern architecture." Urban construction and architecture 14, no. 1 (April 25, 2024): 150–56. http://dx.doi.org/10.17673/vestnik.2024.01.17.
Full textAbstract:
The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.
2
Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (August 27, 2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.
Full textAbstract:
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 likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.
3
Broner-Bauer, Kaisa. "Architectural visions." Approaching Religion 11, no. 1 (March 20, 2021): 77–97. http://dx.doi.org/10.30664/ar.98060.
Full textAbstract:
In this article I examine the architecture and architectural thinking of Finnish Academician Reima Pietilä (1923–93) in relation to his design methodology. Pietilä was an architect with an original, creative, artistic personality, who set out early in his career to develop the form language, and theory of modern architecture, moving it towards an organic expressionism. Finnish nature mysticism was a source of inspiration for him, and ‘nature architecture’ one of his key concepts.
4
Bernik, Stane, and Marjan Golobic. "Slovene Architecture from Secession to Expressionism and Functionalism." Journal of Decorative and Propaganda Arts 17 (1990): 42. http://dx.doi.org/10.2307/1504077.
Full text
5
Alfirevic, Djordje. "Expressionism as the radical creative tendency in architecture." Arhitektura i urbanizam, no. 34 (2012): 14–27. http://dx.doi.org/10.5937/arhurb1234014a.
Full text
6
Bahri, Samsul, and Afrida Handayani. "Medan International Convention Center in North Sumatera Province (Expressionism Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 1–10. http://dx.doi.org/10.32734/ijau.v1i1.255.
Full textAbstract:
Medan is the capital province of North Sumatera in Indonesia. Medan has developed to become one of the metropolitan cities in Indonesia and the heart of economic growth in North Sumatera. Nowadays, Medan is the core of commercial and economic in Indonesia. As the business city, Medan needs a facility as a medium for many activities such as meeting, incentive, conference, an exhibition in world scale. Constructing Medan International Convention Center will be helpful for Medan society and surroundings in needing the daily needs by construction the multi-purpose building. Convention center is one of the valid proof in the convention industry, giving the economic contribution to the city. Considering the substantive investment in the convention center in last years enhances the competition among the businessmen. During the process of designing the Medan International Convention Center uses the method by doing library study which aims to gain the explanation about the program, the field study in gaining the physical data which is needed and literature study as the reference or comparison in designing. Medan International Convention Center can be visited 4000 until 7000 people. The theme of expressionism architecture applies to the building which will show the shape that it can communicate and create the feeling and emotion of the function itself. Finally, this building has the proper function, having the good and visual interest.
7
Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
Full textAbstract:
The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
8
James, Kathleen. "Expressionism, Relativity, and the Einstein Tower." Journal of the Society of Architectural Historians 53, no. 4 (December 1, 1994): 392–413. http://dx.doi.org/10.2307/990909.
Full textAbstract:
The Einstein Tower was the product of the complementary investigations of expressionism, reinforced concrete construction, and relativity undertaken by its architect, Erich Mendelsohn, between 1912 and 1920. The war-ravaged German economy of 1921, which impeded its construction, and the scientific agenda of its patron, Erwin Finlay Freundlich, which determined the character of its interior spaces, also helped shape its final appearance. Designed to serve scientific inquiry, it occupies a distinctive intellectual, as well as stylistic, position within the history of German expressionism. In this building Mendelsohn established the design approach that would characterize the rest of his German career, fusing attention to program with bold images of the thrilling instability of modern life. As its reception demonstrates, the functional aspects of the tower have been overshadowed by the degree to which its form has mistakenly been identified with a contemporary enthusiasm for mysticism, which in fact played no role in its design.
9
Pane, Imam Faisal, and Ribka A. Sianipar. "THE INFLUENCE OF NIEUWE BOUWEN ARCHITECTURE ON DUTCH COLONIAL BUILDING IN MEDAN CITY." DIMENSI (Journal of Architecture and Built Environment) 45, no. 1 (July 31, 2018): 37. http://dx.doi.org/10.9744/dimensi.45.1.37-44.
Full textAbstract:
Nieuwe Bouwen Architecture came and involved in Indonesia is carried by the young Dutch architects, also influenced Dutch colonial building in Indonesia to include Medan city. This study aims to determine what kind of Nieuwe Bouwen that control Dutch colonial buildings in Medan and find the form of the authority. This study used the qualitative method. There are 6 (six) aspects studied in this research that is the dynamic form; expressive ornaments; the building has a tower; nonstructural elements; glass, steel, and concrete materials; elements of air, light, and space. Analysis results show that PD Pasar Office Medan, Paradiso Swimming Pool, and Mandiri KC Medan City Hall Bank are influenced by Nieuwe Bouwen expressionism. Besides that, the form of expressionism on PD Pasar office Medan are of the curved shape of the building, unique, the expressive ventilation has the ornament and decorative element on its facade. As well as Paradiso swimming pool has curved shape, decoration and decorative element on its façade and tower. While at Mandiri KC Medan Cityhall bank, there is the geometric decoration, decorative element, and balcony also tower have expressive shape.
10
Mindrup, Matthew. "The architect’s task: the use of models as structural expressionism." Architectural Research Quarterly 25, no. 1 (March 2021): 4–16. http://dx.doi.org/10.1017/s1359135521000051.
Full textAbstract:
In the above cited quote, Kevin Roche, a principal associate at Eero Saarinen’s architectural practice in 1957, recalls an early morning discussion about the design of the Trans World Airlines’ (TWA) Flight Center. Roche’s story about Saarinen reminds us that at the beginning of an architectural project, a solution may come from any variety of sources, not least of all from everyday objects. This was certainly the case for Saarinen, who found the seed for his design of the structural shells of the TWA Flight Center in the rind of a grapefruit. Despite its seeming novelty, Saarinen is not unique in his approach to the generation of architectural form with models; the Greek-French composer, architect and engineer Iannis Xenakis, who while working with Le Corbusier in 1957, used strings and thick wire to design the hyperbolic shell for their Philips Pavilion at the 1958 Brussels Expo. That a model will play a defining role in an architect’s approach to structural design is also demonstrated by the ‘spherical solution’ that Jørn Utzon discovered while stacking models of his Sydney Opera House’s shell roofs. These explorations with the expression of structure emerged at a time when a new generation of designers, including Eduardo Torroja, Pier Luigi Nervi and Felix Candela, had realised a handful of buildings using models to study and test structural form.
11
Miller, Tyrus. "Modernism Under Review: Reyner Banham's Theory and Design in the First Machine Age (1960)." Modernist Cultures 12, no. 3 (November 2017): 331–44. http://dx.doi.org/10.3366/mod.2017.0177.
Full textAbstract:
This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the ‘first machine age’, characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the ‘second machine age’, populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative ‘international style’. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.
12
Mišić, Biljana. "A contribution to the study of the influence of regional architectural schools in Belgrade's interwar construction: The house of the sculptor Lojze Dolinar in Profesorska Kolonija." Nasledje, no. 24 (2023): 49–85. http://dx.doi.org/10.5937/nasledje2324049m.
Full textAbstract:
Among the more significant Slovenian contributions to Belgrade architecture between the two world wars is the house at Ulica Osmana Đikića 22 (1931-1933) by architect Herman Hus, in which one of the most important Yugoslav artists, Lojze Dolinar, lived and created for the most fruitful period of his working life. The dominant components of expressionism and functionalism can be seen in the house's exterior design, while its conceptual solutions stand out as a striking example of the New Building (Neues Bauen) movement amongst Belgrade's interwar architecture. In terms of its aesthetic and urban values, it presents itself as the most valuable heritage of the second phase of construction of Profesorska Kolonija; one of the most authentically preserved Belgrade settlements with elements of a Garden City. The paper seeks to establish the value and significance of the building as a testament to the cultural, artistic, architectural and urban development of interwar Belgrade.
13
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 (November 15, 2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.
Full textAbstract:
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 architectural philosophy was deeply influenced by modern art. During that era, New York City was known as the center of modern art. Among them, abstract expressionism, conceptualism and minimalism were on full display here. Many famous artists held grand exhibitions here and established their own studios. I.M. Pei spent most of his life in this place. When American modern art reached its peak in New York, many architects decided to use primitive forms to convey a concise and powerful artistic language, which also became their iconic design style. I.M. Pei's design philosophy is global. He emphasized: "In the architectural design process, there are three key aspects that require special attention: the first is the integration of the building with its environment; the second is how to handle space and form; and finally, from the user's point of view, to correctly solve functional problems. In this paper, the study analyzes the structural features of 12 architectural spaces of art museums designed by I.M. Pei in the context of the time line. It compares the similarities and differences in the spatial structure of the architecture of art museums built in the same time period as well as between different historical eras. The study focuses on analyzing the form and content of space and draws on the theoretical framework of contemporary architecture, namely the concepts of space within modernism. As a result of the analysis, two key characteristics of Pei's architecture are highlighted: sculptural and geometric.
14
Sazanova, R. S. "Features of expressionism in the architecture of foreign countries in the XX - early XXI century." Вестник гражданских инженеров 14, no. 4 (2017): 50–54. http://dx.doi.org/10.23968/1999-5571-2017-14-4-50-54.
Full text
15
HAVRYLIV, Tymofii. "TWO «END OF THE WORLD»: APOCALYPSE AS A CODE OF MODERN POETRY AND ITS FUNCTIONALS." Ukraine: Cultural Heritage, National Identity, Statehood 36 (2022): 242–55. http://dx.doi.org/10.33402/ukr.2022-36-242-255.
Full textAbstract:
The apocalyptic code of modernist poetry is studied on the example of the poem «The End of the World» by the Ukrainian modernist poet, a native of Lemkivshchyna Bohdan-Ihor Antonych, and a poem of the same name by a German expressionist poet of Jewish origin, a representative of the apocalyptic Aesthetic, socio-critical and eschatological functionalities of the apocalyptic code of modernist poetry are singled out, characteristic verbal practices are analyzed, the connection between lexical-semantic level and the level of poetic semantics is highlighted, mechanisms of formation are revealed, a detailed figurative-semantic, contextual and cultural-historical analysis of apocalyptic themes was carried out, the cultural-reference field of apocalyptic speech of modernism was determined. It is pointed out that expressionism subjects the religious apocalypse to a powerful reinterpretation, on the one hand secularizing the religious aspect, on the other – significantly expanding the field of reference by introducing signs and symbols of other cultures, beliefs, mythologies, and synthesizing a new apocalyptic vision space, does not claim the quality that was decisive for the Christian apocalypse. It is argued that expressionism transforms the apocalypse from eschatological inevitability into a capacious, semantically rich cultural code as a set of symbols and meanings, as well as their combinations, that through language (language of words, image language, language of spatial objects, language of acoustic and visual units) world. The formally and figuratively diverse, substantially, however, homogeneous poetics of apocalyptic visionary work developed in expressionism has been studied. It is established that 1) the apocalypse appeals to the elements, returns the world, in particular the world of figurative speech to the essential - water and fire, the thunder of heavenly heights and the roar of the earth's depths; 2) signs and symbols of culture are superimposed on natural elements, the latter is dynamized, the purpose of which is to calm them down, to involve them in the apocalyptic algorithm; 3) symbols and signs of culture lose the centuries-old stabilizing semantics and return to dull essence. Methods of textual, contextual, functional, poetic, semantic analysis, hermeneutic and poststructuralist methods are used. It is noted that Bohdan Ihor Antonych's «The End of the World» and Jakob van Goddys's «The End of the World» also solve socio-cultural and eschatological functionalities in different ways.
16
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 (January 1, 2021): 87–107. http://dx.doi.org/10.3828/aj.2021.17.5.
Full textAbstract:
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 pioneered the inclusion of popular culture elements such as cartoons and comics as an avant-garde art form.
17
Ferdiansyah, Ferdiansyah, Ilham Ilham, and Dian Puteri Nurbaity. "Penerapan Arsitektur Ekspresionisme pada Perancangan Gedung Pusat Kreativitas Di Kota Kendari." Jurnal PROYEKSI: Arsitektur dan Perencanaan 1, no. 1 (September 19, 2021): 21–30. http://dx.doi.org/10.51454/proyeksi.v1i1.173.
Full textAbstract:
The creative economy industry is currently starting to develop rapidly in some cities in Indonesia, including Kendari City. Although relatively young, the development of the creative economy in Kendari City is supported by the increasing enthusiasm of young people in this industry. Therefore, to support the interests and talents of the people of Kendari City, especially young people, this study aims to create a place in the form of a Creativity Center Building with the theme of Expressionism. This theme is considered in accordance with the existing conditions in this city which can describe the expression of building users which is reflected in the appearance and interior of the building. This research uses qualitative descriptive and quantitative methods. Based on the analysis of location and site determination, this building is planned to be built in Kadia District with a total area of ± 4.34 Ha. The design of the facade /in this building is taken from the form of Kalosara which is a symbol of unity and peace from the Tolaki Tribe, as well as from the logo of the Creative Economy Agency. This form is the result of a study of the theme of Expressionism Architecture. The results of the planning of this building are expected to be a reference for the government in creating a place that can support the economy, especially in the creative industry of Kendari City.
18
Gnatiuk, Liliia. "The brutalism in of sacred space formation." Current problems of architecture and urban planning, no. 66 (April 14, 2023): 32–43. http://dx.doi.org/10.32347/2077-3455.2023.66.32-43.
Full textAbstract:
The architectural styles of the second half of the 20th century are analyzed, in particular, brutalism, which was the result of a negative assessment of the situation in the culture of the late 19th century. Opinions of leading theorists of culture are presented. Features characteristic of the culture of the end of the century are presented.
The architecture of sacred structures built according to the principle of engineering science is considered. It is determined that created objects. It was found that many attitudes and formulas can be associated with the concept of brutalism in sacred architecture. In particular, that in its development brutalism became more and more susceptible to the influence of selected artistic traditions and drew inspiration from pre-war expressionism, Soviet constructivism, the late works of Le Corbusier, as well as the existentialist atmosphere of Nigel Henderson's photography and Edward's sculpture.
The view is presented that brutalism was the result of industrial development and the popularity of ideologies that appealed to the lower social classes. Despite this, the author did not avoid obvious eccentricity, the desire to make the building unique and even some cruelty in the expression and beauty of the opera performance. The latter aspiration is connected with the departure of brutalism from leftist sympathies to the ideologies of the middle class and consumer society.
The forms of individual sacred structures and ways of organizing their interiors in brutalist forms are analyzed.
The use of the metaphorical language of architecture based on visual human products and their iconographic distinguishing features is considered.
The need to take into account the relationship between certain forms and messages through which they are transmitted in the shaping of the sacred space has been revealed.
The trends in the shaping of sacred space in the 20th century, the role of local traditions and natural materials are revealed.
19
Uvarov, Viktor D. "The History of the Use of Tapestry Art in the Interiors of Public Buildings in the 20–21 Centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 325–32. http://dx.doi.org/10.37816/2073-9567-2022-65-325-332.
Full textAbstract:
The paper deals with aesthetic organization of the subject-spatial environment of public interiors by introducing the tapestry object. The author suggests that the introduction of tapestry object into environmental space of public buildings has wide plastic possibilities for organizing the interrelationships of various elements of interior design and creating a harmonious visual environment. The manifestation of such styles as abstractionism, pop-art, abstract expressionism and minimalism in the production of tapestry led to the revival of weaving art. The main unifying principle for the painting and tapestry is the presence of an image, not ornamental and iconic, but plot-themed. Thanks to their virtuoso skills, the weavers were able to reproduce almost any pictorial image with extreme accuracy in a flat lint-free carpet. The study considers examples of the synthesis of architecture and textile art, as well as aspects of the influence of tapestry on the transformation of the environment of the interiors of public buildings of the 20th– 21th centuries. Basing on the analysis of the world experience in the use of tapestry for public interiors, it revealed that this type of art has wide possibilities, both aesthetic and technological. The author concludes that relationship between the plastic forms of architecture and tapestry is able to solve the issues of synthesis of the arts of the 21th century.
20
Dernie, David. "The Symbolist interior and crystal imagination." Architectural Research Quarterly 17, no. 2 (June 2013): 157–66. http://dx.doi.org/10.1017/s1359135513000511.
Full textAbstract:
Transparency, translucency and surface reflectance are material qualities that underpin modernist aesthetics. The lightness and transparency of buildings remain manifestly contemporary and the walls of our cities continue to open up, as the default material of choice is glass. From London to Los Angeles, from the Shard to the Crystal Mall, the potency and immateriality of the crystal image is a liberation of the modern imagination. This paper concerns the crystal imagination as represented in the architectural interiors and poetry of Belgian symbolism. During the last decade of the nineteenth century, aesthetic theory and output in Brussels was, remarkably, more developed than that of other European capitals. For the Symbolist artists, coloured and patterned glass, mirrors and rare stones were deeply fascinating as they were at once transparent (see-through) and also contained an interior mysteriously closed to the world outside. As a reflection on the dominance of the visible in contemporary architecture, this paper explores the dual aspects of the crystal image – as both open and closed - and the notion of interior as it matures in the work of the architect Victor Horta. Here, a highly subjective taste for the artificial is combined with themes that surround the crystal and which continue into the materialism of modernist movement through German expressionism. Bruno Taut's Cologne Werkbund Exhibition Glashaus (1914) embodied Scheerbart's crystal visions, and went on to inspire the activist movement that was to deliver such dreams into political action. The paper comments on the development of Taut's ideas in modernism, and the correlation of glass and crystal to the singular experience of vision. It suggests that the crystal imagination of the late nineteenth century, and the potential for those crystal metaphors to disclose worlds not available to sight, still may provide rich inspiration for tomorrow's architectural visions.
21
Noor Adhitya Putri, Nadine, and Indri Astrina. "THE EXPRESSION OF NUSANTARAN ARCHITECTURE IN SESAT AGUNG ARCHITECTURE." Riset Arsitektur (RISA) 6, no. 01 (December 21, 2021): 40–57. http://dx.doi.org/10.26593/risa.v6i01.5425.40-57.
Full textAbstract:
Abstract - As a visual language, architectural expressions can be understood through arrangements of its elements with certain patterns or techniques. According to Rob Krier (1988), the assessment of geometric expressions cannot be separated from the composition of architectural forms, including proportion, rhythm, ornament, shape, material, color and texture. Along the way, Tulang Bawang Barat, which was later abbreviated as Tubaba, became a stopover for migrants from various regions. Regent Umar Ahmad pursued the construction of Tulang Bawang Barat by building a mosque and a convention hall to fill the empty fields in Tulang Bawang Barat. The architectural expression of Balai Adat Sesat Agung – with its modernity – considered as success in reproducing historical and cultural identity of Nusantaran architecture.
In identifying the expressions of Nusantaran architecture, the analysis of Sesat Agung architecture is carried out in three areas: site, building, and structure. Through descriptive-analytical methods, this research begins by formulating the properties and compositions of Nusantaran architecture expressions forming through related theories, including Nusantaran architectural theory, concepts of properties and composition, and anatomy of architecture theory. Furthermore, the properties and composition of Sesat Agung are studied to identify the expressions of Nusantaran architecture which manifested in the architecture of the Balai Adat Sesat Agung. This study found that the architectural expression of the Sesat Agung has printed a new architectural identity in Tulang Bawang Regency. However, regardless of the form and the aesthetics it carries, one thing that is missing from Sesat Agung architecture is its spatial quality.
Key Words: expression, Nusantaran architecture, Sesat Agung.
22
Verma, Neena. "Insecurity in architecture." Architectural Research Quarterly 18, no. 2 (June 2014): 106–9. http://dx.doi.org/10.1017/s1359135514000414.
Full textAbstract:
‘I myself do not believe in explaining anything’, wrote Shel Silverstein. It seems that architecture is always looking to explain itself. Definitions of architecture seem almost common knowledge; ask a bartender, biologist, computer scientist, economist, legislator, birdwatcher, quilter or scientist, each of whom analogises their field with respect to architecture. And several within the profession can themselves define architecture's limits quite elegantly. Most recently Steven Holl defined architecture as consisting simply of abstract, use, space and idea. However, seeking a rationale or explanation for architecture – its role in society, its impact, its value – remains an open debate. This debate has consumed the field, in academia and practice, for centuries. It suggests a dire insecurity.Shifts in architecture's self-perception and self-explanation often relate to formal styles. Any text on architectural history covers these styles, from Neolithic to contemporary, including accompanying sub-movements such as, for the early modern category, Expressionist architecture, Art Deco, and the so-called ‘International Style’. Each style is often imagined a product of, or reaction to, a preceding style, and much the same can be said of accompanying trends in the explanation of architecture. This essay, and its underlying argument, is itself a reaction to the current state of affairs.
23
SHKOLA, V. "THE ROLE OF INTERPRETATION IN THE STUDY OF MODERN WORKS (BASED ON THE MATERIAL M. KOTSIUBYNSKYI’S NOVEL «INTERMEZZO»)." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (June 1, 2023): 173–80. http://dx.doi.org/10.31494/2412-9208-2023-1-1-173-180.
Full textAbstract:
In the research, one of the many possible options for the interpretation of the iconic work of the classic of Ukrainian impressionist literature – the short story «Intermezzo» by Mykhailo Kotsiubynskyi is proposed. The researcher noted that the novel is based on three systems: «man and society», «man and nature», «man and man» according to the architecture of the work, it is divided into three parts. The first and third are characterized by monolithicity, the second by fragmentation (among the numerous images of the field: wheat, oats, flax, buckwheat, cornflowers, lark, cuckoo, etc., the central place is occupied by the image of the Sun). Like the form of a symphony or sonata in «Intermezzo», the first and third movements contrast with the second. The tempo of M. Kotsiubynskyi’s novel is also related to these musical genres: by its character, the extreme parts are close to allegro (fast), the central part – to adagio (slow). The first and third parts of the novel depict a person’s relationship with other characters. By their nature, they are energy-consuming, but the break in this communication, which the hero spent in the bosom of nature, connected him to energy resources, changed the problematic state to a desirable one, prepared him for further relations. It was observed that the episodes of the work differ stylistically: the nature of the first and third parts is expressionistic, the second – impressionistic. Crisis life situations, stress, destructive nature of communication with other people brought the character of the novel to the brink of mental disorder. His psychological state is close to the experiences of the person from E. Munk’s painting «The Scream» (an iconic work for expressionism). Instead, the hero M. Kotsiubynskyi’s stay in nature brought positive changes, helped overcome psychotrauma, and restored inner peace. Visual, auditory, and tactile images of an impressionistic landscape create a harmonious image of the world. He has a healing effect on the character of the novel «Intermezzo», revives him, forming a mood of mental balance. The paper analyzes the problem of a person’s relationship with other people and the natural environment raised by the writer-psychologist: the destructive influence of destructive social factors on the inner state of the individual and the regenerating effect of the natural environment. Key words: method of literature, interpretation, M. Kotsiubynskyi, novel, expressionism, impressionism.
24
Ji, Yu. "Sequential Vision and Disorienting Experience of Garden Space in Asian Context: Comparative Analysis Based on the Residence of Ena de Silva and Xixi Villa." Journal of World Architecture 6, no. 6 (December 21, 2022): 11–17. http://dx.doi.org/10.26689/jwa.v6i6.4464.
Full textAbstract:
The blending of Eastern and Western cultures brought about by colonization was an important reason for the changes in Asian architecture in the 20th century. The passive input of Western design concepts into the local tradition caused a long swing in the design direction. The process of regionalism and global modernism from opposition to gradual integration can be found in the development of a series of Asian architectures. Based on the two architectural works of Geoffrey Bawa and Ge Ruliang, this paper discusses how Asian architects make in-depth regional expressions through garden space.
25
Armond, Kate. "Wyndham Lewis and the Parables of Expressionist Architecture." Modernist Cultures 9, no. 2 (October 2014): 282–303. http://dx.doi.org/10.3366/mod.2014.0087.
Full textAbstract:
This article examines Wyndham Lewis’ The Caliph's Design alongside German Expressionist architectural design during the years 1918–1920, suggesting Bruno Taut for the role of Lewis’ sought-after ‘single architect with brains’. By analysing the intellectual and ideological context of an architectural project with similar concerns and prejudices it is possible to see Lewis’ post-war pamphlet as an exceptional phase in his writing, in which he teeters on the brink of approving political engagement for the arts and echoes some of the ideas promoted by Germany's Activist programme. These images of revolutionary utopian architecture can then be traced to Lewis’ construction of the Magnetic City in The Human Age.
26
Santagati, C., G. D'Agostino, R. Garozzo, F. M. La Russa, and M. Galizia. "PARTICIPATORY APPROACH FOR THE ENHANCEMENT OF ARCHITECTURAL ARCHIVES FUNDS: THE EXPERIENCE AT MUSEO DELLA RAPPRESENTAZIONE IN CATANIA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B5-2020 (August 24, 2020): 99–106. http://dx.doi.org/10.5194/isprs-archives-xliii-b5-2020-99-2020.
Full textAbstract:
Abstract. This paper describes the results of a participatory approach experienced during the training of university and high school students at the MuRa (Museo della Rappresentazione). Mura is a university museum belonging to the Department of Civil Engineering and Architecture at University of Catania. It houses and exhibits the collections of architectural projects of Francesco Fichera and a series of chalcographies including the collection of the renown engraver Giovan Battista Piranesi. The training program has been addressed at the documentation, visualization and communication of the architectures realized by Francesco Fichera and other Sicilian architects in the city centre of Catania in the first half of XXth century, whose projects are hosted by the museum. The methodology adopted has included the experimentation of participatory strategies aimed at the communication and the narration of the architectures built in the early twentieth century in Catania. After a preliminary training phase on digital tools for 3D documentation and enhancement of architectural heritage, the students were invited to participate with their ideas and creative expressions in the dissemination actions of the identified case studies.
27
Benghida, Nassiba, Leila Sriti, Asma Femmam, Sarra Saouli, and Sana Mekki. "A Stylistic Analysis of the Saharan French colonial architecture in southern Algeria." Technium Social Sciences Journal 39 (January 8, 2023): 574–90. http://dx.doi.org/10.47577/tssj.v39i1.8288.
Full textAbstract:
This work undertakes a study of the colonial architecture produced in southern Algeria during the 19th and 20th centuries. The comparison of the colonial architecture as it is manifested in public buildings in the north and south of the country will make it possible to grasp the specific characteristics of the architectural language developed in Saharan cities during the colonial period from 1832 to 1962. More precisely, the research endeavours to reconstruct, in a chronological manner, the conditions of production, the modalities of evolution of this architecture and the diversity of its formal attributes. To this end, a historical-analytical approach has been applied to a sample of buildings representative of the French presence in Algeria. In particular, the analysis focused on their architectural features with the intention of characterising the French imperialism formal and stylistic expressions which are rooted in eighteenth-century orientalism. The results show that the emphasis on 'indigenous' culture promoted by Governor Jonnart in the early 20th century, which was crowned by the adoption of the architectural orientalism as an official style often emanated from a concerted policy to symbolise France’s presence, power, and domination in the colonised territory. Additionally, the study highlighted the features related to the stylistic expression of the public facades through the identification of the architectural and decorative elements used in their design. Finally, it appeared that official architecture in the north was generally expressed through a single style that was successively neo-classical, art deco and neo-Moorish. In the south, however, colonial architecture was more nuanced and clearly influenced by the local Saharan context and the vernacular built environment, although the concept of vernacular architecture has been implemented just as mere rhetoric. Therefore, the colonial architecture generated in the southern territories cannot be considered as strictly imported or exogenous, as was the case for the north, but rather as the result of crossbreeding between vernacular, occidental and sub-Saharan African architectures.
28
Pratiwi, E. I., A. Sudikno, and S. Kusdiwanggo. "Ecological Rural Expressions of Eko Prawoto’s Tectonic Architecture to Create Modern House Sustainability." IOP Conference Series: Earth and Environmental Science 1169, no. 1 (April 1, 2023): 012051. http://dx.doi.org/10.1088/1755-1315/1169/1/012051.
Full textAbstract:
Abstract Global warming has been the biggest world problem since 19th century, leading us into famous architectural problem such as sick building syndrome. These problems seemed to be neglected by ‘human’ on earth, including architects who choose to create modern and minimalist residences with no ecological consideration. Clusters with identical materials and styles grew as new promising business properties, yet in the other hand it creates new ecological problems. Eko Prawoto, as an Indonesian architect has been living with ecological architecture conception to solve this global problem. He was awarded as the winner of pioneer category in Indonesian Cultural Award of Yogyakarta Special Regional Cultural Service in 2021, through his architectural idea of going back to nature and break the stereotype of expensive and outdated green architecture. This qualitative research aimed to revealed Eko Prawoto’s tectonic architecture expression in his two different residential works, conducted by biography architecture method. The result showed how eco-architecture applied in a very simple, detail, affordable and modern way through rural ideology of material selection, structure and construction. This research became new perspective of tectonic architecture ability to solve world’s ecological problems in rural ideology.
29
Vettorazzi, Egon, Filipe Rebelo, António Figueiredo, Romeu Vicente, Marcelo Langner, and Gabriel Feiertag. "Expressions of Arab Influence on the Brazilian Architecture: The Case of Solar Control Elements." Buildings 14, no. 1 (January 12, 2024): 194. http://dx.doi.org/10.3390/buildings14010194.
Full textAbstract:
Over the centuries, architects have distanced themselves from the accumulated architectural knowledge, which often provided constructive solutions highly connected to the climatic context and cultural characteristics. With utmost expression from the 20th century on, building designers have assumed a somewhat negligent attitude towards the architectural project, essentially relying on active mechanical systems, to achieve indoor environmental comfort conditions. This paper overviews the current knowledge of solar control elements adopted and developed by Brazilian architecture, tracing its origin to the influence of Arab and Moorish architecture, with the objective of valuing passive solutions. Arab influence in Brazilian architecture began in the 17th century when Portuguese settlers felt the need to adapt the colonial buildings to the climatic constraints, particularly with regard to excessive solar radiation, leading to indoor thermal discomfort and excess natural light. Arab influence in Brazilian architecture remains present until the current day with the same objectives; however, it has been reinterpreted and appropriated by the Brazilian architectural school. Among the most used construction elements during the colonial period were the muxarabis, rótulas, and gelosias. Throughout the 20th century, these elements were culturally appropriated and served as inspiration for the development of the cobogó and the pioneering use of brise-soleis in Brazilian architecture. These elements have spread throughout global architecture, accompanied by the adoption of computer-controlled dynamic solar protection systems. Therefore, it is important to promote traditional solutions and encourage new architects to adopt passive approaches, aiming for energy efficiency and reducing environmental impacts.
30
Pakdeelao, Payap. "Expressions and Psychology of Exposure in Contemporary Architecture." Journal of Architectural/Planning Research and Studies (JARS) 9, no. 2 (January 28, 2019): 113–22. http://dx.doi.org/10.56261/jars.v9i2.168569.
Full textAbstract:
The topic of exposure has long been part of the architectural discourse, and how it is interpreted and demonstrated in architecture is continuously evolving. This paper explores the trends in how exposure has been understood and exploited in architectural design, discussing the varying degrees to which architects expose certain components of their buildings--or even the occupants themselves in certain cases--that would typically be internally hidden. The subjects of this comparative study include works by practitioners from both inside and outside of the discipline of architecture, such as Mies van der Rohe, Herzog & de Meuron, Richard Rogers and Renzo Piano, Rem Koolhaas, Shigeru Ban and SANAA Kazuyo Sejima and Ryue Nishizawa and the fashion designer Hussein Chalayan. The findings reveal that these designers have strategically manipulated the idea of exposure to evoke emotional and psychological responses that are far superior in their complexity and ambiguity than what has previously existed.
31
Monica Chifor. "Modernism-context and Overlooked Literary Manifestations." Creative Launcher 8, no. 4 (August 31, 2023): 61–72. http://dx.doi.org/10.53032/tcl.2023.8.4.07.
Full textAbstract:
The following paper discusses the emergence and characteristics of modernism, a dominant trend in art and culture that emerged in the late 19th century. Modernism encompasses various aspects of culture, including high art, criticism, city planning, and more. In literature, modernism represents a reaction against the conventions of realist narrative, moving away from traditional storytelling and embracing new techniques such as interior monologue and showing instead of telling. The research explores the debate on whether modernism has come to an end. Critics argue that it ended around 1930, while others disagree, pointing to the continued emergence of literary studies on modernism and its influence on various literary theories. The concept of modernism is discussed in an interdisciplinary context, encompassing various artistic currents, including symbolism, impressionism, expressionism, and more. The paper also touches upon the development of modernism in different art forms like visual arts, music, and architecture, and its influence on the concept of the “Bauhaus” movement. Furthermore, the paper discusses the Harlem Renaissance, a cultural movement centered in Harlem, New York, during the early 20th century. It highlights prominent figures of the movement, such as Langston Hughes, Zora Neale Hurston, and Richard Bruce Nugent, who expressed African American life and culture through various forms of art. The impact of mass culture on modernism is also explored, with references to Mathew Arnold’s concept of culture and anarchy and F.R. Leavis’ criticism of mass civilization and its effect on authentic feeling and responsible thinking. Overall, the paper provides and overview of modernism’s multifaceted nature, its influence on various art forms, and its interaction with societal and cultural shifts during the 20th century.
32
Javaid, Sameena, Safdar Rizvi, Muhammad Talha Ubaid, Abdou Darboe, and Shakir Mahmood Mayo. "Interpretation of Expressions through Hand Signs Using Deep Learning Techniques." Vol 4 Issue 2 4, no. 2 (June 25, 2022): 596–611. http://dx.doi.org/10.33411/ijist/2022040225.
Full textAbstract:
It is a challenging task to interpret sign language automatically, as it comprises high-level vision features to accurately understand and interpret the meaning of the signer or vice versa. In the current study, we automatically distinguish hand signs and classify seven basic gestures representing symbolic emotions or expressions like happy, sad, neutral, disgust, scared, anger, and surprise. Convolutional Neural Network is a famous method for classifications using vision-based deep learning; here in the current study, proposed transfer learning using a well-known architecture of VGG16 to speed up the convergence and improve accuracy by using pre-trained weights. We obtained a high accuracy of 99.98% of the proposed architecture with a minimal and low-quality data set of 455 images collected by 65 individuals for seven hand gesture classes. Further, compared the performance of VGG16 architecture with two different optimizers, SGD, and Adam, along with some more architectures of Alex Net, LeNet05, and ResNet50.
33
De Jong, Sigrid. "The Picturesque Prospect of Architecture: Thomas Sandby's Royal Academy Lectures." Architectural History 61 (2018): 73–104. http://dx.doi.org/10.1017/arh.2018.4.
Full textAbstract:
AbstractThomas Sandby (1721/3–98), who served as the Royal Academy's first professor of architecture from 1768 to 1798, shaped his students’ architectural thought. His lectures represent some of the crucial developments in viewing architecture that occurred during the period. They are vibrant expressions of how a viewer's experience of buildings informs architectural teaching and design, and demonstrate the importance of architectural experience for eighteenth-century architectural thought. This article explores Sandby's thinking, first in his own observations of buildings in his diary of a tour through Yorkshire and Derbyshire, and then in his teachings, which functioned as a kind of manual for future architects. It examines the diary and the lectures for his ideas on the effects of architecture — a building's situation, exterior, interior and decorations — in relation to the picturesque, one of the dominant concepts in his texts and drawings. Sandby's architectural thought is shown to be a relatively early statement of the picturesque applied to architecture and its setting.
34
Liu, Han Fang, Xue Mei Jin, and Jia Fu. "Traditional Culture Expression and Innovation of Contemporary Architecture." Applied Mechanics and Materials 638-640 (September 2014): 2290–93. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2290.
Full textAbstract:
This paper analyzes the factors influencing the contemporary architectural innovation. It puts forward that the model of standardization and mass production contribute to similar “international” architectural form, which results in the disappearing of the “national character” and“regional character” of Chinese architecture. However, simplified traditional expressions make contemporary architectural innovation too superficial, leading to a “trap” of imitation. It also pointes out that the combination of the methods of symbol and metaphor , technology and materials of modern architecture, a further exploration of traditional culture symbols, cultural energy stimulating is the power source of contemporary architectural innovation, and make a argumentation through success and failure cases.
35
Miller, Tyrus. "Paul Scheerbart and the utopia of glass." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 85–95. http://dx.doi.org/10.5937/saj1501085m.
Full textAbstract:
This paper will consider the architectural writings of the German expressionist writer Paul Scheerbart, focusing on his fascination with glass as an architectural and symbolic material within his writings. I will discuss Scheerbart's architectural treatise Glass Architecture, his novel The Grey Cloth, and related writings on glass architecture. Scheerbart represents an alternative tradition within architectural modernism, which saw glass as a constructive material that represented modernity by exposing structural elements of the building, thus guaranteeing conformation of form to function. Scheerbart, in contrast, considered glass as a bearer of color and multiplier of light, which he saw as capable of transforming the human environment and exercising positive effects on individuals and collectives. He saw light as culture-formative, and glass architecture as the means by which the built environment could maximize modern culture's utopian potential. I also discuss the influence of Scheerbart on the anarchist architect Bruno Taut and on the thinking of Walter Benjamin.
36
Chandra, Sushil. "THE RELATIONSHIP BETWEEN PRODUCT ARCHITECTURE AND INNOVATION: A STUDY THROUGH DESIGN OF MOTORCYCLES." Proceedings of the Design Society 3 (June 19, 2023): 3443–52. http://dx.doi.org/10.1017/pds.2023.345.
Full textAbstract:
AbstractHow does the quantity and quality of innovation in an organization vary with the architecture of the product that the organization produces is a recurring theme in literature. This paper attempts to answer this question in quantitative terms and establishes an empirical relationship. While establishing this relationship, this paper also finds objective and quantitative expressions both for the product architecture and innovation in such a way that both the qualitative and quantitative aspects of innovation are accounted for. In this process three new formulations, which can be calculated using the data available in public domain, have been established for architectural modularity, architectural complexity and innovativeness of an idea respectively.These formulations have been verified by collecting innovation data in an automobile manufacturing company and analyzing it from the perspective of architecture and innovation. Finally, the relatioships between architectural parameters and innovativeness have been explored. Implications include the type of architecture more amenable to innovation, the impact of innovation on architectural complexity and a methodological contribution to operationalizing innovation.
37
Soini, Helena. "Literary reminiscences and the symbols of modern Finland in Ismo Alanko’s poetry." Scandinavian Philology 18, no. 2 (2020): 356–71. http://dx.doi.org/10.21638/11701/spbu21.2020.210.
Full textAbstract:
The article discusses the imagery system in the work of the modern Finnish poet Ismo Alanko. Literary and folklore traditions in his poetry are well researched. The poet has created a rather critical image of Finland as a Lutheran country full of national markers, but well-aware of its literature: “Martti Luther ja muovipussi” (Martin Luther and a plastic bag). Images of Finnish architecture, gray buildings in glass and metal, and a heavy gray northern sky connect Alanko’s poetry to Russian culture, to the name of Isaak Levitan who negatively described Finland as a kingdom of gray. Alanko clearly knows about Levitan’s words “Gray water and gray people, gray life”, but he gets into a debate with the artist, proving that gray has many shades of joy. One of the leaders of Finnish expressionism, Uuno Kailas, associated the nature and people of Finland with gray. But Kailas’ gray is clearly negative and lifeless. Alanko, on the other hand, distinguishes in gray all kinds of positive signs of life. His poems are characterized by the description of the lyrical hero’s irrational states against the background of the fantastic landscapes of Lapland, creating mythological images not immediately amenable to interpretation. For example, in the image of Mooneye from the North (kuusilmä pohjoisesta), there is a motif of turning a girl into a fish, typical for Finnish and Karelian epic songs, also familiar to us from Kalevala and Eino Leino’s poetry. Alanko comprehends serious worldview problems with poetic elegance, with the power of poetic word removing the contradiction between religious and common, rational, and irrational. Alanko revives Kalevala meter not in a “museum” form, but with modern accents and in his native Finnish language.
38
Yasser Maatouk, Yasser Maatouk. "From Bibliometrics to Altmetrics: Examining the Relationship Between Citation Count and Altmetric Score in Publications on Artificial Intelligence." journal of King Abdulaziz University Computing and Information Technology Sciences 11, no. 2 (January 1, 2022): 45–52. http://dx.doi.org/10.4197/comp.11-2.4.
Full textAbstract:
the Convolution Neural Network (CNN) is the most widely used deep learning architecture as it has broken most world records for recognition tasks. Facial Expression Recognition (FER) systems that use classical feature- based techniques, especially CNN’s, is best for classifying images. This paper used three CNN-based methods, which are VGG-16, Inception-v3, and Resnet50-V2 network architectures, to classify facial expressions into seven classes of emotions: happy, angry, neutral, sad, disgust, fear, and surprise. The face expression dataset from Kaggle and JAFFE dataset were used to compare the accuracy between the three architectures to find the pretrained network that best classifies models. The results showed that VGG-16 network architecture produced a higher accuracy (93% in JAFFE and 54% in Kaggle) than the other architectures.
39
Lörincz, Simina Anamaria. "»Non è altro lo edificare se none un piacere uolunptario …«." architectura 51, no. 2 (March 1, 2024): 129–41. http://dx.doi.org/10.1515/atc-2021-2002.
Full textAbstract:
Abstract In a time concerned with the emancipation of architecture from the mechanical arts to the liberal ones, Filarete challenged the mainstream rational-objective approach by proposing a poietic definition of architecture which spanned beyond craft and science. »Non è altro lo edificare se none un piacere volunptario…« is not yet another account of architecture, but it has become its supreme definition, possessing an almost universal value and demonstrating a vision ahead of its time. This paper investigates the multiple facets of this definition by situating it in the context of Renaissance architectural practice and within the framework of Filarete’s architectural treatise. Humanistic to the core, this definition transcends the usual anthropomorphic perspective on architecture (regarding the proportions, styles or expressions derived from the human body) and goes beyond the rational-material approach, addressing the sphere of sensitivity or even the realm of the spiritual. For Filarete, architectural creation is a true poietic act, consecrated to symbolism and emotion, while genuinely rooted in its manual, material dimension.
40
Salura, Purnama, and Stephanie Clarissa. "Interpretation of the Meaning of Mosque Architecture : A Case Study Mosque 99 Cahaya in Lampung, Sumatera Island, Indonesia." International Journal of Engineering & Technology 7, no. 2.2 (March 5, 2018): 48. http://dx.doi.org/10.14419/ijet.v7i2.2.12321.
Full textAbstract:
This research traced the relationship that exists between the expressions of mosque architecture with the meaning created. The method used for this research is: Firstly, recording building which is based on the theory about the scope of the building. Secondly, described the entire composition and building properties. Thirdly, interpreted the meaning that is created both on the outside and in the view of the space inside. Based on the results of the analysis, it can be concluded that the outside architectural form of the mosque tends to be interpreted as an abstract monument. While it’s inner space interpreted as a shelter that has nothing to do with its function as a religious building. This research is expected to give theoretical contribution to the knowledge of architecture that is by formulating new method to interpret expression of architectural form in general and specifically on the mosque architecture. While in practice, this research could be used as a reference in designing mosque architecture. In addition to scientific and architectural practices, this research could be used as a source of knowledge and offered an alternative perspective for the wider community in appreciating the work of architecture
41
Skrypyn, Tetyana. "GRAPHIC FIXATION OF REGIONAL ARCHITECTURE – AS A STAGE OF COURSE ARCHITECTURAL DESIGN." Urban development and spatial planning, no. 85 (March 29, 2024): 581–92. http://dx.doi.org/10.32347/2076-815x.2024.85.581-592.
Full textAbstract:
The exploration of regional architecture in the training of architectural professionals is considered as a crucial tool for engaging students in scientific research, fostering competent inquiry, analysis, assimilation, and acquisition of new information. The significance of research and graphic documentation of immovable heritage specimens is justified, emphasizing their application in architectural design methodology as sources of conceptual inspiration in the pursuit of novel forms and ideas. This contributes to expanding students’ professional competencies, refining artistic and technical skills in architectural graphics, understanding the sociocultural and environmental context of architecture, and instilling a civic stance towards the preservation of historical and architectural heritage. It also cultivates the ability to perceive, comprehend, and transform the code of national identity in the architect’s creative activity. In the professional sphere of urban planning, architecture, and design, the exploration of the characteristics of national identity through the lens of signs and symbols embedded in the traditions of ethnic architecture, along with the investigation and graphic documentation of regional architectural patterns, can serve as a significant factor of conceptual inspiration in the quest for forms and concepts. This is grounded in the reinterpretation and decoding of symbols in folk construction, transforming them into contemporary spaces. A thorough and practical acquaintance of architectural students with the traditions of regional construction, acting not only as indicators of folk architecture but also as expressions of the identity of place, the local color, cosmogony, worldview, and the lifestyle of a particular ethnic group, will contribute to the formation of a civic stance regarding the necessity of preserving the historical and cultural heritage, which is a component of national self-identification. It is crucial to describe and preserve tradition, to comprehend, reinterpret, transform, and reproduce the nation’s code in contemporary architectural language, utilizing quotes from regional architectural tradition while avoiding imitation and direct borrowing from traditional art and architecture.
42
Rajković, Irena, Marija Bojović, Dušan Tomanović, and Lemja Chabbouh Akšamija. "Sustainable Development of Vernacular Residential Architecture: A Case Study of the Karuč Settlement in the Skadar Lake Region of Montenegro." Sustainability 14, no. 16 (August 11, 2022): 9956. http://dx.doi.org/10.3390/su14169956.
Full textAbstract:
Vernacular architecture and its responses to natural factors through architectural patterns are recognized as expressions of bioclimatic principles and national architectural responses to location. The vernacular architectural heritage of architecture is one of the most important factors in preserving and developing the cultural identity of a nation. Through research on the vernacular architecture of the coastal area of Skadar Lake, our goal is to recognize and potentially valorize the local traditional characteristics of authentic houses as ecological building patterns, which also express the fundamentals of sustainability principles. Although examples of vernacular architecture are disappearing due to contemporary globalization, and a mere imitation of motifs from past periods occurs, the historical specifics of architectural expression remain the inspiration and catalyst for future achievements based on the idea of preserving the local and regional recognizability of architecture. This research resulted in a redefinition of vernacular, bioclimatic concepts in a way that preserves construction techniques, which basically have an ecological approach, and, at the same time, provides modern solutions with bioclimatic concepts. The case study conducted on the village of Karuč in the area of Skadar Lake presented in the paper contributes to revealing the potential of bioclimatic principles and the energy rehabilitation of vernacular architecture in order to revitalize it through a new contemporary architectural expression. This study’s contents propose revitalization solutions at two levels of the following: settlement and typical houses. The study also aims to create a model, that is, a modern expression of a characteristic Karuč house, with improved functionality and energy characteristics for national architecture. Identifying all the basic building patterns, including the positioning of buildings, construction, the application of available materials, and the design of buildings, this paper presents conditions for the adequate valorization and preservation of authentic vernacular architecture and creates guidelines for further upgrades and the bioclimatic revitalization of vernacular architecture in a certain location.
43
Pérez Marco, Joaquín, Francisco José Serón Arbeloa, and Eva Cerezo Bagdasari. "Combining cognition and emotion in virtual agents." Kybernetes 46, no. 06 (June 5, 2017): 933–46. http://dx.doi.org/10.1108/k-11-2016-0340.
Full textAbstract:
Purpose The paper aims to explain the limitations of existing cognitive architectures and affective models, and propose a new cognitive-affective architecture that can be integrated in real intelligent agents to make them more realistic and believable. Design/methodology/approach The paper evaluates the state of the art, and describes the design and implementation of the cognitive-affective architecture in an agent. A brief evaluation of the agent is provided. Findings The paper clearly states that it is possible to use cognitive architectures to help, but there is a lack of architectures that address the problem of combining cognition and emotion in agents in a unified, simplified way. A cognitive-affective architecture is useful to make believable intelligent agents in an easier way. Research limitations/implications The paper does not explore a lot of possible future work that can be done to extend the emotional expressions of the agent, as well as including direct emotional-sensing capabilities in real time. Practical implications The paper argues about the need to include cognitive-affective architectures in modern intelligent agents. The architecture allows to influence and modify the behavior of the agent in real time, to achieve a more realistic and believable interaction with the user. Social implications The paper remarks the importance of a cognitive-affective architecture that makes intelligent agents able to help the users in different tasks and environments. Originality/value The paper describes a new cognitive-affective architecture and its utility for modern intelligent agents. This is proven by including it in a previous agent, which boosts its behavior and emotional expression possibilities and thus improves user experience.
44
Kozbagarova, Nina, and Meruyert Srail. "Expressions of National Identity in the Landscape Architecture Projects in Kazakhstan." International Society for the Study of Vernacular Settlements 10, no. 8 (August 10, 2023): 136–45. http://dx.doi.org/10.61275/isvsej-2023-10-08-10.
Full textAbstract:
One of the important parameters of the quality of the urban environment is its identity. The concept of identity has a broad context. Identity has mainly been studied in the humanities such as psychology, philology, philosophy, sociology and anthropology. The process of globalization, leading to a blurring of the borders between cultures, is bringing to the fore the problem of national and regional identities in the architecture and landscape of the urban environment. This article examines the actualization of the concept of identity in architecture, urban development and landscape architecture. It focuses on sustainability of national and regional identity manifested through place identity. The main positions of research from other countries with the basis of identity have been analyzed according to the landscape philosophies of the XXI century. Through the analysis of scientific research in the field of cultural science, regional roots, signs and symbols have been identified as a basis for landscape practices in the urban environment of Kazakhstan. The study used complex methods of historical, ethnographic, cultural and architectural landscape studies examining the manifestations of identity in the traditional culture of Kazakhs. It produces a comparative analysis of ideas about identity in Kazakh traditional music, decorative and applied art. It also carries out structural and morphological analysis of project materials on landscape architecture of Kazakhstan. Moreover, a comparative analysis of individual objects of landscape architecture of XX and XXI centuries has been conducted. The paper produces new perspectives on nation-building efforts of Kazakhstan through designed landscapes since independence, elucidating the symbolic language of national identity manifested across major public parks and plazas.
45
Guo, Qinghua. "Shenyang: the Manchurian ideal capital city and imperial palace, 1625–43." Urban History 27, no. 3 (December 2000): 344–59. http://dx.doi.org/10.1017/s0963926800000328.
Full textAbstract:
This paper analyses connections between culture and architecture, and between political ideology and capital planning in a region of China. It poses two crucial questions: first, what were the contrasting architectural expressions between imperial palaces in Shenyang? Second, what were the underlying planning concepts of Shenyang, and what urban design models were used to realize that concept? This study shows that the development of Manchurian architecture and planning had been a result of cultural confluence and political governance.
46
Dong, Tie Xin. "Metal Coat of Modern Architecture." Applied Mechanics and Materials 357-360 (August 2013): 1379–82. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.1379.
Full textAbstract:
There has been a long history of applying metal to architecture. At the beginning, they just appeared in the structure of bridges, factories and storages, and then gradually turned up as a form of building structural materials in civil architecture such as markets, schools and office buildings. So all the time, metal like steel structure or hardware impresses people as a kind of industrialized building materials. With the development of architectural technology and the researching of characteristics of building materials, metal material has been brought in building skin design with brand-new appearance, and coruscate new vitality in the field of architectural design depending on full of variety of expressions and economic environmental character.
47
OLUBI, Abiodun Rufus, and Emokpae Murphy EREBOR. "The Architects’ Practice Knowledge, Expressions and Communications of Architectural Design Intentions in Southwest Nigeria." Advances in Social Sciences Research Journal 10, no. 2 (February 22, 2023): 305–15. http://dx.doi.org/10.14738/assrj.102.14035.
Full textAbstract:
This study investigates the knowledge of Architects in the practice of designintentions, communications, principles, and expressions of architecturaldesign in selected Architectural practices to improve architectural designdelivery in Southwest Nigeria. Data collection was enhanced with astructured questionnaire from 250 participants comprising practicingArchitects at various levels. The survey data were analyzed by descriptivestatistics and the key finding is that Architects' practice knowledge of intentions,communications, principles, and expressions of architectural design in the studyarea is very high. Appreciably, 66.6% of the respondents use pure lines tocommunicate design intentions, 25% of the respondents communicate throughforms and shapes while 4.2% of the respondents each use geometry and materialsas elements of communication of architectural intentions. The Pearson Correlationanalysis to establish relationships between the tested variables reveals significantrelationships between the meaning of architecture and visual communication ofarchitectural intentions (p < 0.05; r = 0.359). This study recommends thatArchitecture as a utilitarian art requires the effective and clear conveyance ofthought through pure visuals, clear lines, forms, and materials to communicateclear intentions, culture, personality, and status as well as create an importanthuman-environmental link.
48
Zhang, Ning. "The Role of Ancient Chinese Philosophy in the Designs of Chinese Buildings." Open House International 41, no. 3 (September 1, 2016): 81–85. http://dx.doi.org/10.1108/ohi-03-2016-b0014.
Full textAbstract:
Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.
49
Lum, Eric. "Pollock's Promise: Toward an Abstract Expressionist Architecture." Assemblage, no. 39 (August 1999): 62. http://dx.doi.org/10.2307/3171260.
Full text
50
Zheng, Hong. "The Expressions of Political Power in Panoramic and Grand Space in Ancient Roman Empire before A.D. 476." British Journal of Multidisciplinary and Advanced Studies 4, no. 2 (March 22, 2023): 53–63. http://dx.doi.org/10.37745/bjmas.2022.0138.
Full textAbstract:
This article argues the occupation, penetration and radiation of political power in the panoramic space by explaining the typical public architecture and public space in the former Roman Empire. As the most important public space, squares are the places where emperors show their powers. So the political elites try to occupy it. In Colosseum the emperors’ supreme power is thoroughly and incisively expressed by the carefully designed space settings. The public baths with compound decorations and functions are the visual panoramic scene. In this entertaining public space political power penetrates the individual life. The grandness of public architectures in roman city are the result of powers’ ostentation. With the imperial structure the styles and functions of public architectures in roman city radiates the whole empire. With these three relations between power and space this article draws two conclusions. First the ostentatious power based on the competitive power system is the connector between the republic and early empire. The great achievements in public architecture are the fruits of it. Second the super grand territory is the result of the links between military and politics. This links lead to the competitive power system. It also explains why the roman empire is invaded by the barbarians in the west but it continues in the east.