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Journal articles on the topic 'Functionalism (Architecture)'
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1
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.
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Al-Qahtany, Hani Mohammad. "Islamic architecture as a reflection of functionalism and interactionism: conceptual origins in culture and sociology." Contemporary Arab Affairs 2, no. 3 (July 1, 2009): 435–57. http://dx.doi.org/10.1080/17550910902875762.
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What kind of society does Islamic architecture reflect? What are the basic units and forms of Islamic society associated with Islamic architecture, and what kinds of relationships existed among its individuals? Is Islamic society a ‘uniform society’ or a ‘multi-layered society’? These fundamental questions are at the centre of this study. This paper explores the basic intellectual, social and environmental aspects that have shaped Islamic architecture. It explores these aspects as reflected in the building forms of Muslim societies. Functionalism and interactionism are two major schools of modern sociology. As a social phenomenon, Islamic architecture is examined in the light of these two schools. The urban fabric of the traditional Islamic city as an example of functionalism in architecture is examined with reference to the ruined city of Sāmarrāʾ, in Iraq; and examples of Ottoman architecture are considered as models of interactionism in city planning and architecture. The works of three major figures in contemporary Arab thought, Muḥammad Abed Al-Jabri and ʿAbdullah Al-ʿArawī from Morocco, and Mohammad Al-Anṣārī from Bahrain, are considered in this paper. Their thoughts and views are used as vehicles to test some innate features of Islamic architecture. The influence of language and the desert, two exceptionally important factors that have shaped the culture of Muslim societies and its manifestation in architecture, is also explored. The findings of this paper, although still at a preliminary stage, reiterate the major concepts of the medieval Arab scholar Ibn Khaldūn, in his Muqaddimah, in an architectural context.
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DOLGOVA, Elena D. "AESTHETICS OF ANONYMOUS ARCHITECTURE." Urban construction and architecture 6, no. 2 (June 15, 2016): 91–95. http://dx.doi.org/10.17673/vestnik.2016.02.17.
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The article examines the anonymous architecture in terms of aesthetic knowledge. A parallel between the categories of classical aesthetics - a beautiful / ugly, and the categories of architectural activity in the Vitruvian paradigm professional / anonymous is drawn. Traced the background and process of incorporating objects anonymous architecture in non-classical aesthetic field through poetization everyday life, the emergence of technical aesthetics, aesthetics and functionalism of modernism. Non-classical aesthetics characterize objects anonymous architecture using parakategory daily, physicality, thing. We present the aesthetic characteristics of the anonymous architecture using the categories developed in the traditional aesthetics of eastern cultures - wabi, sabi, sibui and eugen. A parallel between the perception of the aesthetics and simplicity of anonymity is drawn.
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Radosavljević, Milica. "Architectural triptych in Bigovo: Residential unit Bigovo 3, Bigovo, Montenegro, authors: Verica Krstić, Vasilije Milunović, Jelena Ivanović Vojvodić." Arhitektura i urbanizam, no. 57 (2023): 45–51. http://dx.doi.org/10.5937/a-u0-47920.
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The Bigovo complex is an architectural unit consisting of three buildings in the village of Bigovo on the Montenegrin coast. The buildings were designed by architects Vasilije Milunović, Jelena Ivanović Vojvodić and Verica Krstić. The architecture of the complex is an example of contextual functionalism. The buildings are organically unified with the terrain and vegetation, and their form and composition naturally develop from the environment. The authors have created a discreet modern interpretation of the traditional architecture of the area. The complex is open towards the sea, and the internal organization enables each room to have maximum openness.
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Proctor, Robert. "Churches for a Changing Liturgy: Gillespie, Kidd & Coia and the Second Vatican Council." Architectural History 48 (2005): 291–322. http://dx.doi.org/10.1017/s0066622x00003816.
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The relationship of Modernism in architecture with the symbolic needs of church- building was fraught with the dangers of betrayal: whether the architect indulged in personal spiritual expression, or used traditional forms, he could be accused of stylistic excess; if he applied a reductive functionalism, the result could be faulted as failing the brief. After the Second World War, expression and tradition were gradually admitted into Modernism to expand and enrich its vocabulary, and the limits of functionalism were reassessed. Churches were a field in which architects of the Modern Movement could explore their new concerns with poetic form and monumentality, in contrast to the more prosaic jobs in housing, schools, and so on; but few architects had the chance to work on churches in quite the same volume as the more pressing post-war building tasks. One firm of architects with an exceptional opportunity was Gillespie, Kidd & Coia, responsible for a series of Roman Catholic churches in Scotland, ‘the finest body of post-war church building in Britain’, according to Elain Harwood.1 This work has attracted attention from architectural historians before, particularly for its rich and humane interpretation of sacred architecture.
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Widyasti, Niken Alya, and Amy Marisa. "Edutainment Aquarium Facility Planning with Functionalism Approach in Deli Serdang." International Journal of Architecture and Urbanism 6, no. 3 (December 8, 2022): 330–40. http://dx.doi.org/10.32734/ijau.v6i3.10402.
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The ocean is home to many kinds of aquatic species. The state of the sea is currently on the verge of declining because of the waste thrown into it. There has to be a sanctuary to retain the population of the sea animals, such as the aquarium facility. This facility will also inform the public—especially children—about the kinds of species still available today, just like a zoo. With the functionalism architecture approach, the facility is expected to be durable in the long run and more accessible since everything is based on function. This study uses qualitative methods, meaning all the precedents data are from comparative studies, field studies (surveying the site), and theories from books. The result of this study is the implementation of Functionalism Architecture that prioritized usability in the design of edutainment aquarium buildings. Projects with similar functions or methods can use this study as a precedent
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Adams, David. "Rudolf Steiner's First Goetheanum as an Illustration of Organic Functionalism." Journal of the Society of Architectural Historians 51, no. 2 (June 1, 1992): 182–204. http://dx.doi.org/10.2307/990714.
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Austrian designer Rudolf Steiner intended his first Goetheanum building in Dornach, Switzerland (1913-1922), among other purposes, to be a dramatic illustration of the principles of a new style of architecture, simultaneously organic and functional. Its unusual forms in carved wood and reinforced concrete, its watercolor murals, and its engraved colored-glass windows were also to be a visual introduction to the metaphysical ideas of Steiner's anthroposophy. The central dynamic of the building was the intersection of its two domes of different sizes, intended by Steiner to express the union of spirit and matter through his treatment of the functions of stage and auditorium. The contrast between the two domed spaces was supported in great detail throughout the interior. Steiner applied formative principles of the natural world to building designs, attempting to achieve an organism-like relation between part and whole, a harmonious adaptation of building to site, and an organic formal quality sympathetic to the human observer. In particular, he employed the principle of metamorphosis in the abstract forms of the building's ornamentation and ground plan, relating this principle to Goethe's studies of biological morphology. He created forms and spaces that not only fulfilled but also directly imaged their functions, including their relationship to their human users. He set forth his new architectural approach within the context of an extensively enunciated architectural theory, whose primary thrust was the encouragement of a clear adaptation of the designs of buildings to a holistically conceived human nature. He pioneered new techniques and styles, which, along with his lectures and writings, have influenced a number of significant artists and architects of the twentieth century.
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Šuvaković, Miško. "Revisionist philosophy of architecture: Fundamental dispositives." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 119–35. http://dx.doi.org/10.5937/saj1401119q.
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The discussion points to the issue of defining and re-defining the notion of the "critical theory". The notion of critical theory has been considered since the introduction of the notion at the Institute for Social Research in Frankfurt until the modern, postmodern and contemporary theories of critical and decentering of the critical. The notion of critical theory is associated with the problem of politicization of architecture and urbanism. It is pointed to the case of critical theory of the Frankfurt circle. Particular attention is paid to the art/architecture theory of Theodor Adorno and to the theory of architecture and urbanism of Walter Benjamin. Adorno's critique of architectural functionalism has been considered. It is discussed about methodological approach to Benjamin's analysis and the debate on Paris as metropolis. The aim of the discussion is to indicate to transformations and modalities of critical theory in modernism, post-structuralism, postmodernism and contemporary global neoliberalism.
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Bušatlić, Lejla. "Bosanski slog u komparativnom diskursu nacionalnih arhitektonskih stilova na području Balkana / Bosnian style in the comparative discourse of national architectural styles." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 24 (November 10, 2021): 459–75. http://dx.doi.org/10.46352//23036990.2021.459.
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The article analyzes the Bosnian style in architecture by reflecting upon the phenomenon of the national architectural style, its role in the construction of national identity, political and ideological instrumentalization. The issue of the relationship betwee tradition and modernity and the position of architectural heritage in the contemporary context arises. Interpretative framework of the specificity of the national architectural idiom also includes a discursive view of the relationship between the periphery and the center. Through a comparative analysis of national styles in architecture of the Balkan countries such as Bosnia and Herzegovina, Turkey, Croatia and Serbia, their character, distinction and mutual connections are defined. The Bosnian-style in architecture is viewed in its development as an architectural idiom of the national origin, but also as an authentic stylistic determinant created in the process of a creative research of architectural heritage that will ultimately result in new spatial-design and aesthetic values consistent with modernist architectural concepts. In this sense, the position of the Bosnian style as a national style in the history of European modernism is questioned, its connection with the aesthetics of modernism based on the principles of reducing excessive decorativeness, formative purism and functionalism.
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Borecká, Eva, and Dušan Mellner. "The Progressive Constructions in the Work of Architects of the Classical Modernism, Slovakia 1919-1939." Applied Mechanics and Materials 820 (January 2016): 21–26. http://dx.doi.org/10.4028/www.scientific.net/amm.820.21.
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The influence of approaching functionalism on the traditional structures of the interwar architecture, reflected through the life and work of the German circuit architects Franz Wimmer and Andreas Szőnyi.
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Gnatiuk, Liliia. "THE ORIGIN OF FUNCTIONALISM IN THE FORMATION OF SACRED SPACE." Problems of theory and history of architecture of Ukraine, no. 21 (May 2021): 243–49. http://dx.doi.org/10.31650/2519-4208-2021-21-243-249.
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The article analyzes the origins of functionalism in the formation of sacred space. Examples of world architecture that show the function of form are presented. The development of sacred architecture of the modern era is represented. The phenomenon of perception in certain visible figures of objects is an expression of a more general situation, an expression of a certain type of views or collective beliefs. The use of theatrical forms in modernist architecture is considered, which at the same time is not a complete rejection of modernist preferences, but also an attempt to reinterpret the geometry of traditional forms of sacred space. Program historism, limited decoration and refinement of utilitarianism in the approach to traditional forms of sacred space are presented. Contradictions in the perception of sacred space and reading the symbolism of its content are considered. An attempt is also made to adapt the principles of modernism to the needs of the formation of a sacred space, in which, after the suspension of historical knowledge, the essence of the phenomenon under study is sought, which was understood as its invariable feature. Religion, art, science, language are presented as forms of human thinking about reality with forms of epistemologically understandable symbol. The need to take into account the relationship between certain forms and messages that are transmitted through them in the formation of sacred space. Symbols pointing out not certain sacred reality, but certain intellectual tendencies, social situations or expressions of culture are singled out.
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Hasudungan Irianto Sitinjak, Ronald, Laksmi Kusuma Wardani, and Poppy Firtatwentyna Nilasari. "Traditional Balinese Architecture: From Cosmic to Modern." SHS Web of Conferences 76 (2020): 01047. http://dx.doi.org/10.1051/shsconf/20207601047.
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Balinese architecture often considers aspects of climate and natural conditions as well as environmental social life. This is to obtain a balance in the cosmos, between human life (bhuana alit / microcosm) and its natural environment (bhuana agung /macrocosm). However, Bali's progress in tourism has changed the way of life of the people, which is in line with Parsons Theory of Structural Functionalism, that if there is a change in the function of one part of an institution or structure in a social system, it will affect other parts, eventually affecting the condition of the social system as a whole. The shift in perspectives has caused structural and functional changes in Balinese architecture. The building design or architecture that emerges today is no longer oriented towards cosmic factors but is oriented towards modern factors, developing in the interests of tourism, commercialization, and lifestyle. The change has had an impact on spatial planning, building orientation, architectural appearance, interior furnishings and local regulations in architecture. In order to prevent Balinese architecture from losing its authenticity in its original form, which is full of spiritual meaning and local Balinese traditions, it is necessary to have a guideline on the specifications of Balinese architectural design that combines elements of aesthetics, comfort, technology, and spirituality. Through this guideline, Balinese architecture can exist in modern times without losing its traditional values.
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PISKUNOVA, Larisa, Liudmila STAROSTOVA, and Igor YANKOV. "THE ARCHITECTURE OF CONSTRUCTIVISM: THE CREATIVE TRANSFORMATION OF AESTHETIC CODES AND NARRATIVES." Creativity Studies 11, no. 1 (April 20, 2018): 56–69. http://dx.doi.org/10.3846/cs.2018.540.
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Abstract The architecture of constructivism (functionalism) has a kind of symbolic meaning associated with the modernist project. The authors conducted a study of the architectural avant-garde of Sverdlovsk, Russia which showed that the weak perception of the historical and cultural importance of constructivist buildings and complexes is associated not only with the lack of the people awareness, but also with the underestimation of their aesthetic value. Meanwhile, the study of space-planning solutions for specific architectural projects reveals really conceptual aesthetics of the buildings. In addition, the study of the social history of constructivist architectural complexes, conducted by the authors, helped us to identify and articulate their cultural and historical significance and to highlight in a creative way the visual perception of these architectural reference markers in the space of the city. The authors also rely on their own experience of the exhibition, publication and sightseeing activities. The analysis of this experience allows the authors to draw some conclusions about the practice of developing and shifting the visual perception of constructivist monuments by the people. The originality of the presented approach to the study of architecture is an appeal to the social history of architecture which helps to enhance its aesthetic value.
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Bjažić Klarin, Tamara. "Review of Aleksander Laslo’s Research on Late Nineteenth and Early Twentieth-Century Architecture in Zagreb." Prostor 32, no. 1(67) (June 25, 2024): 16–25. http://dx.doi.org/10.31522/p.32.1(67).2.
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Architect Aleksander Saša Laslo (Celje, 1950 – Zagreb, 2014) was one of the leading historians of Croatian twentieth-century architecture, with a research scope centered on the city of Zagreb. Its aim was to investigate the processes of modernisation, tracing the evolution from high historicism and eclecticism through Art Nouveau to proto-functionalism and New Building (Ger. Neues Bauen, Cro. novo građenje) – viewed through building spatial-organisation, construction, and then inevitably form. Laslo’s interest, of course, extended beyond the mere physical structure of the building to wider social, economic, and cultural context, and dynamic knowledge exchange with Central Europe during that time, within which Laslo positioned the architecture of Zagreb. Methodologically, since the very beginning in the early 1980s, Laslo relied on exhaustive research, cataloguing, and contemporary research of Central European architecture. To mark the tenth anniversary of the death of this prominent researcher of Zagreb’s architectural heritage, this paper provides the first review of Laslo’s work, highlighting its comprehensiveness, integrity, and scientific method.
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Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
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The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
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Adenaike, Folahan Anthony. "Erosion and Resurgence of Biohiphilia in the Evolution of Yoruba Architecture." European Journal of Theoretical and Applied Sciences 2, no. 2 (March 1, 2024): 774–86. http://dx.doi.org/10.59324/ejtas.2024.2(2).69.
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The concept of biophilia in architecture promotes features such as plants, water, light, and materials to increase occupant health and well-being while also fostering a connection with nature. In traditional Yoruba architecture, the buildings and cities were a continuum with the environment and all the construction materials completely sourced from the immediate environment. The evolution of Yoruba architecture into more attritive forms and spaces arising from acculturation of foreign architectures gave rise to less biophilic features. This presentation explores the extent to which the indigenous traditions have yielded towards absolute social-cultural functionalism to the detriment of conservation and bio-sustainability in modern environmental development in primarily Yoruba-speaking areas of southwest Nigeria. Information and data for the investigation were obtained from literature on biophilic designs and indigenous Yoruba architecture. The findings from the research indicate that there were no inclinations in the contemporary indigenous architecture of the Yoruba to bring back the elements of the environment into its building forms until the proponents of sustainability and greening gained prominence. The urban forms fare better due to the efforts of landscape and urban designers. The paper concludes that the proponents of indigenous architecture who are presently premising their advocacy on heritage preservation and urban tourism should include the advantages of biophilic architecture which was present in the Yoruba traditional architecture in their discourses.
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Constantino, Susana. "Architecture and the Gesamtkunstwerk: Alberto Pessoa’s Furniture Design." Global Design, no. 47 (2012): 28–33. http://dx.doi.org/10.52200/47.a.g35dj6x3.
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In the post-war disciplinary discourse, the theme of architecture as a synthesis emerges evoking the idea of gesamtkunstwerk, this time associated with society’s collective spaces. This debate sought the integration of functionalism with a more humanist approach as an attempt to bring together architecture and society. Using as support two projects designed by Portuguese architect Alberto Pessoa (1919-1985), this text will explore the architect’s design of furniture as a fundamental token in the search for a Modern global design, to discuss one instance of how the idea of modern architecture as a synthesis of several disciplines was pursued.
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Lidin, Konstantin. "Alternative is life." проект байкал 19, no. 74 (January 5, 2023): 40–43. http://dx.doi.org/10.51461/pb.74.08.
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The history of European architecture contains many examples of the search for a non-alternative, the only correct approach. For several centuries, the Greco-Roman ancient classics served as such an ideal model. The pictorial fantasies of the architect (in the “architecture parlante” of the eighteenth century), rationality of functionalism, the ironic mixing of styles in postmodernism, the biomorphic curved surfaces of parametricism, and so on, also claimed the role of the ideal. But all attempts to get rid of alternatives and find the only way were unsuccessful. Uncertainty and alternativeness are an integral and necessary attribute of a living and developing architecture.
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Rudnicka-Bogusz, Marta. "From Dysfunction to Functionalism: The Evolution of Military Construction in the Interwar Period Poland." Civil and Environmental Engineering Reports 32, no. 4 (December 1, 2022): 210–29. http://dx.doi.org/10.2478/ceer-2022-0053.
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Abstract The purpose of the article is the general characteristics of military residential architecture built in the 1920s and 1930s in the 2nd Polish Republic. In the newly restored Poland the most pressing problem was the improvement of the housing conditions of the population. The military, who contributed the most to the reinstating of independence held special privilege with the state officials. Therefore, the problem of their quartering was resolved with utmost preference. After an unsuccessful period of trial and error with traditional and light timber frame construction the government addressed this problem systemically establishing the Military Accommodations Fund with a dedicated budget for creating typified, repeatable solutions. The MAF commissioned specific designers, held open as well as limited competitions and hired a cadre of architects and engineers to come up with designs that could rapidly and cost effectively replenish the housing base with functional, hygienic solutions. Because the MAF was well funded, the most prominent polish modernist architects readily cooperated with the organization making Polish interwar architectura militaris an engine of modernization.
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Kim, Anton. "Formation and development of the architecture of the Central Bank of Manchukuo." проект байкал 19, no. 72 (July 31, 2022): 134–39. http://dx.doi.org/10.51461/projectbaikal.72.1994.
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The article is devoted to the analysis of the development of the architecture of the Central Bank of Manchukuo in 1932–1945. The prerequisites for the development of the architecture of banking institutions in the region are considered. The key influence of the Japanese architectural school, which manifested itself to the greatest extent in the 1930s after the formation of Manchukuo, is revealed. The building of the head office of the Central Bank in Changchun, which incorporated the most advanced developments and approaches to the construction of such facilities, is described in detail. In addition, the variations of numerous branches located in other cities of the country are reviewed and the use of a single corporate style and stylistic ranking of objects depending on the location is revealed. The article analyzes the change of stylistic preferences from neoclassicism to functionalism, in which the compositional and planning structure remained unchanged, while the decoration underwent changes depending on the place and time of construction.
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Hynynen, Ari. "Seven Steps to Organic Modernism: Alvar Aalto’s Civic Centre in Seinäjoki Seen through the Lenses of Bruno Zevi." Athens Journal of Architecture 8, no. 2 (March 29, 2022): 91–112. http://dx.doi.org/10.30958/aja.8-2-1.
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Some scholars point out that modern architecture has been comprised of two parallel currents from its very beginning: rational and organic. Although many interpretations of modernism highlight industrial standardisation and mass production, Bruno Zevi suggested that the basic ideas of functionalism already included the principles of organic architecture. Here organic does not refer to nature’s forms but to human life. In the 1970s, Zevi published his theory of seven invariants of modern architecture, which received mixed reviews. This study aims to update these invariants for being viable in our time by comparing them to Zevi’s former writings dealing with organic architecture and the role of space in architecture. The invariants will be tested and elaborated in empirical analysis of Aalto’s Civic Centre in Seinäjoki, Finland.
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Ligtelijn, Vincent. "Aldo van Eyck and the Amsterdam playgrounds." Education and Reuse, no. 61 (2019): 30–41. http://dx.doi.org/10.52200/61.a.n2t5pk5p.
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Aldo van Eyck design experiences engendered the development of broader architectural concepts, many of which he further developed in his writings. Aldo van Eyck used various forums to attack an impoverished functionalism that was devoid of qualities such as ambiguity and reversibility. In the history of architecture, it is rare for architects to reflect on their own work, but design and research, writing and building were intrinsic to Aldo van Eyck. He kept on looking for a formal vocabulary to bring the multiple and the general into order and harmony through his architectural assignments. When he set to work at the Amsterdam public works department the opportunity to regenerate the vacant urban spaces in the city arose through the design of an intricate network of playgrounds. This essay will focus on the architectural qualities of these playgrounds.
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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.
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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.
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Beyaz, Çağla, and Çilen Erçin. "Sustainability in the modern architecture of Nicosia: A retrospective view." Revista Amazonia Investiga 12, no. 69 (September 30, 2023): 9–26. http://dx.doi.org/10.34069/ai/2023.69.09.1.
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Architectural approaches that developed and progressed in the modern period were founded on the criteria of modern architecture. It is possible to see the distinctive features of the modern period from the 1920s to the 1970s on the island of Cyprus, which has been under the influence of many cultures for many years. This study's main goal is to investigate the architectural criteria for residences constructed throughout the modern period in the Nicosia region in relation to sustainability parameters and modern architectural approaches. The methodology of the study consists of theoretical, analysis/practical approaches and observations. The analysis of a total of 3 houses was evaluated in the context of form, function, construction, and sustainability parameters. The houses examined during the findings phase were evaluated within the framework of sustainability parameters, and modern architectural approaches taking into account modern architectural criteria. In the houses discussed in the study, free plan, ornament-free facade designs, and large window openings on the facades, depending on the Functionalism, Purism, Cubism, and international style approaches, attract attention as architectural criteria. In this regard, it clearly reveals that the ideals, approaches, and principles of the modern period are related to the sustainability parameters that emerged at that time.
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Cucco, Pasquale, and Agustin Mariano Santoro. "Holistic Approach in Recovery and Conservation of Modern Architecture as Sign of Historical Identity." ATHENS JOURNAL OF ARCHITECTURE 7, no. 4 (September 3, 2021): 441–62. http://dx.doi.org/10.30958/aja.7-4-2.
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In 20th century a new ideological paradigm emerged in architecture, leading to mutations of function, form and technology, and marking a break with the traditional configuration of spaces, compositional and aesthetic forms. This trend has imposed an architecture based on simple and functional shapes and industrial materials, without excessive ornamentation. Through some selection criteria it is possible to recognize in the modern production “signs and meanings” of historical-documentary value, to be preserved and protected. Currently, there is a lack of consensus in local and national regulations on the criteria to be used for the selection of works to be recovered rather than demolished, on the materials and construction techniques or about the interventions on the Modern Movement architecture, often guided only by economic criteria. The main challenge is how to recover the existing heritage and adapt it to the necessary conditions of habitability, functionality and sustainability of the XXI century, without breaking with its own identity characterized by rationalism, functionalism and industrialized technology. Through a case study in Argentina, this research intends to propose a methodology for the selection of modern works in order to apply recovery and conservation interventions and to guide any projects according to a holistic approach.
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Mzhelskii, V. M. "Proto-constructivism in Novosibirsk architecture in 1917-1927." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 3 (June 26, 2022): 78–91. http://dx.doi.org/10.31675/1607-1859-2022-24-3-78-91.
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Purpose: The analysis of the architecture of the first post-revolutionary decade, processes and origins of the new style constructivism. The paper highlights the architecture of this period. Design/methodology/approach: Interesting factual material on proto-constructivism and its main problems. Comparison of different viewpoints on the processes in Novosibirsk architecture and the analysis based on the data collected. Research findings: This style is preceded by rather an interesting stage of creative research, which needs a special study. At that time, a significant number of public and administrative buildings were built in Novosibirsk, which was associated with its transformation to the administrative center of the Siberian Krai. It was an important period in the history of the Soviet architecture, when a search for a new creative method, architectural principles was carried out in the capital and regions, although researchers paid less attention to it than to constructivism. Architecture of post-revolutionary decade is characterized by a multi-vector nature and a pronounced desire for rationalism and functionalism, while still retaining the styles of the previous era associated with the struggle of various directions; new stylistic search for the post-revolutionary period. Practical implications: The obtained results contribute to the study of origins of the Soviet avantgarde architecture and can be used in further research and training manuals in the field. Originality/value: The analysis of the different viewpoints on the reasons for the Soviet avant-garde architecture development; comparison with the facts; identification of differences between the viewpoints, which is important for further study of this topic.
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Eamvijit, Suriyaporn. "Modernism and the Gender Trouble: Techno-Utopia and Gender Politics in the 20th Century Design." Journal of Architectural/Planning Research and Studies (JARS) 20, no. 1 (July 26, 2022): 55–72. http://dx.doi.org/10.56261/jars.v20i1.249560.
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Among prominent figures in the architectural field of the twentieth century, Le Corbusier was undoubtedly the most renowned. His key writing Vers Une Architecture (Towards a New Architecture) was received with praise and has been regarded as the manifesto of modern and contemporary architecture ever since. His projects have become symbols of the end of the old regime and the possibility for a new democratic society. However, his revolutionary mission apparently diminishes gender issues. Although there is extensive research about Le Corbusier’s works, only a few investigated the gender aspects of his works or incorporated his artistic works into the analysis. Among several studies on politics of gender in modernist architecture, what is still lacking is the analysis of Le Corbusier’s works that are not architectural. This paper aims at examining the relationship between Le Corbusier’s architectural as well as his artistic works and gender politics through the lens of Henri Lefebvre’s spatial theory and feminist theories. The paper focuses on the modernist aesthetic, technology, and gender politics in spatial arrangements and designs, especially in the domestic sphere, that are discussed mainly in Le Corbusier’s Towards a New Architecture and his poetry collection Poem of the Right Angle. An analysis of spatial representations in both works reveals how the architect’s obsession with purist functionalism and the glorification of technology propagate the conventional concept of femininity and reduces female subjects to a unit of domestic labor. On the other hand, the paper contrasts the work of Le Corbusier with that of Margarete Schütte-Lihotzky to demonstrate how the very same aesthetics can be a design that favours women when it is appropriated by female professionals who think about equality both in terms of class and gender.
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Lupeikis, Kęstutis, and Algimantas M. Mačiulis. "4D ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 28–37. http://dx.doi.org/10.3846/tpa.2011.04.
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Recently, among other processes in modern architecture, a lot more attention is expressed towards the fourth dimension (4D). This process is caused as an opposition to pragmatic functionalism, utilitarity, unification, formal deconstructyvism, sophistication. The expression of 4D in contemporary architecture is an intention to change the face of modern architecture, giving it more expressiveness, modern innovation. It results in specific aims and priorities of architectural expression. Architecture of today contains a variety of artistic areas (video, installation, painting, sculpture, graphics) as integral parts of its surface or internal structures. A building becomes an object of interdisciplinary art. The integration of interactive hypersurfaces in exteriors and interiors leads to various aspects of 4D in modern architecture. The paper discusses various aspects of 4D in architecture, excluding several marginal cases showing a wide range of aspects and priorities. Santrauka Pastaruoju metu, šalia kitų reiškinių, šiuolaikinėje architektūroje vis aktyviau reiškiasi ketvirtosios dimensijos vaidmuo. Šį procesą lemia priešprieša pragmatiškam funkcionalizmui, utilitarumui, unifikacijai, formaliam dekonstrukciniam laužymui, įmantrumui, daugžodžiavimui. 4D raišką šiuolaikinėje architektūroje formuoja siekis keisti architektūros „veidą“, suteikiant jai daugiau išraiškingumo, įtaigumo ir šiuolaikinio novatoriškumo. Tai lemia specifinius architektūrinės raiškos tikslus ir prioritetus. Šiuolaikinė architektūra įtraukia į save įvairių meno krypčių (videomenas, instaliacija, tapyba, skulptūra, grafika) elementus ne kaip atskirus meno objektus, o kaip neatsiejamus pastato paviršiaus ar vidaus struktūrinius darinius. Pastatas tampa tarpdisciplininiu meno objektu. Interaktyvių hiperpaviršių integravimasis eksterjere ir interjere lemia įvairius ketvirtosios dimensijos aspektus šiuolaikinėje architektūroje, kurie ir yra nagrinėjami šiame straipsnyje. Straipsnyje aptariami įvairūs ketvirtosios dimensijos šiuolaikinėje architektūroje aspektai ir sritys, išskiriami kraštutiniai, charakteringi atvejai, atspindintys platų tikslų ir prioritetų diapazoną. Aptariami, autorių manymu, charakteringiausi šios raiškos atvejai, daugiausiai dėmesio skiriant hiperpaviršių įtakai ketvirtosios dimensijos pasireiškimui šiuolaikinėje architektūroje.
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Stevanović, Vladimir. "Racionalizam u arhitekturi: nekoliko modela instrumentalizacije / Rationalism in Architecture: Several Models of Instrumentalization." AM Journal of Art and Media Studies, no. 6 (October 15, 2014): 114–24. http://dx.doi.org/10.25038/am.v0i6.80.
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Rationalism in architecture is a European concept which, from Enlightment to postmodern era, advocates values of order, clarity and logic, represented through primary geometrism, functionalism, profitability and absence of ornament. The text connects and analyzes (1) formal-stilistic manifestations of rationalism in architecture: French neoclassicism; Soviet constructivism, German new objectivity, Italian rationalism; postmodern Italian neorationalism in the context of (2) dominant paradigms which directs them: divine nature; technological-utilitarian; autonomus-selfreferent, and (3) social, economic, ideological and cultural activities around which they are organized, such as: French bourgeois revolution; proleterian-communist, socialdemocratic and faschist ideas beteween two World wars; critical procession of populist values in mass consumer society and global capitalist economy at the threshold of postmodern era.
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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Dubrovsky, Alexey V., and Maxim А. Karpov. "APPLICATION OF 3D MODELING FOR RATIONAL DESIGN OF REAL ESTATE OBJECTS." Interexpo GEO-Siberia 3, no. 2 (July 8, 2020): 41–49. http://dx.doi.org/10.33764/2618-981x-2020-3-2-41-49.
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The article considers methods of rational design of real estate objects, which include: "green design", "functionalism" and geodesign technology. Examples of "green design" are shown. Historical features of the formation of the "functionalism" trend in architecture and construction are considered. An example of the development of a forest zone on the territory of the city of Novosibirsk in the area of the Yeltsovka-1 river is considered. A three-dimensional information model of the territory was developed, which includes the project of two residential multi-storey buildings and a park zone. The model is based on the principles of rational design of real estate objects. The main parameter was the maximum use of existing natural complexes. When designing buildings, the optimal illumination of the interior was taken into account. Models showing the view from the window for all apartments were created. The use of geodesign technologies allows adapting natural complexes to create comfortable residential areas of the city provided with recreational resources.
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Polyakov, E. N., and О. Р. Polyakova. "Cubism in creative activity of Le Corbusier (Tomsk)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 25, no. 6 (December 26, 2023): 9–28. http://dx.doi.org/10.31675/1607-1859-2023-25-6-9-28.
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The article is devoted to the early creative activity of the outstanding French architect Charles-Édouard Jeanneret known as Le Corbusier. His move to Paris can be explained by the increased professional and creative ambitions, spiritual maturation of the young master. The paper studies his first design works implemented in France include engineering structures, Ovriere village near Dieppe, and others.The main attention is paid to two residential mansions made in the style of Cubism, namely the Ozenfant House and Studio in Paris built in the mid-1920s. Their master plans, original solutions of facades, lightweight frames made of precast concrete are studied herein. For those years, it is a fundamentally new building material, used later in the modern residential architecture. It is noted that the creator of architectural functionalism concludes that reinforced concrete structures have a wide compositional potential that allows working not only with flat, but also with curvedlinear walls, volumetric blocks. In addition, reinforced concrete allows him to successfully test his all five principles of modern. In these works, Le Corbusier first tests residential cell technology. These works are his first approbation of conceptual models of modern architecture.
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Polyakov, E. N., and O. P. Polyakova. "Life in Switzerland of Charles-Édouard Jeanneret known as Le Corbusier." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 3 (June 28, 2021): 9–20. http://dx.doi.org/10.31675/1607-1859-2021-23-3-9-20.
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The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.
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Pane, I. F., M. N. Loebis, I. Azhari, N. Ginting, and D. D. Harisdani. "The study of the influence of functionalism and international style on architecture development in Medan City." IOP Conference Series: Materials Science and Engineering 309 (February 2018): 012021. http://dx.doi.org/10.1088/1757-899x/309/1/012021.
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Mazaheri, Saba, and Abdolreza Mazaheri. "Light and color in Islamic mysticism and architecture." Religación. Revista de Ciencias Sociales y Humanidades 5, no. 23 (March 31, 2020): 177–81. http://dx.doi.org/10.46652/rgn.v5i23.613.
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This paper aims to study the cognitive background of light and color in the culture and art of Islamic mysticism and architecture analytically. Islamic mysticism and architecture are two separate disciplines that pursue a common goal in light and color about the creation of the universe and its emergence in different realms. Architecture tries to express the delicate mystical aspects of this matter in the material world. The mysticism supposes the universe or the light of all lights begins from God, and this light, which is an aspect of existence, will be darker passing to the lower worlds. As the world of reason, the first universe, is white, and the world of the body, which is the last known universe, is black. The findings show that light and color are two fundamental elements of creation and existence, which, by mixing in Islamic mysticism and architecture, have found a new identity and have created a vast global vision toward Allah. This essay is based on an interpretive analytical method, based on Clifford Geertz's interpretations theories and functionalism of Branislaw Malinowski, based on a library and documentary methodology and a qualitative content analysis method that transforms from descriptive to interpretive.
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Białkiewicz, Joanna. "Contemporary architectural interventions in the historical tissue of Cádiz – contextual minimalism in the service of genius loci." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, no. 2 (June 30, 2020): 44–56. http://dx.doi.org/10.35784/teka.1561.
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Discussions devoted to the contemporary approach to the historical heritage usually evoke strong emotions, residing somewhere between the conceptual poles of mimetic reproduction and ruthless anastylosis of forms and materials. Against this background, the four projects implemented in Cádiz, Spain, described in this paper appear to be very successful in their somewhat subdued formal character, the emphasis put on functionalism and space revitalisation, and the application of the concept of transparent architecture not conflicting with the historical one, non-aggressive, and at the same time thoroughly modern.
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Lueder, Christoph. "Evaluator, Choreographer, Ideologue, Catalyst: The Disparate Reception Histories of Alexander Klein's Graphical Method." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 82–106. http://dx.doi.org/10.1525/jsah.2017.76.1.82.
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The graphical method propounded by Russian German Israeli architect Alexander Klein during the late 1920s evaluates the qualities of architectural plans through a process of diagrammatic analysis following purportedly objective criteria. In Evaluator, Choreographer, Ideologue, Catalyst: The Disparate Reception Histories of Alexander Klein's Graphical Method, Christoph Lueder examines the reception and adaptation of Klein's method. Ernst Löwitsch reinterpreted Klein's analytical notation as choreography of domestic life. Following Klein's forced emigration from Nazi Germany, Frank Gloor rediscovered Klein's graphical method and transformed and adapted it into a scientific method classifying degrees of flexibility. Catherine Bauer disseminated the method to the English-speaking world under a new title, “Functional Housing for Frictionless Living,” which led to Robin Evans's enduring indictment of Klein's diagrams as emblematic of reductive functionalism. Throughout its reception, the graphical method has been viewed at various times as a methodology of scientific evaluation, a choreography of everyday life, an indictment of functionalist ideology, and a catalyst for new working methodologies.
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AMBROSĂ, Ana-Maria. "Political-Legal Debates on Romania’s Administrative-Territorial Reform and Regionalisation." Anuarul Universitatii "Petre Andrei" din Iasi - Fascicula: Drept, Stiinte Economice, Stiinte Politice 28 (December 10, 2021): 01–15. http://dx.doi.org/10.18662/upalaw/62.
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In search of solutions for durable peace in Europe, the latter part of the 20th century witnessed the emergence of several western-based theories that redefined the relations of national states and the way they related to their territorial subdivisions: functionalism, federalism, neo-functionalism, intergovernmentalism, multi-level governance, etc. In this context, several administrative reforms were carried out in order to stimulate decentralisation and regionalisation. After the fall of communism, the states in Eastern and Central Europe aligned with European Union “fashion” and practices. Taking the same road, Romania has shyly proceeded towards local autonomy, keeping the territorial divisions of its communist past. As far as regionalisation is concerned, it formally adopted the European Nomenclature of Territorial Units for Statistics (NUTS). However, it did not transform the region into a true governance layer.
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Ильвицкая, Светлана,, and Анна Поян. "The cultural heritage of Chisinau in 1930–1950." Arta 30, no. 1 (August 2021): 63–68. http://dx.doi.org/10.52603/arta.2021.30-1.10.
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One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.
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Mennatallah Hamdy, Mennatallah Hamdy, and Doha Ibrahim. "Preservation Laws: Saving Modern Egyptian Architectural Integrity." Resourceedings 2, no. 2 (September 2, 2019): 58. http://dx.doi.org/10.21625/resourceedings.v2i2.605.
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Egyptian cities have witnessed a variety of impeccable architecture throughout centuries of civilization, which enriched the Egyptian society. Constantly rising to the discussion is a question of what constitutes value to architecture of different times. It is important to regard heritage conservation as a synthetic, complex topic that is open for interpretations and judgment. While some antiquities are protected by law, it is apparent how modern heritage is a matter of ambiguity when it comes to preservation and conservation efforts. Until the mid-19th century, architectural heritage was primarily concerned with the preservation of monumental architecture. Theorists like John Ruskin and Le-Duc were largely exploring the authentic expression of materials in architecture, establishing the foundation, that Cesare Brandi would later build on, that conservation authenticity is not limited to age, rather includes material, style and structure.It is appropriate to regard heritage buildings as capital assets, with a potential to raise fluxes of services over time. However, not only Cairo, but Egypt has been losing much of its valuable modern heritage; thus its identity in the process.This paper focuses on Egypt's modernist architecture, discussing the rise of modernism and its introduction to the Egyptian cultural scene while reflecting on the current cultural detachment from such heritage and the current tendency towards. It, also, explores the rise of Egyptian modernism as a national style that reflects social and economic prosperity, in contrast to its rise in the west primarily advocating minimalism, functionalism and social equality.In comparing Egyptian laws to international charters on heritage preservation; in particular modern heritage, case studies are used to explore the consequences. The research concludes by suggesting measures and acts that can, directly and indirectly, affect the decision-making process, as well as support efforts of preservation of Egypt's modern heritage.
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Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
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The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
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Larmour, Paul. "Philip Bell: a champion of the Modern Movement in Northern Ireland." Architectural Research Quarterly 17, no. 1 (March 2013): 49–62. http://dx.doi.org/10.1017/s1359135513000353.
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Architecture in Northern Ireland in the twentieth century followed much the same pattern as elsewhere in the British Isles moving, broadly, from historic styles around the turn of the century, through a phase of Arts and Crafts activity for a decade or so, until settling down to a concentrated period of interest in Neo-Georgian styling in the 1920s and '30s. This inter-war era included, however, some examples of Modernism, primarily of an ornamented Art Deco type but occasionally of a more plain variety which ranged between Functionalism and the International Style. Examples of this type of modern architecture – characterised by flat roofs, white walls, large horizontal windows and a general avoidance of ornamentation – formed only a comparatively small part of the overall output of the period in Northern Ireland, and, for most architects who were involved, their contribution amounted to little more than a building or two; such was the prevailing tradition-bound architectural mood of the time.One architect in Northern Ireland, however, demonstrated a commitment to the Modern Movement that appears to have been greater than most. That was Philip Bell, whose name has been mentioned from time to time by various commentators, whether as a designer of Modernist houses or as the architect of one other particularly well-known building of the 1930s in Northern Ireland, the Strangford Lough Yacht Club House, which was an accomplished and stylish enough building to have been featured in the English architectural press at the time.
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Ptichnikova, G. A. "“The Beauty of Everyday Things”: Exhibitions in Establishing a New Aesthetics of the Architectural and Spatial Environment in Sweden." Art & Culture Studies, no. 4 (December 2022): 304–25. http://dx.doi.org/10.51678/2226-0072-2022-4-304-325.
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The article reveals the role of decorative art and architecture exhibitions that took place in Sweden during 1914–1930 in the creation of the Swedish ideology of “design of everyday things” and the establishment of functionalism as the dominant style in modernization of the architectural and spatial environment and, in general, a new way of life. The author of the article carefully traces the history of art and industrial exhibitions in Sweden and analyses their significance. Particular attention is paid to the activities of the Swedish Society of Crafts and Design, as well as to the work of architects E.G Asplund and S. Lewerentz, who organized the Stockholm Exhibition in 1930. An important socio-cultural result of the study is the statement that holding regular exhibitions was one of the main means of educating Swedish society and introducing all of its social classes to the principles of the design approach to making home and building the subject-spatial environment of the surrounding world.
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Franklin, Geraint. "‘Built-in variety’: David and Mary Medd and the Child-Centred Primary School, 1944-80." Architectural History 55 (2012): 321–67. http://dx.doi.org/10.1017/s0066622x00000149.
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Children are the basis of school design.(Ministry of Education Building Bulletin 1,1949, David and Mary Medd)Connections between ideas of ‘child-centred’ primary education and the design of schools were arguably closer in post-war Britain than any period before or since. These relationships provide a commentary on the role of public architecture within a British post-war social democracy that combined the social objectives of architectural Modernism with an awareness of, and continuity with, preceding reformist movements for the advancement of public health and education. The ‘social’ aspect of the post-war school-building programme stemmed not so much from the application of labour or technology to processes of building, nor even the equitable distribution of common resources, but rather from the ability of the designer to shape and articulate processes of teaching and learning within the locus of the welfare state. Social and pedagogical ends were often pursued to the almost total exclusion of architectural self-expression. If this ‘humane functionalism’ was rooted in an understanding of the activities and experiences of learning, it was dependent on a multi-disciplinary, investigative and creative collaboration between architect and educational ‘client’.
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OTSU, Mizuka. "THE APPLICATION OF THE THEORY OF THE FUNCTIONALISM TO THE MEXICAN ARCHITECTURE : A study on the architectural work by Juan O'Gorman Part 1." Journal of Architecture and Planning (Transactions of AIJ) 72, no. 622 (2007): 225–32. http://dx.doi.org/10.3130/aija.72.225_2.
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Kostova, E. V. "THE MAIN TRENDS IN STALINIST EMPIRE STYLE IN WESTERN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 9–17. http://dx.doi.org/10.31675/1607-1859-2019-21-1-9-17.
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Understanding of the Stalinist Empire style allows finding an alternative to postmodernism architecture in the conditions of the current crisis of the Russian civilization. The aim of this work is to characterize the architectural style of the Western Siberian cities and show the general and particular character in its consecutive development. Theoretical prerequisites for this work lie in the fact that the general paradigm of Stalinist Empire style was formed during the proletarian cultural revolution, i.e. realization of the collectivism principle and associated creative remaking of the architectural heritage. Stalinist Empire style in the Western Siberia represents the economic regional analogue of such a collectivist architectural synthesis of traditions and innovations.The architectural genesis of the Stalinist Empire style is considered by means of the systems and sociogenetic approaches. The genetic approach to the Stalinist Empire style is used to describe three stages: genesis, differentiation and integration. This triad expresses the main tendencies in the development of the Stalinist Empire style in Western Siberia with a gradual approximation to the increasingly rigid type of the architectural environment. It is concluded that the Stalinist Empire style represents a polystylistic synthesis of traditions and innovations, such as neoclassicism and constructivism, order and extraorder forms, collectivism and statehood based on the conceptual continuity of the world, national and regional style directions. The internal and external forms of the Stalinist Empire style are functionalism, neoclassicism and art deco.The Stalinist Empire style is aesthetic, expressive and consecutive in all its analogues. It is characterized by a clearly defined trend to beauty, dynamic stability and architectural organization. This relates also to the Western Siberian variant that achieves a stronger artistic effect in the paper architecture. The pedagogical socially-organizational function of the Stalinist Empire style is upbringing of new personality. The specific character of the Stalinist Empire style in Western Siberia is greater combination, rigidity and structuredness of the architectural environment as a result of negative system selection from unfavorable conditions. The Stalinist Empire style of metropolitan is a discrete system, while that of Western Siberia is a rigid system.
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Bushati, Etleva. "Meaning and Symbolism of Industrial Architecture in Albania." Rocznik Filozoficzny Ignatianum 29, no. 4 (December 29, 2023): 203–24. http://dx.doi.org/10.35765/rfi.2023.2904.14.
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Industrial architecture represents the evolution of technology, the growth of industry and the presence of new urban forms in the context of the city. The Albanian industrial history dates back to 19th century. The country’s industrial sector has experienced significant growth and transformation particularly during the socialist period from 1945 to 1990. Industrial facilities and complexes built over 50 years impacted the urban and social development of Albanian cities. Their architecture is characterized by a mix of different styles, including socialist realism and functionalism. These styles reflect the political, social, and economic history of Albania. The buildings, which include factories, mines, and power plants, are scattered throughout the country and their symbolism is multifaceted. They represent Albania’s aspirations to modernize society and build socialism. Moreover, industrial architecture in Albania has been the subject of different approaches and attitudes. Some argue for its preservation as part of the country’s cultural heritage, while others advocate its demolition and replacement with more modern structures. In this context, this paper investigates the meaning and symbolism of industrial architecture in Albania and its impact on the country’s identity and cultural landscape, referring to the city of Tirana. Industrial architecture in Albania plays a significant role in the country’s cultural landscape and identity. Its symbolism is complex and multifaceted, representing both the achievements and the challenges of Albania’s industrial past, as well as the communist doctrine. As Albania continues to evolve and modernize, the preservation and interpretation of its industrial heritage will remain a crucial issue for its people and policymakers.
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Garrido-Mercháin, Eduardo C., Martín Molina, and Francisco M. Mendoza-Soto. "A Global Workspace Model Implementation and its Relations with Philosophy of Mind." Journal of Artificial Intelligence and Consciousness 09, no. 01 (October 25, 2021): 1–28. http://dx.doi.org/10.1142/s270507852150020x.
Full textAbstract:
This work seeks to study the beneficial properties that an autonomous agent can obtain by imitating a cognitive architecture similar to that of conscious beings. Throughout this document, a cognitive model of an autonomous agent-based in a global workspace architecture is presented. We hypothesize that consciousness is an evolutionary advantage, so if our autonomous agent can be potentially conscious, its performance will be enhanced. We explore whether an autonomous agent implementing a cognitive architecture like the one proposed in the global workspace theory can be conscious from a philosophy of mind perspective, with a special emphasis on functionalism and multiple realizability. The purposes of our proposed model are to create autonomous agents that can navigate within an environment composed of multiple independent magnitudes, adapting to its surroundings to find the best possible position according to its inner preferences and to test the effectiveness of many of its cognitive mechanisms, such as an attention mechanism for magnitude selection, possession of inner feelings and preferences, usage of a memory system to storage beliefs and past experiences, and incorporating the consciousness bottleneck into the decision-making process, that controls and integrates information processed by all the subsystems of the model, as in global workspace theory. We show in a large experiment set how potentially conscious autonomous agents can benefit from having a cognitive architecture such as the one described.
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Baryshnikov, Pavel N. "Mind as Machine: The Influence of Mechanism on the Conceptual Foundations of the Computer Metaphor." RUDN Journal of Philosophy 26, no. 4 (December 15, 2022): 755–69. http://dx.doi.org/10.22363/2313-2302-2022-26-4-755-769.
Full textAbstract:
This article will focus on the mechanistic origins of the computer metaphor, which forms the conceptual framework for the methodology of the cognitive sciences, some areas of artificial intelligence and the philosophy of mind. The connection between the history of computing technology, epistemology and the philosophy of mind is expressed through the metaphorical dictionaries of the philosophical discourse of a particular era. The conceptual clarification of this connection and the substantiation of the mechanistic components of the computer metaphor is the main goal of this article. The statement is substantiated that the invention of mechanical computing devices, having a long history in the European engineering tradition, formed the prerequisites for the emergence of machine functionalism in the modern philosophy of mind. The idea of multiple implementation stems from the principle that a formal symbol system prescribes rules for the use of rational abstractions through the physical architecture of a computational engine. The article considers the reasons for the conceptual shift and reveals the semantic foundations for the metaphorical transfer of the properties of abstract objects from the theory of automata to the field of modern philosophy of mind. The criticism and ways of protecting the philosophical program of machine functionalism are analyzed by changing the content of the metaphor “Mind as machine”. The reasons for the stability of the information-computer approach in cognitive sciences are also disclosed and explained.
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He, Abigail. "Masculinizing & Emasculating in Domestic Space: Comparative Studies of Homebound (1967) and Anatomy of a Fall (2023)." Stachka! 1, no. 1 (2024): 20. http://dx.doi.org/10.33682/bap2-x537.
Full textAbstract:
By comparing the gender division of labor in domestic space in both Homebound (1967) and Anatomy of a Fall (2023), I address the issue of masculinizing and emasculating on the counter gender with a spatial perspective. First, physical mobility decides the prior access to the public sphere as well as the position of the householder psychologically. Also, the typical and conventional vertical structure of "home" in both films visualizes the gender hierarchy and its collapse within the domestic space. The vertical structure embodies the historically inherited phallus worship symbolically. In this sense, it encounters the requirement of a new space structure that claims gender equality. Approaching the ideal model with practice case of functionalism in architecture, I recount the controversy of the radical equality at the geographic level practiced in communist society by architecture and other supporting mechanisms, which drives the interrogation of the essential association between capitalist structure and male subjectivity since the former, including the basic concepts of private property and liberal market-based competition, is designed and extended by the latter in a biologic sense.