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Journal articles on the topic 'Gallery of architecture'

Author: Grafiati

Published: 28 June 2021

Last updated: 29 July 2025

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1

Searing, Helen. "Review: The Architecture Gallery." Journal of the Society of Architectural Historians 65, no. 1 (2006): 115–18. http://dx.doi.org/10.2307/25068242.

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

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

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Subagyo, Qonitah Hanan, Kusumaningdyah Nurul Handayani, and Maya Andria Nirawati. "Implementasi Arsitektur Semiotik pada Galeri Street Art di Kota Bandung." ARSITEKTURA 21, no. 1 (2023): 117. http://dx.doi.org/10.20961/arst.v21i1.71190.

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<p><em>Semiotic architecture is a bridge between architects and users who convey architectural information. The application of semiotic architecture to street art gallery buildings can be used as street art introduction images to users. Unfortunately, there is no research on the relationship between semiotic architecture and street art that can be used as design criteria parameters. Therefore, the urgency of this research is to find out which components of semiotic architecture are most suitable for the identity of street art galleries. The method of this research is studying the c

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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. T

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Saifudin, Febry Ramadan, and Ira Mentayani. "GALLERI ARSITEKTUR BANJAR." LANTING JOURNAL OF ARCHITECTURE 9, no. 1 (2020): 41–47. http://dx.doi.org/10.20527/lanting.v9i1.541.

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Banjar Architecture Gallery is one of the solutions to increase the interest of the people of Banjarmasin city for the benefit of developing their own city. The essence needed about building construction can be a creative and educative socialization agent to make visitors understand Banjarmasin city architecture. In the end, the Architectural Gallery Design can be realized as a single mass building by presenting a Banjar house holographic collection presented from the house, the history of the house's hierarchy, and the initial process of making a house. On the 1st floor tells the history and

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Saifudin, Febry Ramadan, and Ira Mentayani. "GALLERI ARSITEKTUR BANJAR." JURNAL TUGAS AKHIR MAHASISWA LANTING 9, no. 1 (2020): 41–47. http://dx.doi.org/10.20527/jtamlanting.v9i1.541.

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Banjar Architecture Gallery is one of the solutions to increase the interest of the people of Banjarmasin city for the benefit of developing their own city. The essence needed about building construction can be a creative and educative socialization agent to make visitors understand Banjarmasin city architecture. In the end, the Architectural Gallery Design can be realized as a single mass building by presenting a Banjar house holographic collection presented from the house, the history of the house's hierarchy, and the initial process of making a house. On the 1st floor tells the history and

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Figueira, Jorge, and Bruno Gil. "Biographies of Power: Personalities and Architectures." Joelho Revista de Cultura Arquitectonica, no. 8 (December 26, 2017): 170–200. http://dx.doi.org/10.14195/1647-8681_8_11.

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This section displays the work produced by the students of the Department of Architecture of the University of Coimbra (DARQ, UC) for the courses History of Architecture III and History of Architecture IV in the academic year 2016-2017. The main theme for the practical works of both course units was Biographies of Power: Personalities and Architectures. The work was exhibited in the gallery of DARQ, UC in September 2017. The works presented for Biographies of Power: Personalities were focused on the passage of testimony between Louis Sullivan and F. L. Wright. While they crucially contributed

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Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill galler

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Alderman, Ellen Hartwell. "Looking Obliquely: De-encoding Gallery Architecture." International Journal of the Constructed Environment 1, no. 2 (2011): 61–66. http://dx.doi.org/10.18848/2154-8587/cgp/v01i02/37474.

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Rizali, Muhammad, and Nurfansyah Nurfansyah. "GALERI ANIMASI DI BANJARBARU." LANTING JOURNAL OF ARCHITECTURE 9, no. 1 (2020): 204–11. http://dx.doi.org/10.20527/lanting.v9i1.558.

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The development of animation is growing rapidly every year, the use of animation which currently covers all fields, ranging from the world of entertainment to the world of business. The purpose of designing this Animation Gallery is to further introduce animation to the public. Animation Gallery will be designed using analogy methods and themed Hi-Tech Architecture. Animation is analogous to an architectural design by borrowing the principle of movement in the animation itself, namely how the stages of an object moving in an animation. Generally, movement in animation works with 2 elements, na

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Al Haq, Gusti Nur Rakhman Qowiyya, and Irwan Yudha Hadinata. "GALERI MATERIAL ARSITEKTUR NUSANTARA DI JAKARTA." JURNAL TUGAS AKHIR MAHASISWA LANTING 13, no. 1 (2024): 1–13. http://dx.doi.org/10.20527/jtamlanting.v13i1.2442.

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Nusantara Architectural Materials Gallery in Jakarta emerged from local materials and craftsmanship which began to be abandoned due to the proliferation of developments that prefer to use conventional materials. This raises the potential to develop a gallery design that focuses on preserving the Nusantara Architecture. The purpose of this design is to get a design by utilizing Local Material and Craft Commercialization, Education, and Innovation united in the concept of gotong-royong Flexspace. the application of this concept with a locality method approach in the forms design, activity-progra

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Rizali, Muhammad, and Nurfansyah Nurfansyah. "GALERI ANIMASI DI BANJARBARU." JURNAL TUGAS AKHIR MAHASISWA LANTING 9, no. 1 (2020): 204–11. http://dx.doi.org/10.20527/jtamlanting.v9i1.558.

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The development of animation is growing rapidly every year, the use of animation which currently covers all fields, ranging from the world of entertainment to the world of business. The purpose of designing this Animation Gallery is to further introduce animation to the public. Animation Gallery will be designed using analogy methods and themed Hi-Tech Architecture. Animation is analogous to an architectural design by borrowing the principle of movement in the animation itself, namely how the stages of an object moving in an animation. Generally, movement in animation works with 2 elements, na

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Muzayanah, Umi Yuda. "ISLAMIC ARCHITECTURE APPROACH ON ISLAMIC ARTS GALLERY WONOSOBO." Journal of Economic, Business and Engineering (JEBE) 2, no. 2 (2021): 447–51. http://dx.doi.org/10.32500/jebe.v2i2.1766.

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sound, and others. With this Islamic art, beauty is able to deliver the servants of Muslims to their God. Wonosobo is one of the districts with a rich variety of Islamic arts, in addition to the fact that the majority of its citizens are Muslim, Wonosobo Regency is also a “santri” city that has many Islamic Education Institutions. From this Islamic Education Institute, several works of Islamic art were produced. To appreciate the works of Islamic art from the Wonosobo community and artists from students, Wonosobo Regency needs to have a building that is used as a forum for art appreciation. Wi

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Ingarden, Krzysztof, and Katarzyna Banasik Petri. "Architectural Basso Ostinato: Mediation Processes Between Tradition and Modernization in the Architecture of Single-Family Houses in Japan – An Attempt at Analysis." Środowisko Mieszkaniowe/Housing Environment 49, no. 4 (2024): 88–123. https://doi.org/10.2478/he-2024-0032.

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Abstract This article focuses on the study of contemporary single-family residential architecture in Japan. Its objective is to evaluate the validity of Arata Isozaki’s thesis that Japanese architecture should be interpreted as a continuous process of mediation between tradition and modernization. To conduct this study, a set of thirty-three characteristics of traditional Japanese architecture was developed, categorised into material, formal-functional, and symbolic attributes. Using this framework, an analysis was conducted on 15 selected examples of prominent contemporary single-family house

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Setyo Bimo, Hakiem, Indro Sulistyanto, and Rully. "SOLO CITY GALLERY BERPENDEKATAN ARCHITECTURE POST MODERN." Jurnal Teknik Sipil dan Arsitektur 25, no. 1 (2020): 27. http://dx.doi.org/10.36728/jtsa.v25i1.1064.

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Berkembangnya potensi industri dan perdagangan di Kabupaten Boyolali, sebagian besar pengusaha diluar kota yang disebut kaum eksekutif berdatangan untuk mengembangkan usahanya di Boyolali. Keberadaan kaum eksekutif tentunya membutuhkan sarana dan prasarana yang sangat dibutuhkan mengingat manusia memiliki kebutuhan hidup seperti kebutuhan primer (sandang, pangan, papan) dan kebutuhan sekunder (berbelanja, rekreasi). Walaupun Kabupaten Boyolali mempunyai beberapa pusat perbelanjaan seperti pasar tradisional maupun swalayan dengan skala kecil, namun dengan meningkatnya jumlah penduduk dan pereko

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Hamsaini Harahap, Rahmi, and Nelson M Siahaan. "Handicraft Gallery Of North Sumatera (Metaphor Architecture)." International Journal of Architecture and Urbanism 4, no. 3 (2020): 300–310. http://dx.doi.org/10.32734/ijau.v4i3.5042.

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Handicrafts are one of the cultural and tourism assets that can to encourage people’s economy and increase tourist arrivals. Local handicraft products in Indonesia have won a place in the hearts of tourists, both local and foreign tourists. Many local artisans are willing to introduce the handcrafts to the society and are also willing to develop each of their masterpieces, but, due to the lack of facility and medium support, they choose to develop their potential outside the city. Therefore, a medium that can accommodate handicrafts needed in the form of a gallery that can help the marketing o

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Mukti, Ikelana, Diharto, Teguh Prihanto, and Isna Pratiwi. "Expo Gallery Batik Bakaran in Pati Regency with Neo Vernacular Architecture Approach." Canopy: Journal of Architecture 13, no. 1 (2024): 49–57. http://dx.doi.org/10.15294/canopy.v13i1.9481.

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Bakaran Batik is a cultural heritage originating from Pati Regency. Burnt Batik has now been designated as one of the Intangible Cultural Heritage (WBTb) on a national scale. However, as time goes by, its existence among the community is starting to decline in Bakaran Batik. The planning of the Bakaran Batik Expo Gallery in Pati Regency is aimed at preserving the art of batik itself and presenting Bakaran Batik as batik which has its own characteristics, both in terms of motifs, patterns and colors, to the public. wide. The site used in planning the Bakaran Batik Expo Gallery in Pati Regency i

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18

Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.

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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main conce

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Anil, Ar Seema. "From the Afterlife to Architecture: Tracing the Nexus of Life and Death in Prehistoric, Egyptian, and Japanese Built Environments." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 07, no. 12 (2023): 1–6. http://dx.doi.org/10.55041/ijsrem27854.

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This research explores burial architectures in prehistoric, Egyptian, and Japanese civilizations, unveiling a tapestry of practices and cultural implications. Prehistoric societies utilized Portal tombs, Gallery tombs, and Passage graves as repositories, revealing a connection between earthly rituals and cosmic rhythms through dolmens, gallery graves, and aligned passage tombs. Egyptian tomb architecture, from royal pyramids to decorated mastabas, transformed sepulchral temples in Thebes into sacred spaces. Each structure acted as a guardian preserving kings' mummies until souls reunited with

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Campbell, D. A. "Explorations into virtual architecture: a HIT Lab gallery." IEEE Multimedia 4, no. 1 (1997): 74–76. http://dx.doi.org/10.1109/93.580398.

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Vu, Anh Viet, Thi Ai Thuy Pham, and Tu Pham. "Pop-up landscape architecture in Ho Chi Minh City: Cases of creating livable city for all." MATEC Web of Conferences 193 (2018): 04002. http://dx.doi.org/10.1051/matecconf/201819304002.

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The pop-up architecture (or landscape architecture) becomes popular nowadays. Some highlights include annual architecture program such as the Serpentine Gallery Pavilion at Hyde Park, London; MPavilion in Melbourne; MoMA PS1 and Heart Sculpture in New York. Many of these pop-up architectural works have been designed by world renowned architects, such as Zaha Hadid, Rem Koolhaas, Hezorg and de Meuron, Jean Nouvel, Toyo Ito, SANAA, Shigeru Ban, BIG, etc. And many of these designs reflect innovative thinking that changes the professional world of architectural design. But above all, these pop-up

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Yogesh, Satpute, Vishvakarma Vansh, Darwai Payal, Rai Sumit, and Chadokar Satish. "Implementations of Art Gallery Management System." Recent Trends in Cloud Computing and Web Engineering 7, no. 2 (2025): 18–21. https://doi.org/10.5281/zenodo.15266472.

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<em>This research focuses on the development of an Art Gallery Management System. The system facilitates the management of artworks, artists, and exhibitions. It enhances efficiency in operations, improves customer experience, and supports sales tracking. This paper covers system architecture, ER diagrams, DFDs, and implementation details. Art galleries have traditionally relied on manual methods for managing their data, resulting in inefficiencies, errors, and limited outreach. The proposed Art Gallery Management System provides a centralized platform to manage artists, artworks, exhibitions,

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Merkel, Jayne. "Yale Art Gallery." Architectural Design 77, no. 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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Sari, Marchelia Gupita, and Imaniar Sofia Asharhani. "IDENTIFIKASI PENDEKATAN WHITE CUBE DAN REGIONALISME KRITIS PADA ARSITEKTUR GALERI SENI DI YOGYAKARTA." LANGKAU BETANG: JURNAL ARSITEKTUR 7, no. 2 (2020): 163. http://dx.doi.org/10.26418/lantang.v7i2.39678.

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Regionalisme dalam arsitektur kerap dibahas sebagai respon terhadap arsitektur modern yang bersifat univalen dan melunturkan nilai-nilai kesetempatan. Estetika galeri seni dengan pendekatan white cube yang berakar pada modernisme telah mengglobal atau melanda dunia, seperti halnya international style dalam arsitektur. Yogyakarta kini tengah menghadapi isu lokalitas dalam arsitektur yang dapat mencerminkan identitasnya sebagai kota seni dan budaya. Galeri seni memiliki peranan penting untuk menyebarkan kesenian kontemporer yang dinamis. Penelitian ini bertujuan untuk mengidentifikasi penerapan

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Zhuravlev, T. V., and E. V. Ermolenko. "Construction of Space and Plasticity in the Project of the Tretiakov Gallery Branch in Kaliningrad." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 26, no. 4 (2024): 118–29. http://dx.doi.org/10.31675/1607-1859-2024-26-4-118-129.

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This article is a fragment of a systematic scientific study of the design activity of the "Meganom" bureau, conducted within the framework of the author's approach to contemporary Russian architecture.Purpose: To determine the conceptual fundamentals used in the construction of space and plasticity of the Tretyakov Gallery branch, designed by Meganom" bureau in Kaliningrad.Methodology: Building analytical models of the proposed space and plasticity construction in the project of the Tretyakov Gallery branch in Kaliningrad are used.Research findings: The development of the proposed approach and

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Bioza, Betyona, Titis Srimuda Pitana, and Gunawan Gunawan. "SOLO CRAFT GALLERY EXPO DENGAN PENDEKATAN ARSITEKTUR JAWA KONTEMPORER." Arsitektura 15, no. 1 (2017): 269. http://dx.doi.org/10.20961/arst.v15i1.12182.

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<p><strong><em>Abstract: </em></strong><em>Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government

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Tippett, Maria. "The National Gallery of Canada: Ideas, Art, Architecture (review)." Canadian Historical Review 85, no. 3 (2004): 561–64. http://dx.doi.org/10.1353/can.2004.0141.

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Kauffman, Jordan. "Architecture in the Art Market: The Max Protetch Gallery." Journal of Architectural Education 70, no. 2 (2016): 257–68. http://dx.doi.org/10.1080/10464883.2016.1197674.

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Armstrong, Drew. "The National Gallery of Canada: Ideas, Art, Architecture (review)." University of Toronto Quarterly 74, no. 1 (2004): 354–56. http://dx.doi.org/10.1353/utq.2005.0005.

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He, Wenhao, Haitao Song, Yue Guo, et al. "A Gallery-Guided Graph Architecture for Sequential Impurity Detection." IEEE Access 7 (2019): 149105–16. http://dx.doi.org/10.1109/access.2019.2946861.

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Wibisono, Alenda Khoirunnisa, Hardiyati Hardiyati, and Rachmadi Nugroho. "THE IMPLEMENTATION OF THE ORGANIC ARCHITECTURE THEORY IN CONTEMPORARY ART GALLERY DESIGN STRATEGY IN SURAKARTA." ARSITEKTURA 17, no. 1 (2019): 15. http://dx.doi.org/10.20961/arst.v17i1.23906.

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Surakarta has various potentials in contemporary art, namely the potential of artists, the intensity of activities, as well as formal and informal art groups and institutions. Unfortunately, those potentials are not equal with the availability of facilities to accommodate them. Therefore, a Contemporary Art Gallery in Surakarta is needed as a place of appreciation, recreation and education. Gallery is a fixed container in the form of a closed building to accommodate visual communication activities through exhibitions and other artistic activities (Webster, 1979). Contemporary art is a developi

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Caruso, Adam. "Newport Street Gallery." Journal of Architectural Education 73, no. 1 (2019): 98–99. http://dx.doi.org/10.1080/10464883.2019.1560811.

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Khonsari, Torange. "Contemporary Initiatives in Participatory Art and Architecture Practice." Open House International 33, no. 2 (2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.

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Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commi

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Valiente Oriol, Jorge, Amaia Sanchez-Velasco, and Gonzalo Valiente. "New Geographies of Violence." Drawing On: Journal of Architectural Research by Design 3 (October 2, 2019): 105–20. https://doi.org/10.2218/5qvv2583.

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The work presented here narrates the creative and design research methodologies of Grandeza (in collaboration with Miguel Rodriguez-Casellas, alias Bajeza), an architectural collective that operates between the fields of spatial practice, design, cultural production and pedagogical exploration. These methodologies are described by analysing the material, discursive and representational qualities of two of their latest artworks: The Plant (2017) and Valparaiso Post-Liberal (2017). Both installations are discussed here as one-to-one scale architecture models that stage, perform, debate and chall

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Miller, John. "Fun Gallery." Grey Room 35 (April 2009): 92–99. http://dx.doi.org/10.1162/grey.2009.1.35.92.

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del Río-Calleja, Beatriz, Joaquín Grau Enguix, and Alfonso García-Santos. "Architectural Systemic Approach: The Serpentine Gallery 2005, a Reciprocal Frame Case Study." Buildings 12, no. 7 (2022): 1051. http://dx.doi.org/10.3390/buildings12071051.

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The application of the systemic approach in architecture aims to promote an integral, holistic view of the architectural design process. The literature reviewed calls for models with systemic behavior, and for these models to be applied in concrete cases. This paper proposes an original approach, using the foundation matrix and the constructive logic matrix. Both matrices are part of a developing model that is being tested on a case study. The work presented here had two objectives: to check this part of the model and gain more knowledge about the model itself. The selected case study, the 200

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

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The centre of arts was a place for activity that related to the arts itself, as a place to show the local art and culture, and provide us information about the artworks that made by the artist and show it to the visitors or consumers by displaying these artworks into art exhibition that expected to be able reach a wider market. This art centre published as a gallery that will accommodate tattoo artist to show their artwork as a paintings and tattoos on synthetic leather. The research of this study using qualitative method by spreading questionnaires, studying literature with local regulations

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Malaniuk, Viktoriia. "Modern Tendencies in Architecture on the Example of Pavilions of Serpentine Gallery in London." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 1 (2019): 28–36. https://doi.org/10.31866/2617-7951.2.1.2019.170354.

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The aim of the research is to analyse basic tendencies in modern architecture on the example of temporal summer pavilions of art-gallery of Serpentine, located in Kensington Gardens, Hyde Park, London, into the creation of which during 2000s–2018s the best-known architects from all over the world were engaged. Research methods. The methods of synthesis, comparison, generalization, and historical approach have been used, as well as a thorough analysis of the project practice and the works of leading theorists in history of architecture. The scientific novelty is in the analysis of modern

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Twose, Simon. "Concrete Poiētics Entanglements between Drawing and Building." Architecture Image Studies 1, no. 1 (2020): 25–39. https://doi.org/10.62754/ais.v1i1.9.

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This paper reports on an experimental drawing installation that is part of a sequence of art works radicalising architectural drawing: Drawing in the Expanded Field. Concrete Drawing was shown at Adam Art Gallery | Te Pātaka Toi, Wellington, Aotearoa New Zealand (2015), and at Pallazo Mora, XV Venice Architecture Biennale, Venice, Italy (2016). The work explored architecture in the space between drawing and building and sought to capture a shared atmosphere, merging the implacable materiality of built space with the indeterminate, open poiesis of a sketch. Concrete Drawing was a large 1:1 sket

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Bandhawa, Raga Anggaraksa, and Dyan Agustin. "PENERAPAN TATA RUANG DALAM GALERI SELASAR SUNARYO ART SPACE." JAUR (JOURNAL OF ARCHITECTURE AND URBANISM RESEARCH) 7, no. 2 (2024): 179–87. https://doi.org/10.31289/jaur.v7i2.11620.

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A gallery is a place or building that is intended as a place for the exhibition of artworks and other art activities. Space will be an important aspect in the arrangement of a gallery building because it certainly supports the arrangement and appearance of each work of art. Selasar Sunaryo Art Space (SSAS) is a gallery established with the aim of supporting the development of practice, art studies, and culture in visual form in Indonesia. SSAS is one of the gallery cultural centers visited by every circle in Indonesia so that the role of architecture in buildings is needed to support art activ

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Melvin, Jeremy. "Serpentine Gallery Pavilion 2005." Architectural Design 75, no. 6 (2005): 102–6. http://dx.doi.org/10.1002/ad.185.

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Gao, Xiaofeng, Qingbin Li, Zhihong Liu, et al. "Modelling the Strength and Fracture Parameters of Dam Gallery Concrete Considering Ambient Temperature and Humidity." Buildings 12, no. 2 (2022): 168. http://dx.doi.org/10.3390/buildings12020168.

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Due to the complex structure and stress distribution of dam galleries, cracks often appear during the construction, operation and maintenance periods of dams. This paper proposes a method to determine the real strength and fracture parameters of gallery concrete, considering environmental temperature and humidity. The strength and fracture tests were carried out for gallery concrete at various ages and under different curing temperature and humidity conditions. The influence of curing conditions on the mechanical properties of gallery concrete was quantitatively analyzed. The prediction equati

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Siwabessy, D., G. Widati, B. Erwin, and G. P. Dianty. "Application of metaphor and sustainable concepts in art gallery buildings in Jakarta." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012023. http://dx.doi.org/10.1088/1755-1315/878/1/012023.

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Abstract Indonesia is a country that has a diverse culture which is an art that has been formed by human civilization and where art is an emotion or expression of feelings towards the beauty that is seen or felt by the development of art galleries that can be exhibited or even sold by gallery artist from the country of origin. Welcome his work, and with this gallery building, art lovers can enjoy works that show beauty. Location of the buildings is an area that serves as a fine art gallery in central Jakarta, where the region can build fine art galleries. With the application of the metaphoric

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Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often cont

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Aguiar da Cunha, Helder. "bysteel materializes Sir Richard Rogers’ gesture." Metálica, no. 25 (September 30, 2022): 14–17. http://dx.doi.org/10.30779/cmm_metalica_mi25_02.

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Installed at Château La Coste near Aix-en-Provence, the work is “a meeting between art and science” It was 2011 when Sir Richard Rogers, Nobel Laureate in Architecture, was asked by his good friend — Paddy McKillen — to design an art gallery at his estate Château La Coste, a wine estate where besides an extensive vineyard there is a hotel (W*214), restaurants and a cultural itinerary with works by stratospheric artists such as Louise Bourgeois, Renzo Piano, Oscar Niemeyer, Tadao Ando among many others. The gallery would have to fulfill only two requirements: serve the purpose of an art gallery

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Ariyanto, Ariyanto, Ahmat Wakit, and Teguh Tamrin. "Perancangan Galeri Seni Ukir Sebagai Citra Seni Arsitektur Identitas Lingkungan Kabupaten Jepara." Jurnal Talenta Sipil 6, no. 2 (2023): 285. http://dx.doi.org/10.33087/talentasipil.v6i2.312.

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Pursue the history of carving art in general and specifically in Jepara requires the expression of philosophy translation or transcendental approach of relationship between man and the Creator (magical inclination). The form of disclosure of the image of the most beautiful Creator becomes the intuition that is translated in the manifestations of the beauty of the works of nature. Art Carving as part of artwork in three dimensions that contain noble value from the expression of the glorification language of the beautiful image of the Creator. The salvation or preservation of the noble values of

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Carr, Angela. "Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture." Urban History Review 33, no. 1 (2004): 55–56. http://dx.doi.org/10.7202/1015678ar.

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Orr, Michael, Tom Webster, and Jon Leach. "2015 Serpentine Gallery Pavilion – challenges of form and fabric." Structural Engineer 94, no. 5 (2016): 22–31. http://dx.doi.org/10.56330/ssvv1200.

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The Serpentine Gallery Pavilion is an annual commission of a temporary installation in the lawns of Kensington Gardens, London, and aims to be a fusion of art and contemporary architecture. An internationally acclaimed architect, who is yet to complete a project within the UK, is commissioned by the Gallery to deliver an initial concept and work together with the Technical Advisers, AECOM with David Glover, and the Main Contractor, Stage One, to deliver the final product over a period of less than six months. In 2015, Spanish architects selgascano accepted the invitation of the Gallery to deli

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Nasution, Adelia, and Sri Gunana. "Medan Fish Centre With Ecological Architecture Approach." International Journal of Architecture and Urbanism 6, no. 3 (2022): 304–10. http://dx.doi.org/10.32734/ijau.v6i3.10388.

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Medan Fish Center design is a building design that functions as a fish market which is located on K.L. Yos Sudarso Street, West Medan District, North Sumatra. This design depicts a fish market center equipped with supporting facilities such as a freshwater aquarium, food court, and gallery. The application of ecological architecture to market design applied to the management of liquid waste produced by fish traders. The fish market design is expected to benefit the community not only as a means of the community's economy but also as a means of recreation and education.

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Amalina, Nabila, and Martinus Bambang Susetyarto. "Prototipe Perpustakaan Virtual Museum & Galeri Sby*Ani Dengan Design Innovation Methode." Metrik Serial Teknologi dan Sains 3, no. 1 (2022): 42–54. http://dx.doi.org/10.51616/teksi.v3i1.277.

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Virtual architecture has unlimited space. The space is one of the answers to the  fulfillment of space needs on limited land in the real world. The development of  the library at the SBY*Ani Museum and Gallery is actually thinking about using  virtual architecture to meet the demands of providing an alternative space that  can functionate the library to keep books and collections, with low cost and  sustain quality layout management, and flexible visiting times for  readers/borrowers. Purpose of the research was finding a library prototype that  give a

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