Relevant bibliographies by topics / Semper, Gottfried, Architecture Architecture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Semper, Gottfried, Architecture Architecture'

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Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Semper, Gottfried, Architecture Architecture"

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Hvattum, Mari. "Gottfried Semper: towards a comparative science of architecture." Architectural Research Quarterly 1, no. 1 (1995): 68–75. http://dx.doi.org/10.1017/s1359135500000129.

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This paper investigates Gottfried Semper's use of comparative science as a basis for a theory of architecture. It traces Semper's reliance on the works of Jean-Nicholas-Louis Durand and the zoologist Georges Cuvier. Following Michel Foucault's argument that the emergence of comparative science entails a decisive transition in modern thought, the paper explores the origins and implications of Semper's comparative theory of architecture. Through this focus, the paper attempts to identify and explore an essential tension inherent in Semper's work between, on the one hand, his sensitive recognition of the symbolic significance of architecture, and on the other, the proto-positivism implied in his ‘science of invention’. This dilemma still conditions our contemporary architectural culture, making the study of Semper's complex and conflicting ideas more relevant than ever.
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Mallgrave, Harry Francis. "Gottfried Semper: In Search of Architecture." Journal of Architectural Education 38, no. 4 (July 1985): 33–34. http://dx.doi.org/10.1080/10464883.1985.10758377.

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Mallgrave, Harry Francis, and Wolfgang Hermann. "Gottfried Semper: In Search of Architecture." Journal of Architectural Education (1984-) 38, no. 4 (1985): 33. http://dx.doi.org/10.2307/1424862.

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Franck, Oya Atalay. "Review: Gottfried Semper, 1803-1879. Architektur und Wissenschaft by Gottfried Semper." Journal of the Society of Architectural Historians 64, no. 1 (March 1, 2005): 100–102. http://dx.doi.org/10.2307/25068126.

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Poerschke, Ute. "Architecture as a Mathematical Function: Reflections on Gottfried Semper." Nexus Network Journal 14, no. 1 (January 13, 2012): 119–34. http://dx.doi.org/10.1007/s00004-011-0101-5.

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Mallgrave, Harry Francis. "Review: Gottfried Semper: In Search of Architecture by Wolfgang Herrmann." Journal of the Society of Architectural Historians 44, no. 2 (May 1, 1985): 187–88. http://dx.doi.org/10.2307/990030.

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Falguières, Patricia, and Isabelle Kalinowski. "Gottfried Semper, architecture et anthropologie dans l’Europe du xixe siècle." Revue germanique internationale, no. 26 (December 27, 2017): 5–17. http://dx.doi.org/10.4000/rgi.1672.

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Grover, Robert, Stephen Emmitt, and Alex Copping. "The language of typology." Architectural Research Quarterly 23, no. 2 (June 2019): 149–56. http://dx.doi.org/10.1017/s1359135519000198.

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The concept of typology has recurred in architectural discourse since the term’s conception in the early nineteenth century. To describe an architectural object usually involves an act of typifying; a generalisation of built form to common characteristics. Both the analysis of architecture and its creation require this abstraction, which offers the potential to form types and expose initially unapparent relationships. Typology’s Enlightenment origins sought to link architecture to a natural order, but its terminology has subsequently been adopted in modernist rejections of mass culture and Neo-Rationalist pursuits of continua and meaning. Despite widespread use of the term, the role typology plays in the process of design remains unclear. Attempts to link its academic origins to the creation of architectural form (notably by Gottfried Semper in the nineteenth century, and Guilio Carlo Argan and Aldo Rossi in the twentieth century) have done little to synthesise the two and merely succeeded in alienating it from practice.
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Andersen, Anna Ulrikke. "Translation in the architectural phenomenology of Christian Norberg-Schulz." Architectural Research Quarterly 22, no. 1 (March 2018): 81–90. http://dx.doi.org/10.1017/s1359135518000088.

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This article offers a step by step analysis of an undiscussed note written by Christian Nor-berg-Schulz 18 April 1979, titled Translation, as I ask what role the notion of transla-tion played in his theory of genius loci. Scholars have recently shown interest in the way the field of translation and architecture intersect and can inform each other. Norberg-Schulz is widely read and researched, but the role of translation in his authorship has to date been undiscussed. Springing from my discovery of the note in the archive, I revisit Norberg-Schulz's phenomenological approach to architecture with a specific focus upon the notion of translation.I uncover his references from this note and see these in light of his published work, particularly his landmark treatise Genius Loci: towards a phenomenology of architecture (1980). Building upon a long tradition of architectural theory, involving ideas from Vitruvius and Gottfried Semper, I argue that the theme of translation is recurrent throughout Norberg-Schulz's theoretical authorship, appearing in his theory of genius loci, his understanding of continuity and change, accounts of Norwegian architectural culture, and writings about the architecture of Louis Kahn.Here, translation is seen as a tool for gathering, in the Heideggerian sense, which gives birth to an architecture in which the architectural outcome is not inferior to its pre-cursor, but simply different and from which something constructive might emerge. Seen in relation to the notion of architecture as language, it could even be argued to be a vital core to Norgerg-Schulz's longstanding interest in the meaning of architecture and place and how design must negotiate continuity and change. Understanding the genius loci as vital in architectural appropriation, as design, thus, implies a process of transla-tion, arguably a vital contribution to the ongoing interest in the intersection of architecture and translation.
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Poerschke, Ute. "On concrete materiality in architecture." Architectural Research Quarterly 17, no. 2 (June 2013): 149–56. http://dx.doi.org/10.1017/s135913551300050x.

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What is material as such in architecture? To contribute an answer to this question, the article examines sources from the eighteenth century to today. Discussing Vitruvius' remarks on materiality, Francesco Algarotti cites his Venetian teacher Carlo Lodoli in a 1756 pamphlet on architecture: “For which reason does stone not represent stone, wood [not represent] wood, each material itself and not another?” The paper illuminates the background of this citation, and its adoption and interpretation by successive architectural theorists, such as Gottfried Semper(“Brick should appear as brick, wood as wood, iron as iron”), Eugene Viollet-le-Duc, and Frank Lloyd Wright, the latter emphasizing the importance “to see concrete or glass or metal each for itself and all as themselves.” The thread continues with Adolf Loos' statement that no material “may lay claim for itself to the forms of another material” and the Bauhaus model as taught by Laszlo Moholy-Nagy. Further investigations will concern Louis Kahn's question “What do you want, brick?” and end with Peter Zumthor's discussion of the “reality of building materials.” Discussing rationalist and sensualist approaches to material characteristics such as inner structure and outer surface, the article compares divers positions concerning the question of what can be understood as concrete materiality.
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Dissertations / Theses on the topic "Semper, Gottfried, Architecture Architecture"

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Epp, C. Brent. "Architecture and urban culturation in Vienna, Gottfried Semper and Otto Wagner." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42141.pdf.

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Viana, Alice de Oliveira. "Gottfried Semper e o ornamento em arquitetura." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-29062017-114151/.

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A tese investiga o conceito de Ornamento no arquiteto e teórico Gottfried Semper (1803-1879), quem elabora, em meados do século XIX, importante teorização deste elemento arquitetônico. Destina-se a demonstrar que, em meio a um processo de depreciação semântica vigente na época, Semper procura restabelecer o status quo do Ornamento, consagrando a ele uma importância fundamental para os indivíduos e suas instituições sociais. Os vínculos tradicionais entre Ornamento e noções clássicas como Estilo e ordem são reforçados e atualizados pelo autor, considerando o contexto da época. Para este estudo, a investigação considerou dois momentos. Primeiramente, adotou-se um recuo temporal, trabalhado na longa duração, com o intuito de se apresentar um quadro sintético de noções e conceitos interdependentes que estruturaram o conceito de Ornamento na Tradição Clássica. Aqui a escrita foi organizada a partir da observação atenta às transformações dos sentidos atribuídos ao termo, aos conceitos que giraram em torno dele e o constituíram como um componente imprescindível do que se compreende por Arquitetura na Tradição. Em um segundo momento analisou-se o conceito de Ornamento em Semper em meio ao contexto europeu de meados dos oitocentos, tendo em vista o enfraquecimento da legitimidade da Tradição Clássica e as implicações resultantes do desenvolvimento da indústria moderna. Considera-se que os escritos deste autor, na medida em que procuram atualizar o conceito de Ornamento, evidenciam parte do contexto de crise da ornamentação em Arquitetura, que, diferentemente do que costuma colocar a historiografia tradicional, iniciou-se bem antes da aurora do moderno. O Ornamento em Semper deve ser compreendido como um conceito que opera dentro da disciplina Arquitetura e que faz parte dos esforços do autor em reorganizá-la em meados do século XIX.
This thesis investigates the concept of Ornament in the writings of the architect and theorist Gottfried Semper (1803-1879), who put forth an important theory about this architectural element in the middle of the nineteenth century. It aims to show that Semper tried to restore the status quo of the Ornament in the midst of semantic devaluation, thereby granting the Ornament essential prominence in social institutions and to individuals. This thesis also shows that the author reinforces and updates traditional connections between the Ornament and classical notions, such as Style and Order. In order to accomplish the above, this study considered two moments. Firstly, the concept of Ornament in Classical Tradition was presented using temporal regression in a long duration structure; the writing about this moment is organized according to transformations in the meanings attributed to the term Ornament, and to the concepts that revolved around it and constituted essential components of Architecture in Tradition. The second moment is that in which Semper\'s concept of Ornament is analyzed throughout the mid-nineteenth century European context; in this view, thelegitimacy of Classical Tradition is weakened, due in part to the development of modern industry. In seeking to update the concept of Ornament, Semper\'s writings make explicit the crisis of Ornamentation in Architecture, which began well before the dawn of modern time, unlike traditional historiography says. This thesis argues that the Semperian Ornament should be understood as a concept that operates within the discipline of Architecture and is part of the author\'s efforts to reorganize it in the mid-nineteenth century.
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Ziesemer, John. "Studien zu Gottfried Sempers dekorativen Arbeiten am Aussenbau und im Interieur : ein Beitrag zur Kunst des Historismus /." Weimar : VDG, 1999. http://catalogue.bnf.fr/ark:/12148/cb40031545p.

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Schoeppner, Nicholas. "Rebirth: Natural Architecture for Urban Humanity." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1430749769.

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McCoy, Christina Glasgow. "Tectonics in the Twenty-first Century: The Expanded Notion of Structure and Its Perception in Architecture." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242913668.

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Carr-Trebelhorn, Julia A. "FROM GEOLOGY TO ART HISTORY: CERAMIST ALEXANDRE BRONGNIART’S OVERLOOKED CONTRIBUTION TO THE DEVELOPING SCIENCE OF ART HISTORY IN THE EARLY NINETEENTH CENTURY." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/4.

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Alexandre Brongniart was known for his work as an important geologist and as an administrator at the Sèvres Porcelain Manufactory, but his roles as art historian and museologist are overlooked. Brongniart created a holistic methodology taken directly from science and applied it to ceramic art of all cultures and eras. He had a uniquely modern perspective on time, world culture, and archeology. Brongniart wrote about the art of Asia and the Americas on an equal status with that of the Classical West at least fifty years before it became a mainstream idea. Brongniart integrated scientific principle and practice into the structure of the Sèvres Museum and a comprehensive set of books which includes Traité de Mineralogie avec des Applications aux Arts, Traité des Arts Ceramiques, and Description Methodique du Musée Ceramique de la Manufacture Royale de Porcelain de Sèvres. Numerous historians were influenced by Brongniart’s work, including Samuel Birch and Albert Jacquemart. Notably, the art historian Gottfried Semper refocused his ideas for Style in the Technical and Tectonic Arts after seeing the completed works of Brongniart. Although contemporary historians credit Semper with the development of a scientific approach to art history, Semper himself frequently acknowledged the importance of Brongniart’s work.
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Richaud, Gilbert. "Gaspard André (1840-1896), architecte à Lyon et en Suisse romande." Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/richaud_g.

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L’œuvre de Gaspard André est aujourd’hui régulièrement citée parmi celles des maîtres de l’Éclectisme. D’origine suisse et de religion réformée, élève de l’École des Beaux-Arts de Lyon puis de celle de Paris dont il sera l’un des plus brillants représentants, André débute sa carrière à Lyon en 1872 avec des commandes d’édifices religieux (le temple de l’Église réformée, l’église Saint-Joseph au Brotteaux) suivies de celles du théâtre des Célestins et de la fontaine de la place des Jacobins. Dès 1882, une riche clientèle d’hommes d’affaires (É. Aynard, les Gillet, F. Mangini, H. Germain) lui confie la construction de leurs villas, de banques ou d’usines. Il sera simultanément un ardent promoteur des arts décoratifs assez vite chargé de positions officielles importantes. Les dernières années (1889-1896) sont marquées par une certaine forme de simplicité stylistique alors qu’il entame une seconde carrière en Suisse romande (Université de Lausanne). Son style est caractérisé par des ordonnances originales (écoles de la rue Tronchet) et des formules plastiques inédites (formes pures et dissymétriques des derniers projets). Plusieurs de ses écrits révèlent comment sa pensée a pu s’enrichir au contact des principales tendances de la deuxième moitié du XIXe siècle, et l’importance accordée alors à la réflexion et aux débats sur les origines du classicisme et ses transformations. À l’opposé, ses dernières œuvres et leur étonnante sobriété constructive et formelle – qui influencera vraisemblablement des architectes comme Tony Garnier ou Paul Cret –, nous révèlent parfaitement la nature des forces et des tensions qui ont favorisé l’émergence du Mouvement Moderne en Europe
The work of Gaspard André features regularly nowadays amongst those of the masters of Eclecticism. Born into a Protestant family from Switzerland, a student of the École des Beaux-Arts in Lyons and later in Paris – where he would be one of the most brilliant amongst his peers - André began his career in Lyons in 1872, with commissions for religious buildings (the Protestant temple and the Church of Saint-Joseph). These were followed by further commissions for the Théâtre des Célestins and the fountain in the Place des Jacobins. From 1882 onwards, a wealthy clientele of businessmen (É. Aynard, the Gillets, F. Mangini, H. Germain) entrusted him with the task of building their villas, banks and factories. He would simultaneously be an ardent promoter of the decorative arts whilst he reached significant official positions. His final years (1889-96) were marked by a particular form of stylistic simplicity while he started a second new career in Switzerland (University of Lausanne). His style is characterised by unusual designs (schools in the Rue Tronchet) and never-before-seen plastic formulae (pure and asymmetric forms of his final projects). His writings reveal how his train of thought was enhanced by his close study of the main architectural trends of the second half of the 19th century, and the importance attached then, to the discussions and the debates on the origins of Classicism and its transformations. Conversely, his final works and their surprising constructive and formal sobriety – which have likely influenced architects like Tony Garnier or Paul Cret - clearly demonstrate the nature of the forces and tensions that favoured the emergence of the Modern Movement
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Spelman, Elizabeth Rowe. "Gottfried Semper and the profound surface of architecture." Thesis, 1997. http://hdl.handle.net/1911/17131.

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Gottfried Semper argues for a return to the surface of architecture. In response to the aesthetic crisis brought on by the integration of industry and art, he sought a new source for principles with which to guide architectural invention. By looking to man's own productions, Semper creates a kosmos for architecture, one that both describes the primal forms out of which all art and industry arise and that outlines the way in which those forms transform over time. Semper believed that all cultural productions, both physical and conceptual, arose out of the Volk. Architecture's role is to express the social structure monumentally, just as government expresses it in its political institutions. Architecture does that symbolically through its Bekleidung, the cladding. In the making and ordering of architecture, the culture itself is ordered.
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Walter, Julia. "Das erste Dresdener Hoftheater von Gottfried Semper." 2019. https://tud.qucosa.de/id/qucosa%3A35241.

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Die heutige Semperoper ist, betrachtet man es pragmatisch, der aus der Not geborene Nachfolger des nach Plänen von Gottfried Semper (1803‐1879) zwischen 1838‐1841 errichteten, jedoch im September 1869 bis auf die Umfassungsmauern abgebrannten ersten Hoftheaters. Das Verlangen des Adels und gehobenen Bürgertums nach Vergnügen erforderte rasch einen neuen Bau und nach einstimmigem Beschluss des Parlaments, wonach das neue Theater abermals von Semper konzipiert werden sollte, erfolgte dessen Errichtung von 1871 bis 1878.
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Amaral, Izabel. "Tensions tectoniques du projet d'architecture : études comparatives de concours canadiens et brésiliens (1967-2005)." Thèse, 2010. http://hdl.handle.net/1866/4525.

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Cette thèse entend contribuer à la compréhension du processus de conception architecturale par le biais du concept de tectonique, notion dont l’historicité confirme une certaine diversité de significations, mais qui suscite une réflexion fondamentale sur le rapport entre l’esthétique architecturale et les moyens constructifs. La connaissance technique de la construction, constituée principalement au 18ème siècle, permettra une nouvelle réflexion sur le rapport entre l’esthétique architecturale et les moyens constructifs. Au 19ème siècle, moment de l’apparition du concept de « tectonique » dans le contexte du débat sur la notion de style, l’indéniable contribution de l’architecte et théoricien Gottfried Semper reconnaît la complexité matérielle de l’édifice. La reprise du terme au 20ème siècle par l’historien et théoricien Kenneth Frampton va quant à elle déplacer le sens de la tectonique vers l’idée d’un « potentiel d’expression constructive ». Ces deux auteurs représentent deux grandes approches tectoniques convergeant sur la nécessité, pour toute théorie de l’architecture, d’encourager une réflexion critique de la construction. Cette thèse se développe en deux parties, l’une retraçant l’histoire et les enjeux de la tectonique, l’autre, de nature plus concrète, cherchant à tester l’actualité du concept à travers une série d’analyses tectoniques de projets modernes et contemporains. À la croisée de deux contextes géographiques différents, le Canada et le Brésil, le corpus de projets de concours que nous avons constitué considère la tectonique comme un phénomène transculturel. Nous formulons l’hypothèse d’une « tectonique du projet », c’est-à-dire d’un espace théorique dans lequel les questions relatives au bâtiment s’élaborent dans des « tensions » dialectiques. L’actualité des catégories semperiennes, dans lesquelles les différents « éléments » du bâtiment représentent différentes techniques de construction, est revisitée à partir de l’étude des projets de Patkau Architects (1986) et de MMBB Arquitetos (1990). Une tension entre les expressions symbolique et formelle issues du matériau brut est plus explicite dans l’étude des projets de Ramoisy Tremblay architectes (2002) et de Brasil Arquitetura (2005). La théorie de la transformation de matériau (Stoffwechseltheorie) de Semper est réexaminée parallèlement dans les projets d’Arthur Erickson et Geoffrey Massey (1967) et de Paulo Mendes da Rocha (1969). Dans l’ensemble de tensions tectoniques présentes tout au long de la conception, nous avons retenu plus particulièrement : le contact avec le sol, la recherche d’une homogénéité constructive, ou son opposé, la recherche d’une variété matérielle et, finalement la tension entre la dimension représentationnelle et la dimension technique de l’architecture. La modélisation du concept de tectonique, par un ensemble de tensions auxquelles les concepteurs doivent s’adresser en phase de projet, confirme que des questions en apparence simplement « techniques » concernent en fait tout autant le génie de l’invention que la connaissance historique des idées architecturales.
This thesis aims to contribute to the understanding of the architectural design process through the concept of tectonic, a notion that historically has assumed different meanings and raised essential considerations on the relationship between architectural aesthetics and techniques of construction. The technical knowledge of building processes developed during the 18th century encouraged a new theoretical approach to the question of the rapport between architectural aesthetics and construction. The following century, when the concept of tectonic made its appearance in architectural discourse in the context of the debate on the notion of style, architect and theorist Gottfried Semper emphasized the material complexity of construction. A century later, historian and critic Kenneth Frampton resurrected the notion of tectonic shifting its meaning to signify the “expressive potential” of construction. The diverse positions of Semper and Frampton converge on the assumption of the necessity for any theory of architecture to encourage a critical thinking of construction. The present thesis consists of two parts: the first traces the history and significance of the concept of tectonic; the second tests the operational capacity of the notion through a series of investigations of projects from the 1970s to the present. This survey isolates a number of Canadian and Brazilian competition projects selected as privileged examples of innovation and research. In the diverse geopolitical contexts of Canada and Brazil, tectonic is considered as a trans-cultural phenomenon. According to the preliminary hypothesis the ‘tectonic of the project’ considers a theoretical space in which building issues are elaborated in dialectic tensions. The Semperian categories according to which the various ‘elements’ of the building represent different construction techniques are revisited in the study of projects by Patkau Architects (1986) and MMBB Arquitetos (1990). The tension between the formal and symbolic expressions in raw materials is made explicit in the study of architectural projects by Ramoisy Tremblay (2002) and Brasil Arquitetura (2005). Semper’s theory of material transformation (Stoffwechseltheorie) is investigated in relation to the projects of Arthur Erickson and Geoffrey Massey (1967) and Paulo Mendes da Rocha (1969). Among the general tectonic tensions, present in design processes, particular emphasis is devoted to: the contact with the ground; the research for constructive homogeneity (or at the opposite of the spectrum, the multiplicity of building materials); the tension between the representational and the technical aspect of architecture. The shaping of the concept of tectonic, throughout the ensemble of dialectic tensions that inform the design of a building, confirms that questions that may appear merely 'technical' include not only the genius of invention but also the historical knowledge of architectural ideas.
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Books on the topic "Semper, Gottfried, Architecture Architecture"

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Fröhlich, Märtin. Gottfried Semper. Zürich: Verlag für Architektur, 1991.

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Laudel, Heidrun. Gottfried Semper: Architektur und Stil. Dresden: Verlag der Kunst, 1991.

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Semper, Gottfried. Gottfried Semper: Aggiunte e digressioni. Firenze: A. Pontecorboli, 1995.

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Gnehm, Michael. Stumme Poesie: Architektur und Sprache bei Gottfried Semper. Zürich: GTA, 2004.

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Utilità e bellezza: Formazione artistica ed arti applicate in Gottfried Semper. Roma: Armando, 2009.

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Gottfried Semper und das Winterthurer Stadthaus: Sempers Architektur im Spiegel seiner Kunsttheorie. [Winterthur]: Stadtbibliothek Winterthur, 1985.

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1803-1879, Semper Gottfried, ed. Gottfried Semper am Zeichenbrett: Architektur entwerfen in der zweiten Hälfte des 19. Jahrhunderts. Zürich: Fotorotar, 2007.

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Gottfried Sempers zweites Dresdner Hoftheater: Entstehung, künstlerische Ausstattung, Ikonographie. Wien: H. Böhlau, 1985.

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Cable, Carole. Gottfried Semper, 1803-1879: A bibliography of his writings and scholarship about his writings and his architecture. Monticello, Ill., USA: Vance Bibliographies, 1988.

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Franck, Bernd. Die Nikolaikirche nach dem Hamburger Grossen Brand: Gottfried Semper und die Entwurfsgeschichte für den Hopfenmarkt mit dem Kirchenbau 1842-1845. Hamburg: F. Wittig, 1989.

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Book chapters on the topic "Semper, Gottfried, Architecture Architecture"

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Poerschke, Ute. "Architecture as a Mathematical Function: Reflections on Gottfried Semper." In Architecture, Systems Research and Computational Sciences, 119–34. Basel: Springer Basel, 2012. http://dx.doi.org/10.1007/978-3-0348-0393-9_10.

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McGrath, William J. "Freedom in Architecture: Gottfried Semper and the Greek Ideal." In German Freedom and the Greek Ideal, 43–74. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137369482_3.

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Lacoste, Gérard, Birgit Pfitzmann, Michael Steiner, and Michael Waidner. "Architecture." In SEMPER - Secure Electronic Marketplace for Europe, 45–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-540-44927-0_8.

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"Semper, Gottfried." In The Visual Dictionary of Interior Architecture and Design, 226. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0211.

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"Semper and the Poetics of Architecture." In Gottfried Semper and the Problem of Historicism, 64–84. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511497711.005.

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Kretzer, Andreas. "Beyond the Haze of Carnival Candles." In Advances in Media, Entertainment, and the Arts, 21–43. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7254-2.ch002.

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This chapter addresses new approaches for design and production practices by applying film as a medium and production design techniques as a method in (interior) architectural education. In various courses and formats with international students on Bachelor and Master level, the author is exploring cinematic tools for phenomenological analysis, scenographic reinterpretation, and architectural storytelling in order to expand the range and toolbox of contemporary academic teaching in the architectural context. The common ground of architectural and cinematic space goes back much further than the history of film itself. But despite comprehensive literature on both the topic of sequence in architecture and fundamental film theoretical writings on cinematic space, we are still the men who stare at static representations. Off the beaten path of tried and tested design methods and beyond Gottfried Semper's “haze of carnival candles,” cinematic methods are providing valuable tools for the creation, evaluation and representation of spatial designs in (interior) architecture.
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Chestnova, Elena. "The House That Semper Built." In Architecture and Anthropology, 126–43. Routledge, 2020. http://dx.doi.org/10.4324/9781351106290-7.

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"Gottfried Böhm, Bensberg Town Hall." In Modern Architecture Through Case Studies 1945 to 1990, 47–58. Routledge, 2012. http://dx.doi.org/10.4324/9780080940373-8.

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Serafin, Aleksander. "Gottfried Böhm’s creativity: Architecture as a sculpture made of concrete." In Intelligence, Creativity and Fantasy, 109–13. CRC Press, 2019. http://dx.doi.org/10.1201/9780429297755-19.

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