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

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Published: 4 June 2021

Last updated: 3 February 2022

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1

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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2

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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3

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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4

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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5

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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7

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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8

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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9

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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Ekici, Didem. "Skin, Clothing, and Dwelling." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 281–98. http://dx.doi.org/10.1525/jsah.2016.75.3.281.

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Gottfried Semper is often credited with originating the concept of the building as skin in architectural theory, but an alternative trajectory of this idea can be found in the mid-nineteenth-century science of hygiene. In Skin, Clothing, and Dwelling: Max von Pettenkofer, the Science of Hygiene, and Breathing Walls, Didem Ekici explores the affinity of skin, clothing, and dwelling in nineteenth-century German thinking, focusing on a marginal figure in architectural history, physician Max von Pettenkofer (1818–1901), the “father of experimental hygiene.” Pettenkofer's concept of clothing and dwelling as skins influenced theories of architecture that emphasized the environmental performance of the architectural envelope. This article examines Pettenkofer's writings and contemporary works on hygiene, ethnology, Kulturgeschichte (cultural history), and linguistics that linked skin, clothing, and dwelling. From nineteenth-century “breathing walls” to today's high-performance envelopes, theories of the building as a regulating membrane are a testament to the unsung legacy of Pettenkofer and the science of hygiene.

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12

Van Eck, Caroline. "Review: Gottfried Semper and the Problem of Historicism by Mari Hvattum." Journal of the Society of Architectural Historians 65, no. 1 (March 1, 2006): 136–39. http://dx.doi.org/10.2307/25068251.

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13

Stachel, Peter. ""Vollkommen Passende Gefässe" Und "Gefässe Fremder Form" Die Kritik Des Kunsthistorikers Albert Ilg (1847-1896) an Der Architektur Der Wiener Ringstrasse, Ihr Identitätspolitischer Hintergrund Und Ihre Kunstpolitischen Auswirkungen." East Central Europe 33, no. 1-2 (2006): 269–91. http://dx.doi.org/10.1163/187633006x00132.

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AbstractWhen the new building of the Burgtheater on the Viennese Ringstrasse was inaugurated in 1888, the Austrian art historian Albert Ilg wrote a series of newspaper articles in which he praised the arrangement of the interior and its creator Carl Hasenauer, but devoted only a few critical words to the façade without even mentioning the name of the architect, Gottfried Semper. These articles are, with others, typical of Ilg's negative assessment of the architecture of the Ringstrasse, but for a full understanding of Ilg's stance it is necessary to relate it to his general positions on the history of art and politics. This article reveals that Ilg's position was not primarily motivated by aesthetic principles, but by identity politics, especially by his belief that the Baroque style was the only appropriate, supranational architectural style for the Habsburg monarchy.

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14

Forster, Kurt W. "Review: Gottfried Semper, Architect of the Nineteenth Century by Harry Francis Mallgrave." Journal of the Society of Architectural Historians 56, no. 4 (December 1, 1997): 515–17. http://dx.doi.org/10.2307/991329.

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15

Pancorbo, Luis, and Inés Martín-Robles. "Amerikanische Bekleidung. La técnica semperiana en la obra de Albert Kahn." VLC arquitectura. Research Journal 7, no. 2 (October 30, 2020): 31. http://dx.doi.org/10.4995/vlc.2020.11624.

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<p>This paper proposes a reinterpretation of Albert Kahn's work through the architectural theories of Semper in order to answer certain questions that have persisted about his work, such as, what is the reason for the heterogeneity of his industrial and non-industrial work and what is the relationship between his radical technical innovations and contemporary tradition. Both questions can be answered by an analysis of Kahn’s work through design tools inherited from Gottfried Semper: Bekleidung, the coating principle, and Stoffwechsel. We establish a parallel study of Kahn's work and the work of other architects in which it is documented the strong influences of these theories. We focus in our analysis on Kahn's industrial architecture, since it is not conceivable that Semper’s influence, so evident in its office, commercial and public buildings, would not have any permeability in his industrial work. To demonstrate this influence, we examine buildings that bridge the gap between the industrial and non-industrial design such as the complex for the U.S Aviation School in Langley Field, Virginia and the Natural Science Building in Ann Arbor, Michigan, among others.</p>

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16

García-Escudero, Daniel, and Berta Bardí i Milà. "ANTONIO ARMESTO AIRA (ed. y PRÓL.): ESCRITOS FUNDAMENTALES DE GOTTFRIED SEMPER. El fuego y su protección." Proyecto, Progreso, Arquitectura, no. 13 (2015): 122–23. http://dx.doi.org/10.12795/ppa.2015.i13.08.

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17

Austin, David L. "THE FOUR ELEMENTS OF ARCHITECTURE AND OTHER WRITINGS. (RES Monographs in Anthropology and Aesthetics). Gottfried Semper , Harry Francis Mallgrave , Wolfgang Herrmann." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 3 (October 1989): 155–56. http://dx.doi.org/10.1086/adx.8.3.27948104.

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18

Orelli-Messerli, Barbara von. "The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries." Palíndromo 12, no. 27 (May 1, 2020): 011–33. http://dx.doi.org/10.5965/2175234612272020011.

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From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.

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19

Gnehm, Michael. "Gottfried Semper et le métabolisme du revêtement architectural." Gradhiva, no. 25 (May 31, 2017): 106–23. http://dx.doi.org/10.4000/gradhiva.3384.

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20

KAWATA, Tomonari. "ON FIRST DRESDEN HOFTHEATER BY GOTTFRIED SEMPER : Architectural manner in theaters by Gottfried Semper Part 1." Journal of Architecture and Planning (Transactions of AIJ) 64, no. 523 (1999): 285–92. http://dx.doi.org/10.3130/aija.64.285_2.

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21

KAWATA, Tomonari. "ON SECOND DRESDEN HOFTHEATER BY GOTTFRIED SEMPER : Architectural manner in theaters by Gottfried Semper Part 2." Journal of Architecture and Planning (Transactions of AIJ) 65, no. 533 (2000): 213–20. http://dx.doi.org/10.3130/aija.65.213_2.

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22

Mallgrave, Harry Francis. "Gustav Klemm and Gottfried Semper: The Meeting of Ethnological and Architectural Theory." Res: Anthropology and Aesthetics 9 (March 1985): 68–79. http://dx.doi.org/10.1086/resv9n1ms20166725.

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23

KAWATA, Tomonari. "ON DIFFERENCES IN THE VIEW ON ARCHITECTURAL STYLES BETWEEN GOTTFRIED SEMPER AND KONRAD FIEDLER." Journal of Architecture and Planning (Transactions of AIJ) 81, no. 719 (2016): 215–24. http://dx.doi.org/10.3130/aija.81.215.

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24

Van Zanten, David. "Semper, Hittorff, Labrouste, Jones et la polychromie en architecture." Revue germanique internationale, no. 26 (December 27, 2017): 103–22. http://dx.doi.org/10.4000/rgi.1684.

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25

Benjamin, Andrew. "Surface effects: Borromini, Semper, Loos." Journal of Architecture 11, no. 1 (February 2006): 1–36. http://dx.doi.org/10.1080/13602360600636099.

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KAWAMUKAI, Masato. "A STUDY ON GOTTFRIED SEMPER'S "THE FOUR ELEMENTS OF ARCHITECTURE"." Journal of Architecture and Planning (Transactions of AIJ) 65, no. 538 (2000): 235–42. http://dx.doi.org/10.3130/aija.65.235_3.

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Hale, Jonathan A. "Gottfried Semper's primitive hut as an act of self-creation." Architectural Research Quarterly 9, no. 1 (March 2005): 45–49. http://dx.doi.org/10.1017/s1359135505000072.

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Mantilla, José Miguel. "Untangling the Threads of Gottfried Semper's Legacy in Le Corbusier's Formative Years." Journal of the Society of Architectural Historians 79, no. 2 (June 1, 2020): 192–201. http://dx.doi.org/10.1525/jsah.2020.79.2.192.

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Leupen, Bernard. "A New Way of Looking at Flexibility." Open House International 30, no. 1 (March 1, 2005): 55–61. http://dx.doi.org/10.1108/ohi-01-2005-b0008.

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Houses have an average life span of about a hundred years, whereas households and habitats can change radically and repeatedly during that time. Consequently house designers are faced with the task of giving form to a shelter for dwelling for a period during which the composition of the household and the associated spatial rituals will go through major changes. Taking not the changeable but the permanent as a departure−point opens up new perspectives. The permanent, or durable component of the house, constitutes the frame within which change can take place. This frame defines the space for change. The frame itself is specific and has qualities that determine the architecture for a long period of time. The space inside the frame is general, its use unspecified; this space I have called generic space. In this sense the frame frees other parts of a building. Take, for example, the loadbearing column. It relieves the wall from acting in a loadbearing capacity, it frees the wall. A notion essential to the frame ’s functioning is that of disconnection. The column can free the wall by virtue of the fact that wall and column are not inextricably linked. A building can be separated up into a number of layers that together defines the building as a whole. Accordingly, the building can be regarded as a composition assembled from these layers. Each layer is distinguished from the others by the special role it fulfils. In the frame concept it is assumed that every layer may in principle serve as a frame. Basing my information on texts by Laugier, Semper, Loos, Duffy and Brand, I have made a distinction between the following five layers: • Main loadbearing structure • Skin • Scenery • Service elements • Access In principle I distinguish three categories of changeability: the alterable, the extendable and the polyvalent. These three forms of changeability can be linked with three types of generic space. Should the generic space contain a layer that can be changed then we may describe it as alterable. Should the generic space not be bordered on all sides then it is a question of extendibility. Should the generic space contain no other layers while the generic space invites different uses through its form and dimensions, then we have polyvalence. To explore my concept, I present an overview of every imaginable combination of layers. This catalogue of frames is then divided among four distinct series of combinations. The basic combinations and the combination series, constitute the tools for designing houses that proceed from the frame concept. It was the intention of this study to develop the frame concept and the body of concepts attendant on it. Building upon its predecessors, I developed a stimulating resource for anyone involved in designing houses that are able to accommodate change. The potentials and limitations of the frame concept can be further explored as designing proceeds.

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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.

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Kalinowski, Isabelle, and Estelle Thibault. "Gottfried Semper, chroniques parisiennes 1849-1850. Contributions à une architecture comparée." Cahiers de la recherche architecturale, urbaine et paysagère, no. 2 (September 10, 2018). http://dx.doi.org/10.4000/craup.713.

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András, Jeney. "Freund Vilmos munkássága a Fővárosi Középítési Bizottmányban." Építés - Építészettudomány, August 20, 2021. http://dx.doi.org/10.1556/096.2021.00016.

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Freund Vilmos (1846 –1920), Gottfried Semper tanítványa a dualizmus korabeli Budapest egyik igen termékeny építőművésze volt. Több mint félszáz épületet alkotott a fővárosban. Főleg olasz neoreneszánsz stílusban tervezte meg épületeit. 1900 után már szinte egyáltalán nem alkotott építészként. Építészi tapasztalata megszerzését követően, 1891 körül egyre aktívabb szakmapolitikai tevékenységbe kezdett. Tanulmányunk ismerteti a Fővárosi Középítési Bizottmány szerepét, majd Freund itt végzett munkáját mutatja be, beszédeinek nagyrészt az egykorú Fővárosi Közlönyben megjelent szó szerinti rögzítése alapján. Először a gyakor lati, technológiai ügyek terén tett felszólalásait ismertetjük. Itt többek között kiviláglik Freund útburkolatokkal kapcsolatos komoly tudása, és az, hogy figyelemmel kísérte azon útvonalak állapotát, ahol általa tervezett paloták álltak. Ezt követik a más építészek plánumaival és épületeivel kapcsolatos megszólalásai. A vele egykorú vagy nála fiatalabb alkotók műveivel kapcsolatos javaslatait, illetve véleményét ismerhetjük meg. Végül pedig a „legizgalmasabb” témát, a városrendezés terén elhangzott hozzászólásait tárgyaljuk. Meglepő, hogy néhány, városképileg igen meghatározó épület létrejöttében vagy megépült formájuknak kialakításában is szerepe volt. Például az új tőzsdepalota kezdeményezését és Szabadság térre helyezését két másik építész (Hauszmann Alajos és Quittner Zsigmond) mellett ő kezdeményezte. A piaristák Duna-korzón álló épületének megjelenésére is hatással volt. Freund az igen jelentős építészeti életművén kívül a szakmapolitikai tevékenységével is figyelemre méltót alkotott Budapesten.Vilmos Freund (1846–1920) was a prominent Hungarian architect who lived during the period of the Austro-Hungarian Empire. He was a student of Gottfried Semper. The majority of the buildings by Freund were built in Budapest. His most preferred style was the Italian Neo-Renaissance. From about 1891 he had an architectural political carrier too. After 1900 he radically reduced the number of his designing work. This study is written about his work in the Metropolitan Commission of Public Architecture (Fővárosi Középítési Bizottmány). His speeches in this commission survived until today as word-by-word recordings published in the old bulletins. The first chapter deals with his speeches in relation to practical, technological affairs for example the paving of the roads of Budapest. He reported his opinion of the designs by other architects, this is the topic of the second chapter. Finally, we can read about his speeches about the great city planning actions. It is interesting that several buildings of Budapest were constructed because he and a few of his colleges initiated them.

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"Designing Service Oriented Modelling Architecture in Customer Service Management at the Catholic Church of the Archdiocese of Jakarta." Regular 10, no. 1 (November 10, 2020): 73–82. http://dx.doi.org/10.35940/ijitee.a8108.1110120.

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Abstract:

The role of information technology today is increasing in the sector of modern people's lives. The development of this information technology needs to be responded to by the Catholic Church by updating the IT system, in accordance to the motto "Ecclesia semper Reformanda" (the church must continue to update itself). In this spirit, the Catholic Church of the Archdiocese of Jakarta (KAJ Church) seeks to respond the changing times with the applications that are easy for devotees in the ministry. However, the existing applications operate separatedly (not integrated), therefore it is very difficult for data to provide in real time, duplicate data and create application silos, and causes services for customers to be hampered. As the result, IT groups find it difficult to support the speed of change required by the organization due to the relatively long application development process with the continued dependency between each application silo. Therefore, the right solution is needed for some of the above problems to improve the system and architecture of different platforms and databases (interconnection between applications). To make it easier for organizations to adapt the changes, especially in bringing together the management of applications and facilitating the process of developing systems going forward, the KAJ Church needs to implement a Service Oriented Architecture (SOA)-based system with a wealth of applications. This update was done with the implementation of Service Oriented Modelling Architecture (SOMA) methodology, especially customer service management implementation. The implementation of SOMA is necessary to facilitate organizations to adapt changes, especially to integrate existing applications and to develop systems in the future. SOMA methodology represents a high level view work process that starts from the data collection process, the ongoing business process, the issues found in the field, the proposed solutions, to the process of implementing the selected solution until the implementation stage. The implementation of SOMA is not only limited to cost and energy savings from application development efforts, but ultimately the realization of an organization that is able to quickly adapt the business processes in it in order to be able to respond to the latest market demands. The goal is for KAJ church to provide better Customer Services, be more accurate, effective and efficient and able to help donors to provide appropriate assistance funds.

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