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1
Becheru, Raluca. „The philosophy of architecture in analytic tradition: An enquiry on the possibility of the field and its themes“. SAJ - Serbian Architectural Journal 8, Nr. 2 (2016): 309–21. http://dx.doi.org/10.5937/saj1602309b.
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The paper focuses on the new field of philosophy of architecture in analytic tradition. The research presented in this paper is part of an ongoing doctoral research concerning the connection between ethics and aesthetics in architecture. The connection between architecture and philosophy is not a novelty. Architectural theory has always looked up to philosophy for inspiration but only recently philosophers have started to study architecture in detail. Architectural theory is still a field that is in search of a better conceptual frame after the failure of the theoretical premises of the Modern Movement and the rise of the "theory speak". Architecture's features as a public art ask for a certain amount of objectivity. The philosophy of architecture in analytic tradition can contribute to a more objective conceptual frame. The principal concerns are familiar to those acquainted with continental philosophy: What makes architecture special among the arts? What is the essence of an architectural work? How we can better define architecture's social mission? But the way of answering them is different. The ethical dimension of architecture is one of the most debated subjects among architects in recent years. There are several contributions on the connection between ethics and aesthetics in the philosophy of architecture in analytic tradition. They have the potential to have an impact on architectural theory and practice.
2
Grebinnyk, T. O., V. V. Belopoly und O. I. Plaksina. „Philosophy in architecture: a modern view“. Bulletin of Prydniprovs’ka State Academy of Civil Engineering and Architecture, Nr. 6 (27.12.2018): 83–88. http://dx.doi.org/10.30838/j.bpsacea.2312.261218.83.452.
3
Budi Santosa, Revianto. „Recharting The Philosophy of Technology in Contemporary Architecture“. SHS Web of Conferences 41 (2018): 04012. http://dx.doi.org/10.1051/shsconf/20184104012.
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Technology is an indispensable aspect of architecture. In fact, it is being an essential part of the human effort in making architecture. Since the early modern era, technology that rapidly change has been seen as the sign of progress, not only pertaining to the technology itself, but also architecture and even civilization. Modern architectural theoreticians, from Sant’Elia to Le Corbusier, enthusiastically embraced the progressive side of technology and engineering. Philosophically, however, modern technology is regarded pessimistically. Heidegger and Jaspers considered technology as the source of alienation to the human being themselves and to the reality they face. To overcome this gap, Alan Drengson, proposed the four philosophy of technology to rechart the variety of tendency towards technology in Western society, consisting of (1) technological anarchy, (2) technophilia, (3) technophobia, and (4) technological appropriateness. In this explanation, he coined the terms “creative philosophy” to include many aspects and ways of thinking which might be incorporated in the creative activities like architectural design. This paper attempts to evaluate the appropriatenes of Drengson’s philosophical scheme as a platform for architectural education in Indonesia in general, by relating his framework with the architectural theories and practices in Indonesia. The result of this effort is while the formulation of his scheme is the very inclusive and closely related with creative activity like architectural design, it contains bias of industrial technology appearing in the Asian scene brought by Western European colonials. Discussing philosophy underlying Gandhi’s movement in India to reject oppressive technology, we may arrive at the conclusion that the philosopy of non-violence, truth and justice based on the principle of self restrained are relevant to figure out the ideal of appropriate technology in Asia.
4
Suharjanto, Gatot. „Konsep Arsitektur Tradisional Sunda Masa Lalu dan Masa Kini“. ComTech: Computer, Mathematics and Engineering Applications 5, Nr. 1 (30.06.2014): 505. http://dx.doi.org/10.21512/comtech.v5i1.2644.
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It is known that traditional architectures are a product of human conception full of culture and philosophy, while modern architectural concepts prioritize functionality and simplicity that tends to be simple or quick. Now the architectural concept slowly changes according to the conditions of time, then so is the existence of works of architecture that also changes. This condition can be found in almost major cities in Indonesia, where many houses or buildings built still in traditional architecture theme but combined and matched with modern architecture concept. One of many diverse cultures of Indonesia archipelago architecture that has evolved is West Java. There are a lot of people trying to apply the concept of Sundanese traditional house in their residence. Shifting sacred values in traditional concept seems indeed to be lost along with the differences in modern human civilization.
5
Rabboh, Emad H., und Ali A. Elmansory. „The Correlation of Deconstruction Architecture to Arab Architectural Identity“. Academic Research Community publication 2, Nr. 4 (01.01.2019): 319. http://dx.doi.org/10.21625/archive.v2i4.369.
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The Arab architectural identity is characterized by the originality of the various Arab
cultures. Islamic culture is what makes Arab societies unique and it is what inspired
Arab architecture. Consequently, the Arab architecture encounters contemporary
challenges. If modern architectural trends influenced Arab civilization, it could then
obliterate its identity over the years. Moreover, positively interacting with modern
architectural trends must take place rather than negative interactions. The aforementioned reasons leave this phenomenon the subject of discussion and research
and thus the lack of update and development of the vocabulary of Arab architecture.
The proposed study discusses the problem of the correlation of deconstructive
architecture with the architectural and Arabic identity through the end of the 20th
century until 2017. In order to arrive at the definition of the philosophy of
deconstruction architecture and the appropriate relationship between it and the Arab
architectural identity, the study utilizes a qualitative descriptive methodology that tries
to give a generic image of philosophy and characteristics. Deconstruction architecture
attempts to link the positive aspects of architecture and Arab identity through the
analysis of the frameworks of this philosophy of particular architectural works of
various architects who adopt this philosophy of architecture. Responding to the above,
the current study shows that it is better to strip the modern trends and take what suits
the Arab culture.
6
De Clercq, Rafael. „The Legitimacy of Modern Architecture“. Philosophical Forum 35, Nr. 2 (Juni 2004): 135–46. http://dx.doi.org/10.1111/j.0031-806x.2004.00166.x.
7
Šuvaković, Miško. „Architecture and philosophy: Relations, potentialities and critical points“. SAJ - Serbian Architectural Journal 4, Nr. 2 (2012): 160–75. http://dx.doi.org/10.5937/saj1202160q.
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In the debate "Architecture and Philosophy / the relations, potentialities and critical points" the notions of "philosophy of architecture" and "aesthetics of architecture" will be discussed. The differences between traditional and contemporary philosophy and aesthetics of architecture will be introduced. In a separate sub-chapter the status of "theory" and "theorizing" during the times of late modernism and postmodern culture will be discussed. It has been pointed to the modalities of theory outside philosophy and aesthetics. The discourses from philosophy, humanities, free theorizing and architectural theories are brought closer together. In the final sub-chapter the status of contemporary philosophy and cotemporary architecture have been discussed. The notion of contemporaneity has been particularly elaborated. The central thesis of this paper is the relation of architecture and philosophy, i.e. the theory constituent for modern, postmodern and contemporary architecture. The derived thesis of the discussion is that critical theory of architecture and architectural yearning for "critical architecture" have acquired exceptional significance at the time of global conflicts and, presently at the time of global economic crisis. The theoretical, aesthetic and philosophical attention has essentially been shifted from the immanent questions about architecture (form, function, spectacularity) to the external i.e. transcendental questions about the culture and society, i.e. about the economy, power, governance, supervision, forms of life, flexibility of architectural production, exchange and consumption.
8
Negulyaeva, T. V., und S. F. Dyadchenko. „Architecture and philosophy of antiquity: The formation of classical architecture“. Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, Nr. 1 (26.02.2021): 73–84. http://dx.doi.org/10.31675/1607-1859-2021-23-1-73-84.
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The classical architecture is being constantly developed in time, and, consequently, is relevant nowadays. The paper deals with the development of classical architectural in antiquity up to the present time. This is necessary for further study of modern architecture. The aim of this work is to identify the most stable formation of the classical antique architecture. Scientific novelty lies in the systematic approach to the studying the evolution of ancient architectural theory, taking into account a variety of external factors and based on ancient philosophy. The main level of scientific knowledge is a theoretical (historical) method, which involves a study of graphic and textual information covering the era as well as a systematic analysis of the material for the identification of basic principles of the antique architecture. It is shown that the main principles of the antique architecture are being developed in a close connection with philosophy, and determine the further development of the classical direction in architecture.
9
Jász, Borbála. „Architectural Theory and Analytic Philosophy in the Interwar Period“. Acta Universitatis Sapientiae, European and Regional Studies 14, Nr. 1 (01.12.2018): 41–53. http://dx.doi.org/10.2478/auseur-2018-0010.
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Abstract The basis of the connection between analytic philosophy and architecture theory was developed in the interwar period. The results of analytic philosophy – especially the neo-positivism of Vienna Circle – and modern, functionalist architecture theory were utilized in an interdisciplinary approach. The comparison was based on language puzzles, science-based building processes, the method of justification and verification, and designing an artificial language in order to express the theoretical (philosophical) and the practical (architectural) approach as well. The functionality was based on the modern way of architectural thinking that relied on the results of Carnapian neo-positivism. Interpreting modern architecture is possible by referring to the keywords of logical positivism: empiricism, logic, verification, unity of language, and science. In my paper, I first list the bases of the comparison between the philosophy of the Vienna Circle and the architecture theory of the interwar period – the Bauhaus and Le Corbusier. In the 2nd and 3rd sections, I show the dialectical succession between form and function. After that, I discuss the aesthetic verification of the turn of the century and the scientific justification of the interwar period. I focus on the interwar period with the positivist approach and the theory of the ‘new architecture’. I emphasize the importance of the language of science and the machine paradigm – in contrast to historicism.
10
Maciuika, John. „Review of: Architecture and Nihilism: On the Philosophy of Modern Architecture“. Modernism/modernity 3, Nr. 2 (1996): 115–17. http://dx.doi.org/10.1353/mod.1996.0027.
11
Stępnik, Małgorzata. „The House that Lars Built. The Architecture of Transgression“. Arts 9, Nr. 4 (08.12.2020): 127. http://dx.doi.org/10.3390/arts9040127.
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This article discusses the motif of the “architecture of transgression”, which is present most implicitly, in Lars von Trier’s The House that Jack Built. The analysis concerns both the construction of cinematic narrative itself and the subtle allusions, inserted in the script, to two architectural metaphors: the Nietzschean (and Jungian) labyrinth and the Heideggerian die Hütte. Von Trier’s film may be read as an oeuvre immersed in literary tradition—from Dante’s Divine Comedy to the modern Bildungsroman—as well as inspired by modern philosophy, particularly George Bataille’s philosophy of transgression, (as expound in his Erotism and his short 1929 essay on Architecture).
12
Šuvaković, Miško. „Revisionist philosophy of architecture: Fundamental dispositives“. SAJ - Serbian Architectural Journal 6, Nr. 1 (2014): 119–35. http://dx.doi.org/10.5937/saj1401119q.
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The discussion points to the issue of defining and re-defining the notion of the "critical theory". The notion of critical theory has been considered since the introduction of the notion at the Institute for Social Research in Frankfurt until the modern, postmodern and contemporary theories of critical and decentering of the critical. The notion of critical theory is associated with the problem of politicization of architecture and urbanism. It is pointed to the case of critical theory of the Frankfurt circle. Particular attention is paid to the art/architecture theory of Theodor Adorno and to the theory of architecture and urbanism of Walter Benjamin. Adorno's critique of architectural functionalism has been considered. It is discussed about methodological approach to Benjamin's analysis and the debate on Paris as metropolis. The aim of the discussion is to indicate to transformations and modalities of critical theory in modernism, post-structuralism, postmodernism and contemporary global neoliberalism.
13
De Clercq, R. „Modern Architecture and the Concept of Harmony“. British Journal of Aesthetics 51, Nr. 1 (01.01.2011): 69–79. http://dx.doi.org/10.1093/aesthj/ayq053.
14
Hayward, Richard. „Cacciari, Massimo, "Architecture and Nihilism: On the Philosophy of Modern Architecture" (Book Review)“. Town Planning Review 66, Nr. 1 (Januar 1995): 115. http://dx.doi.org/10.3828/tpr.66.1.2052079h6j375561.
15
Zhang, Ning. „The Role of Ancient Chinese Philosophy in the Designs of Chinese Buildings“. Open House International 41, Nr. 3 (01.09.2016): 81–85. http://dx.doi.org/10.1108/ohi-03-2016-b0014.
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Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.
16
Figurny, George N. „Phenomenological Approaches in the Theory of Architecture in the Context of Modern Cognitive Science“. Voprosy Filosofii, Nr. 6 (2021): 65–73. http://dx.doi.org/10.21146/0042-8744-2021-6-65-73.
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The article is a fragment of the scientific research devoted to the analysis of modern approaches to the understanding of architecture. It considers the problems of phenomenological approach to architecture. Applied to architectural issues, the phenomenological approach can be considered as very productive and promising, but only as it appears to be practiced by K. Norberg-Schulz and J. Pallasmaa. The article notes the fundamental unity of views, which is demonstrated by representatives of the phenomenological approach, despite the individual specificity of the each representative’s position. Probably, the integrity and depth of the phenomenological concept (in its “primordial form”) is consonant with the comprehensiveness of each individual act of perception. The author also draws attention to the significant circumstance, that the phenomenological approach is in fundamentally irreconcilable contradiction (conceptual and methodological) to the numerous attempts by “architectural semiotics and structuralists” to explain the whole by breaking it up into “semantic fragments”. He analyzes the correlation between the position of representatives of the phenomenological approach to architecture and scientific views in the sphere of modern psychology and analytical philosophy. The article notes the basic similarity of the phenomenological concept with M. Polanyi’s theory of “tacit knowledge”, in which those kinds of knowledge (and also practical skills) are considered and which cannot be formalized (partially or completely) for the purpose of transferring to others. The author also offers for consideration the introduction of concept of “phenomenology of semi-instinctive behavior in its dynamic formation”.
17
Zhao, Zhi Qing, und Li Tao. „Differences of Philosophy and Culture between Chinese and Western Reflected in Construction“. Advanced Materials Research 953-954 (Juni 2014): 1533–36. http://dx.doi.org/10.4028/www.scientific.net/amr.953-954.1533.
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Globalization had the great influence on architectural culture. Rational and fighting spirit, the individual and subject consciousness, religion and willpower of Western culture were represented on buildings. And Confucianism and Taoism, with other various internal and foreign Buddhist, complement each other, became the main line of ancient China thought, were penetrated and cohered in all aspects of Chinese buildings. In the globalized world, the architect should explore the rational core and objective laws of architectural development, and consciously promote the continuous development of traditional regional architecture, activate special cultural value of regional architecture. Based on the absorption, blend and innovation of both ancient and modern, Chinese and foreign architectural excellence culture, the Chinese architectural culture will be full of vitality.
18
Arana, Andrew. „The architecture of modern mathematics“. Mathematical Intelligencer 30, Nr. 4 (September 2008): 57–61. http://dx.doi.org/10.1007/bf03038097.
19
Daraban, Adria. „Representations of the fragmentary in modern architecture“. SAJ - Serbian Architectural Journal 10, Nr. 3 (2018): 157–72. http://dx.doi.org/10.5937/saj1802157d.
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The notion of the fragmentary in philosophical and artistic discourses marks the beginning of modern aesthetics and their detachment from the concept of the whole. This paper illustrates possible resonance fields of the concept of the fragmentary in architecture raising questions such as: Can architecture be a form of expression of the modern condition fragmentaire? Does the notion of fragment develop in architecture in a similar way it did in visual arts, philosophy and literature, or is it being reduced in architecture to a mere form of representation of the fracture? Can the fragmentary be defined as a time based notion and thus emancipate from the usual interpretation of the term as the image of the broken?
20
Ma, Ting, Nong Wu, Zhi Xiong Yang und Yue Xi Ai. „A Study on the Colors of the New Tang Dynasty Architectural Style“. Applied Mechanics and Materials 438-439 (Oktober 2013): 1786–90. http://dx.doi.org/10.4028/www.scientific.net/amm.438-439.1786.
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As the outerwear of a building, its color is one of the most significant features of a city. During thousands years of development the colors not only served for protection and decoration, but have been endowed with many intensions in the field of philosophy, politics, religion, culture and so on. Hence there has been formed a unique and integrated culture of colors. As many other cities, Xian is faced with the problem of maintaining its feature in the course of its development. On the basis of protecting the original style and features of the old town, delivering the profound cultural deposits, exploring the connection between traditional culture and modern architectural creation has become a common starting point for the architects in Xian. Based on the culture of Tang dynasty, the new Tang dynasty architecture is a bold attempt to shape a modern city and is also a direct reflection of the architects feeling about Chinese traditional architecture. In this paper, the writer studied the relationship between the colors of the new Tang dynasty architectural style and the creation of the modern Xian architecture from the point of architectural history and architectural design. Also, the paper explored its impact and inspiration on the modern architectural creation of Xian from the perspective of time feature. Moreover, it disclosed the value of the new Tang dynasty architectural style in a modern way and provided references, enlightenments and new ideas for the modern architectural creation in a historic city.
21
Lægring, Kasper. „Exemplification as explanation: The negative reception of modern architecture revisited“. SAJ - Serbian Architectural Journal 10, Nr. 1 (2018): 25–36. http://dx.doi.org/10.5937/saj1801025l.
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What are the reasons for the negative reception of modern architecture in the 1960s and 1970s? If we consult the critics themselves, the counter-reaction is a result of the overflow of new semantic insights from disciplines such as psychology and sociology in architecture. But if we turn to philosophy of architecture, Nelson Goodman's notion of exemplification might provide some answers; not only to the critiques of modern architecture but also to the epistemic turn affecting architecture. This article argues that it was the extensive use of a formalist aesthetics of exemplification which led to condemnation of the International Style, Brutalism and Structuralism for producing monotonous, self-referential and meaningless works of architecture. By examining the historical critiques of modern architecture under the lens of Goodman's notion of exemplification, a picture emerges where it is the hegemony of one symbol system, exemplification, that may well be the culprit for the negative response to modernism.
22
Cukic, Iva, Ksenija Pantovic und Jasna Kavran. „Methodology and philosophy of architecture and urban planning: Analysis of three methodological models in the field of architectural discourse“. Facta universitatis - series: Architecture and Civil Engineering 13, Nr. 2 (2015): 87–96. http://dx.doi.org/10.2298/fuace1502087c.
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Architecture reflects on itself since Vitruvius, but it is difficult to define its epistemological base, so interpretations are sometimes developed in other disciplines. Thinking about architecture is about reflection on and extension of architectural concepts, cultural practices, and interrelated areas of art, philosophy, politics, etc. Incompleteness of understanding is obvious, and it points us toward a paradigm of complex thinking. Contemporary theoretical field of architecture is largely a product of postmodern architectural thought. This paper examines the position from which to build a modern architectural phenomenological opinion through three methodological models - creative, emotional and rational. This research should contribute to the way of understanding contemporary architectural phenomenon, with the intention of providing a general level of credibility and understanding in order to open the possibility of methodological application for a specific job or field.
23
Kwaśniewski, Artur. „The origins of "healthy architecture". Health, hygiene and the quality of life in theory and practice of pre-modern architecture – an outline of research issues“. BUILDER 284, Nr. 3 (24.02.2021): 12–14. http://dx.doi.org/10.5604/01.3001.0014.7363.
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The article presents the research issues related to the origins of healthy architecture – methodological assumptions, scope of the study, objectives, and main theses. The subject of study is the issue of human health, hygiene, and psychophysical well-being from the perspective of theory of pre-modern architecture, as well as the philosophical and medical basis of solutions proposed by architects and hygienists in the modern period (16th-19th centuries). The research is based on a critical analysis of source texts – such as architectural treatises, manuals of hygiene, and written statements concerning the rules of designing and using buildings. The author identifies the most relevant contexts, including the ancient and medieval traditions in architecture and medicine, the philosophy, culture, and customs of social elites, the level of knowledge about architecture, engineering, natural sciences, and medicine, building and urban code, and public health regulations. The article briefly discusses the evolution of views on health and disease prevention and the transformation of elements of the "health-promoting" architectural program of buildings.
24
Igibayeva, M. S., und R. U. Chekayeva. „Determination of virtual reality as an architectural tool“. BULLETIN of L.N. Gumilyov Eurasian National University. Technical Science and Technology Series 134, Nr. 1 (2021): 50–57. http://dx.doi.org/10.32523/2616-7263-2021-134-1-50-57.
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The subject of study is the phenomenon of "virtual reality" in architectural industry. The article provides an overview of VR (virtual reality) ideas in the connection with science, philosophy and architecture. The flow of metaphorical content at various levels of the humanitarian approach is examined in detail. The article focuses on the theoretical issues of the emergence of the term, the characteristic features of VR and interaction with architectural foundations, as a new trend, both philosophical and fundamental theories. Also, there is considered a new concept of digital and technical thinking as a modern innovative method of researching shaping within the boundaries of virtual reality. The article presents difference between "3D" architecture, virtual architecture, and augmented reality.
25
Stillman, Damie, und Alberto Perez-Gomez. „Architecture and the Crisis of Modern Science“. Journal of Interdisciplinary History 16, Nr. 2 (1985): 309. http://dx.doi.org/10.2307/204183.
26
Frohburg, Jan. „Ellington under Glass“. BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (04.11.2019): 45–68. http://dx.doi.org/10.17979/bac.2019.9.0.4582.
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In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.
27
Wihardyanto, Dimas, und Sudaryono Sudaryono. „ARSITEKTUR KOLONIAL BELANDA DI INDONESIA DALAM KONTEKS SEJARAH FILSAFAT DAN FILSAFAT ILMU“. LANGKAU BETANG: JURNAL ARSITEKTUR 7, Nr. 1 (20.04.2020): 42. http://dx.doi.org/10.26418/lantang.v7i1.35500.
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Arsitektur merupakan salah satu produk budaya hasil pemikiran manusia yang mampu menggambarkan secara komprehensif bagaimana hubungan dirinya dengan konteks sosial maupun seting lingkungan yang ada. Tidak terkecuali arsitektur kolonial Belanda di Indonesia. Kolonialisasi di Indonesia terutama yang dilakukan oleh Belanda merupakan salah satu babak sejarah penting di Indonesia karena mampu merubah cara berfikir arsitektur di Hindia Belanda semakin modern mendekati yang terjadi di Barat. Pengaruh modernisme dalam arsitektur tersebut tentunya tidak dapat dilepaskan dari perkembangan cara berfikir masyarakat barat yang bertitik tolak dari cara memandang alam dan manusia melalui pendekatan kategorisasi dan analogi. Setelah melalui kurun waktu yang cukup panjang arsitektur kolonial Belanda di Indonesia akhirnya tidak dapat memaksakan penggunaan arsitektur barat secara penuh. Konteks sosial budaya serta seting lingkungan dan iklim yang berbeda akhirnya mampu mengajak para arsitek untuk mengedepankan cara berfikir yang bertitik tolak pada alam melalui pendekatan analogi alih-alih menonjolkan arsitektur barat sebagai simbol manusia modern melalui pendekatan kategorisasi. Kemunculan arsitektur Indis adalah salah satu buktinya. Selanjutnya melalui metode kajian literatur terhadap sejarah perkembangan filsafat barat, metodologi penelitian arsitektur, dan teori-teori mengenai arsitektur kolonial Belanda di Indonesia peneliti mencoba merunut dan merumuskan bagaimana Posisi keilmuan arsitektur kolonial Belanda di Indonesia dalam konteks sejarah filsafat dan filsafat ilmu. Hasil yang didapatkan dari penelitian ini adalah bahwasanya perkembangan arsitektur kolonial di Indonesia berawal dari cara berfikir dualisme dengan mengambil alam sebagai tidak tolak, kemudian beralih menjadi cara berfikir monisme dengan revolusi industri sebagai latar belakang, dan kemudian kembali ke cara berfikir dualisme dengan menempatkan alam sebagai titik tolak pada abad ke 20.DUTCH COLONIAL ARCHITECTURE IN INDONESIA IN THE HISTORICAL CONTEXT OF PHILOSOPHY AND PHILOSOPHY OF SCIENCE Architecture is one of the cultural products of human thought that can to comprehensively describe how its relationship with the social context and the existing environmental settings. Dutch colonial architecture in Indonesia is no exception. Colonialism in Indonesia, especially those carried out by the Dutch, is one of the important historical phases in Indonesia because it can change the way of thinking architecture in the Dutch East Indies increasingly modern that is happening in the West. The influence of modernism in architecture indeed cannot be separated from the development of western society's way of thinking, which starts from the way of looking at nature and humans through a categorization and analogy approach. After a long period of time, Dutch colonial architecture in Indonesia finally could not force the full use of western architecture. The socio-cultural context and the different environmental and climatic settings were finally able to invite the architects to put forward the way of thinking that starts with nature through an analogy approach instead of highlighting western architecture as a symbol of modern humans through the categorization approach. The emergence of Indis architecture is one of the proofs. Furthermore, through the method of studying literature on the history of the development of western philosophy, architectural research methodology, and theories about Dutch colonial architecture in Indonesia researchers try to trace and formulate the scientific position of Dutch colonial architecture in Indonesia in the context of the history of philosophy and philosophy of science. The results obtained from this study are that the development of colonial architecture in Indonesia started from the way of thinking of dualism by taking nature as not rejecting, then turning into monism with the industrial revolution as a background, and then returning to the way of thinking of dualism by placing nature as a point starting in the 20th century.
28
Noelle, Louise. „Modern architecture since 1900, de William J.R. Curtis“. Anales del Instituto de Investigaciones Estéticas 14, Nr. 55 (06.08.1986): 270. http://dx.doi.org/10.22201/iie.18703062e.1986.55.1295.
29
Lillie, Kate. „Modern hospice design: the architecture of palliative care“. Mortality 15, Nr. 2 (Mai 2010): 187–88. http://dx.doi.org/10.1080/13576270903573414.
30
MATTENS, FILIP. „The Aesthetics of Space: Modern Architecture and Photography“. Journal of Aesthetics and Art Criticism 69, Nr. 1 (Februar 2011): 105–14. http://dx.doi.org/10.1111/j.1540-6245.2010.01451.x.
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Viazinkin, Aleksei, und Irina Vladimirovna Dvukhzhilova. „Conservative approach towards aesthetics of architecture: Roger Scruton's philosophy“. Архитектура и дизайн, Nr. 2 (Februar 2019): 1–6. http://dx.doi.org/10.7256/2585-7789.2019.2.32686.
Annotation:
The subject of this research is the conservative approach towards aesthetics of architecture in the philosophy of British thinker, aesthetician and theorist of conservatism Roger Scruton. The cultural situation of postindustrial society – consumerism and commodification of culture – requires new approaches in art history, which are capable of establishing protective trends in the social life. Scruton offers an alternative approach towards art, which represents not so much a return to the traditional values, as revival of cultural situation. Such situation implies the existence of art as a translator of traditional values that strengthen social ties. This article is the first within the Russian scientific literature to examine the aesthetics of Scruton’s architecture in the context of his conservative philosophy, which defines the scientific novelty and outlines new horizons for research in the fields of aesthetics of architecture and philosophy of modern British conservatism. The conclusion is made that Scruton's appeal to the topic of aesthetic experience expands the problematic from pure aesthetics to the unity of ethics, theory of solidarity, and axiology of traditional culture.
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Hurol, Yonca, und Ashraf M. Salama. „Editorial: Urban Transformations in Rapidly Growing Contexts“. Open House International 44, Nr. 4 (01.12.2019): 4. http://dx.doi.org/10.1108/ohi-04-2019-b0001.
Annotation:
Cities have always been sources of inspiration for poetry. However, the modern western cities, which are the origins of secularity, have inspired poets in different ways. Charles Baudelaire captured the poetic dimensions of modernity in Paris in the 19th century. He wrote about the night life of Paris which became possible after street lighting. He wrote about corruption. Baudelaire also wrote about the changing character of commercial places in cities and tried to grasp the feelings of people as a ‘flaneur': an individual stroller at city streets. The philosopher Walter Benjamin got inspired by Baudelaire's poems and formed his philosophy, which relates poetics to modernity during the 20th century. Modern cities take an important role in his philosophy too, because Benjamin was making a collection of political event news in the cities of Germany. Then he had to leave Germany because of the growth of fascism. He left his collection behind. When he went to Paris he wrote about the passages and the poetic dimensions of modern city life. When Nazi army came to France, he had to leave Paris too. The poetry of Baudelaire and the philosophy of Benjamin are evidences for the poetic nature of modern city life. The relationship between the modern city and the free individual can easily be felt in their works. However, when you read heir work, you can easily understand that today's Paris is not the same Paris any more. It is still poetic, but in another way.
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Kursova, Marina, und Evgeniya Repina. „CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA“. INNOVATIVE PROJECT 4, Nr. 10 (Dezember 2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.
Annotation:
The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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Heynickx, Rajesh. „Conceptual Debts: Modern Architecture and Neo-Thomism in Postwar America“. European Legacy 22, Nr. 3 (März 2017): 258–77. http://dx.doi.org/10.1080/10848770.2017.1288440.
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Biskup, Kamil. „Cayan Tower przykład współczesnej architektury w myśl idei smart building“. Środowisko Mieszkaniowe 23 (2018): 149–55. http://dx.doi.org/10.4467/25438700sm.18.044.9209.
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Hu, Yin An, Yong Ping Wang und Yun Xue. „Influence on Design Education by the Architectural Trend of Deconstructivism“. Applied Mechanics and Materials 638-640 (September 2014): 2222–25. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2222.
Annotation:
The ideology of deconstructivisim is a relatively new design style, and has a profound philosophical connotation. Deconstruction works usually pay attention to reflecting the diversity of buildings, and their design techniques are more exaggerated and weird to make people unable to understand their law. By the study of the deconstructive architects' design career, we can conclude as follow: the kind of trend has a great influence on architecture, also deeply affects modern design education; education philosophy of many famous architectural colleges in America and Europe with their students’ design works reflect design concept of the ideology. Southern California Institute of Architecture in Los Angeles is the homeland that deconstructive educators live up to their ideal. The design ideology of deconstruction has important status in the United States and far-reaching influence on American architectural education.
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Ильвицкая, Светлана, Svetlana Il'vickaya, Татьяна Лобкова und Tat'yana Lobkova. „PHILOSOPHY OF ENVIRONMENTAL FRIENDLINESS OF ARCHITECTURE AS BASIS OF MODERN DESIGN OF THE DWELLING“. Bulletin of Belgorod State Technological University named after. V. G. Shukhov 3, Nr. 8 (01.08.2018): 69–74. http://dx.doi.org/10.12737/article_5b6d585bcd1b55.50847042.
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Meenakumari, P. „THE HUMANITIES THROUGH ARCHITECTURE“. International Journal of Engineering Technologies and Management Research 5, Nr. 2 (08.02.2020): 190–93. http://dx.doi.org/10.29121/ijetmr.v5.i2.2018.162.
Annotation:
Architecture has taken various impression and expression of what it is and its intent through the perspective of man, by the reflection of the place and its existence through time. The architecture being viewed as humanities was one progressive perspective by man, spanning from the period when buildings were erected in the past to the present. Architecture is a peculiar public art with buildings having a social function, and many buildings have public interface. The paper discusses architecture as discipline, which personifies man as the important entity and is define through primary humanistic disciplines philosophy, history, language, literature and theology .The appropriate conclusive contention is to view architecture through the atmosphere of humanities which affirms meaning and purpose to modern science, rather than merely comprising a series of supplementary fields of intellectual enquiry, alongside with scientific counterparts.
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Saglam, Hakan. „The reciprocity between art and architecture“. New Trends and Issues Proceedings on Humanities and Social Sciences 6, Nr. 4 (24.09.2019): 112–16. http://dx.doi.org/10.18844/prosoc.v6i4.4413.
Annotation:
The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”. Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.”
Key words: Architecture, art, interaction, in between.
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Trachtenberg, Marvin. „Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence“. Renaissance Quarterly 54, Nr. 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.
Annotation:
The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early modern Florence.
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Williamson, James F. „Louis I. Kahn, teacher“. Architectural Research Quarterly 17, Nr. 3-4 (Dezember 2013): 313–24. http://dx.doi.org/10.1017/s1359135514000128.
Annotation:
Louis I. Kahn was not only an architect of powerful buildings; he was also an unconventional teacher and a radical philosopher whose influence on his students was far-reaching. It is through his many former students, especially those in his Master's Class at the University of Pennsylvania, 1960–74, that Kahn's distinctive philosophy of education and unique pedagogy have continued to influence the teaching and making of architecture in the late modern era.Focusing on a neglected area of Kahn scholarship, the author argues that Kahn's legacy as a teacher should be remembered as among his greatest accomplishments. The study examines Kahn's philosophy of education, his unique pedagogy, and his motives for teaching. It draws upon the author's experience as a student in the Master's Class and extensive research at the Louis I. Kahn Collection housed in Penn's Architectural Archives, the comprehensive repository of records relating to Kahn's academic and professional career. It is the first study to be based upon interviews with numerous fellow Master's Class alumni, reflecting the views expressed by Kahn's students about their teacher and the lasting impact of his teaching on their professional lives.
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Riley, Charles A. „Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology“. Journal of Aesthetics and Art Criticism 54, Nr. 1 (1996): 95. http://dx.doi.org/10.2307/431694.
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Wang, Xiao Qian, Wei Min Guo und Jing Luo. „Research on the Changeable Strategy of Chinese Traditional Courtyard Dwelling’s Form Based on Climatic Adaptability“. Applied Mechanics and Materials 71-78 (Juli 2011): 1963–66. http://dx.doi.org/10.4028/www.scientific.net/amm.71-78.1963.
Annotation:
Chinese traditional architecture construction has some ecological ideas in common with principles of Green Architecture. This article introduces briefly the basic composition of Chinese courtyard dwelling form and its climatic advantages, and analyzes the changeable strategy of courtyard dwelling developing into variation forms so as to adapt to different regional climates. It also sums up the characteristics of the changeable strategy and the spirit of Chinese traditional philosophy it implies, which could be an inspiration to the research on climatic-responsively energy-saving modern architecture.
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Wang, Li, und Hao Zhong Yang. „Traditional Building Materials and Application in the Modern Church Architecture of Northern Shannxi“. Advanced Materials Research 598 (November 2012): 303–9. http://dx.doi.org/10.4028/www.scientific.net/amr.598.303.
Annotation:
The relationship between traditional building materials and the modern church in Northern Shaanxi is researched in this paper, and the application feature and evolution in building materials of church in Northern Shaanxi is explored, then the architecture philosophy of building materials is discussed in the paper, and the results show that modern church in Northern Shaanxi and traditional building materials interrelates in two aspects, first is the types, selection and organization of the building materials, second is new material being mixed to church building together with traditional materials. The research contributes to provide information and data for inheriting of traditional building materials in Northern Shaanxi and protecting of regional environmental.
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Inna, Gumennyk. „THE ROLE OF FREDERICK KIZLER'S CREATIVE ACHIEVEMENT IN THE DEVELOPMENT OF NATIONAL ARCHITECTURE OF LANDSCAPE THEATERS“. Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, Nr. 1 (15.06.2021): 53–59. http://dx.doi.org/10.23939/sa2021.01.053.
Annotation:
The article is devoted to the study on the influence of the work of the outstanding architect-scenographer of Ukrainian origin Frederic Kizler on the formation of authentic features in the architecture of landscape theatres in Ukraine and the establishment of characteristic features present in modern national cultural and entertainment institutions. The author explores how the creative work in scenography and design of theatrical objects by F.Kizler forms the main trends in the development of the concept of the idea of correalism as the main philosophy of architecture in the future. The role of charisma and functionality in the scenography of Frederick Kizler on the solution of the architectural environment as a symbiosis of sound, light and colour of the theatre building on the perception of the average spectator is analyzed. The publication reveals the novelty of the ideas of the architect-designer F.Kizler for all theatrical architecture and the creation of futuristic buildings that connected the past and the present as a bridge created the architecture of the future with their buildings. The author pays special attention to the influence of F.Kizler's work on the formation of modern architecture of landscape theatres and the main trends in the development of cultural and entertainment institutions of this type in the XXI century in Ukraine and the world. The presented publication solves the problems associated with the formation of the basic principles of the typology of landscape theatres using the innovative ideas of the futurist architect Frederic Kizler.
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Bellone, T., L. Mussio und C. Porporato. „3D STRUCTURE ANALYSIS: ARCHITECTURE AS AN EXPRESSION OF THE TIES BETWEEN GEOMETRY AND PHILOSOPHY“. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (31.01.2019): 109–18. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-109-2019.
Annotation:
<p><strong>Abstract.</strong> In recent decades many Geomatics-based methods have been created to reconstruct and visualize objects, and these include digital photogrammetry, Lidar, remote sensing and hybrid techniques. The methods used to process such data are the result of research straddling the fields of Geomatics and Computer Vision, and employ techniques arising from approaches of analytical, geometric and statistical nature. One of the most fascinating fields of application concerns Architecture, which, moreover, has always depended on Mathematics generally and, more specifically, on Geometry.</p><p> Throughout history the link between Geometry and Architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate.</p><p> Historically, mathematics and philosophy have been interrelated; many philosophers of the past were also mathematicians.</p><p> The link between Philosophy and Architecture is twofold: on the one hand, philosophers have discussed what architecture is, on the other, philosophy has contributed to the development of architecture. We will deal with the ties between Architecture, Geometry and Philosophy over the centuries. Although there are artistic suggestions that go beyond time and space, and there are genial precursors, we can identify, in principle, some epochs: the ancient era, the modern era, and finally the contemporary epoch, from the crisis of positivistic sciences to globalisation.</p>
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Kostić, Miloš. „Semiotics of architectural: Detail between rationalisation and representation“. SAJ - Serbian Architectural Journal 10, Nr. 1 (2018): 59–70. http://dx.doi.org/10.5937/saj1801059k.
Annotation:
The aim of this paper is to discuss the realm of values upon which thoughts on architecture have been conceived, through the drawings of architectural detail. Although modernism, which opposes technical detail and ornament, is still regarded as influential theoretical position, it neglects to address a broader meaning of a detail in architecture. The research disputes the opposition between an ornament and a technical detail, claiming that a detail in architecture is the more abstract term, which represents a certain level of design thought besides utility and embellishment. It is argued that both modern and traditional values from different aspects of societal and cultural activities, as for their changes were being referenced to the micro level of architecture, transforming the way of their presence through different visual representations of detail along the history and theory of profession. In this paper, the small-scale drawings are used as a medium a medium which reflects transdisciplinarity of the profession and its entanglement with the knowledge and dynamics of other fields of human activity such as philosophy, economy, religion, engineering, and arts.
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., Dr Abdul Qadoos, und Dr Abdul Razzaq. „مکان کی تعمیرو تزئین کاتحقیقی جائزہ،تعلیمات نبویﷺ کی روشنی میں“. rahatulquloob 3, Nr. 2(2) (10.12.2019): 31–37. http://dx.doi.org/10.51411/rahat.3.2(2).2019.202.
Annotation:
Islam is a way of life, and this has been reaffirmed through Al-Qur’an (the Word of God) and Al-Sunnah (the behavior & speech of Prophet Mohammad (PBUH); so the early traditional Muslims house follows certain Islamic principles as guidelines in architectural design. As a way of life, then the house should provide a complete living web that reflects the lifestyle of Muslims. An “Islamic house” means a house with the values of Islam which is started from good intentions, clear philosophy and then conceptualized until the completion and construction of the building. Referring to the history of Islamic architecture in the Islamic world, different styles could be seen in different regions as each particular region used its own indigenous regional from which was influenced by the interchange of culture traits, administration and intermarriage. Indeed, even the vernacular techniques, climate and local materials, also influenced the form of Islamic house architecture, which will be discussed in this paper through many examples of the traditional Islamic houses. This paper discusses aspects of architectural concepts in the early “Islamic house”. There are indeed many lessons to be learned from this concept and design. On the other hand, aspects of the Islamic concept of architecture is absent from almost all modern houses in the Islamic world for many reasons: rapid development, use of foreign materials, design methods, and construction systems all contribute to the absence of sustainability and spirituality in modern buildings. The aim of this paper is to illustrate the concept of the Islamic house and amplify awareness and implementation of Islamic measures in the design, construction, and education of architecture.
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Barashkov, Viktor V., Denis A. Begchin und Ivan P. Davidov. „Modern European Philosophy of Symbolic Forms of Religious and Artistic Consciousness“. Voprosy Filosofii, Nr. 6 (2021): 74–84. http://dx.doi.org/10.21146/0042-8744-2021-6-74-84.
Annotation:
The article deals with the philosophical issues in the field of religious art. The revision of the theories of secularization in the late 20th – early 21st centuries allowed philosophers speak not only about the autonomy of art in relation to religion, but also about the dialogue between these two “symbolic forms of consciousness” (according to E. Cassirer) and the fields of culture. The aim of this article is to offer an analysis of the corpus of selected texts of both Russian and foreign specialists of the last quarter of the 20th – early 21st centuries who worked in related fields (iconology, spatialization, semiotics of culture and art, philosophy of culture, and theology). The subject matters of the article is the philosophical, religious, cultural, art history, semiotic, theological, and anthropological theories of authors whose works were in the representative sample of this study. The literature can be divided into several categories: 1) publications that discuss the relationship between the “secular” and “sacred” in modern culture; 2) publications that describe the essential features of modern temple construction and give a broad interpretation of the concept of “sacred spaces”; 3) publications that describe and analyse specific manifestations of the dialogue between art and religion. The main methods are the method of description and the method of complex philosophical and religiological analysis. The originality of the research lies in the attempt to systematize various points of view on the place and role of religion and art in a post-secular society. The goal is to offer a wide panorama of modern theories of the interaction of religion, architecture, and fine art. Tthe main tasks are complex analysis, classification and qualification of research approaches of the authors under consideration.
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Polschikova, N. V., und N. V. Kovbasyuk. „PHILOSOPHY AND ARCHITECTURE OF TEA HOUSES IN JAPAN“. Problems of theory and history of architecture of Ukraine, Nr. 20 (12.05.2020): 166–78. http://dx.doi.org/10.31650/2519-4208-2020-20-166-178.
Annotation:
Tea ceremonies have evolved a great deal since they first got their start, and as the ceremonies have grown and shifted in purpose, so have the tea houses that hold them. Japanese tea house, Chashitsu in Japanese, is where chado, the tea ceremony takes place, which expresses Japanese sentimentality and aesthetics through the act of drinking tea. Chashitsu is truly the product of all of the traditional Japanese crafts combined and sophisticated.As tea began to grow in popularity, tea ceremonies became a source of entertainment for members of the upper class who could afford to gamble, read poetry and attend tea parties in extravagant pavilions. The design of free-standing tea houses is heavily influenced by Zen philosophy. In an attempt to escape from the material strains of daily life, Shukō removed tea parties from the formal setting and instead held the ceremonies in simple grass-thatched huts, like the Tai-an Teahouse. His goal in doing this was to transcend the complex distractions of the world and find enlightenment in everyday life. Another important procedure initiated by Shukou, was that he himself would serve the tea to his guests. He preferred the intimate and personal atmosphere of a small room which could fit five to six people. The four-and-a-half-mat room that he had devised to create a more tranquil atmosphere during the tea ceremony had its origins in the Zen philosophy. In front of the traditional teahouse is a garden referred to as the roji. Guests traverse it on a path of stepping stones, admiring the plants and trees, before washing their hands at a stone basin in preparation for entering the teahouse building. One of the chief characteristics of the thatched hut teahouse begun by Rikyū is the guest entrance, or nijiriguchi. The square door is so low and small that guests can’t move through it without stooping and curling up as they crawl through. When guests enter the tea house, they first proceed to the alcove, tokonoma, to admire the decoration. There is no furniture, except for that which is required for the preparation of tea. Usually, there will be a charcoal pit in the center of the room by cutting a piece of the tatami is used to boil water. Object used in the tea ceremony included special porcelain or ceramic bowls, a cast-iron kettle with bronze lid, freshwater water jars, ceramic of lacquer container for powdered tea, and tea caddies. There are four main principals defining the way people and tea objects interact: wa (harmony); kei (respect); sei (purity) and jyaku (tranquility). Having got everything right in terms of setting and paraphernalia, one then has to do what all this has been leading up to: make tea. The exact movements of the host are vital but depend on which school of tea ceremony one favours. The important thing is to only make the minimum of movements which should be precise, graceful, and restrained. Further, one should be silent when actually preparing the tea. All thenecessary equipment should have already been laid out before the guests, and only the kettle is hidden from their view. The tea caddy and bamboo scoop are first cleaned with a cloth. When ready, the hot water is poured into the tea bowls but only enough to warm them. Powdered tea is then added to the bowls, which are then topped up with hot water, and the mixture is whisked to make a frothy drink. The tea should be drunk in small sips. When everyone has finished, the implements and bowls are cleaned and removed from sight leaving only the kettle before the hopefully now well-satisfied guests. Finally, some of the finer implements may be returned in order for the guests to discuss their appreciation of them.The simplicity of modern teahouses is meant to emphasize the importance of breaking down boundaries that exist among people, objects and ideas. Taking the idea of tea houses designed to mesh with their natural environment to a whole new level, Terunobu Fujimori created the Takasugi-an, which translates to“a tea house too high.” He built the compact teahouse to appear as though it was resting between two chestnut trees, and although the only way to reach the tea house is via ladder, the view from the top gives visitors a perfect view of Chino, Japan. Instead of displaying the picture scrolls of traditional tea houses that indicated the time of year, Fujimori used the building’s windows to achieve the same effect while also allowing visitors to observe the profound changes that were happening in the world around them. Simple materials such asplaster and bamboo were used to construct the interior of the tea house.Modern tea houses still have strong roots in the traditional purposes of tea ceremonies.Today, many practice tea ceremony and enjoy its benefit innumerous types of tea rooms from traditional ones to innovative ones. Both the ceremony and the Japanese tea houses have evolved since the earliest days, and they continue evolving so that they can adapt to the rapidchangesinmodern society.