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Thematische Bibliographien / Center of contemporary art and architecture

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Auswahl der wissenschaftlichen Literatur zum Thema „Center of contemporary art and architecture“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Center of contemporary art and architecture"

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Fazra Risky Nasution und Morida Siagian. „Contemporary Art Gallery (Expressionism Architecture)“. International Journal of Architecture and Urbanism 4, Nr. 2 (27.08.2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.

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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.

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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova und Vilnur Kadirov. „Museum and center for contemporary art: design principles and functional features“. E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.

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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.

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Merrill, Elizabeth M. „Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture“. Architectural Research Quarterly 23, Nr. 3 (September 2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.

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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

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Whiting, Cécile. „Philip Johnson“. Journal of the Society of Architectural Historians 75, Nr. 3 (01.09.2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.

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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.

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Rahman, N. Vinky, und Esra Monica Aruan. „Performing Art and Culture Center Hamdan“. International Journal of Architecture and Urbanism 3, Nr. 3 (18.11.2019): 342–50. http://dx.doi.org/10.32734/ijau.v3i3.3750.

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Performing Art and Culture Center is a building that functions as a center of activity to accommodate the creativity of the community in the field of art as well as public space facilities in the city of Medan. The center for arts and culture is expected to be able to respond to the problem of Medan City in providing community space and informal education facilities so that this function aims as a community space that can accommodate artistic activities with adequate facilities. The method used in designing this project is a data collection through field surveys and literature studies. This project is one of the functions in the revitalization of the Integrated Hamdan Area in Medan Maimun District. To reflect the concept of revival and as an innovative design, the theme of this project is contemporary architecture. This project will be a non-formal education facility that is educational and entertaining. With this function, Performing Arts and Culture can increase tourism in Medan, a place to create value for the creativity of the community, increase the sensitivity of the people of Medan city towards traditional and modern cultural arts, and make Medan a cultured city.

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Pierce, Imogen Van. „Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery“. Back Story Journal of New Zealand Art, Media & Design History, Nr. 2 (01.12.2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.

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What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.

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Knight, George. „The Yale Center for British Art: a Building Conservation“. Louis I. Kahn – The Permanence, Nr. 58 (2018): 50–59. http://dx.doi.org/10.52200/58.a.8ah55zai.

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The Yale Center for British Art was designed by acclaimed American architect Louis I. Kahn to house a collection of British art on the campus of Yale University. The Center, Kahn’s third and final museum building, was designed between 1970 and 1974 and opened its doors to the public in 1977. By 2002 it was evident that the building was fast approaching a crossroads: finishes had reached the end of their lives, program space was in desperate demand, patron amenities and life safety measures no longer met contemporary standards and, worst of all, infrastructural systems strained to sustain the environments demanded to protect the collections. The integrity of Kahn’s architecture was in jeopardy. What follows is the story of what came next: how the building was painstakingly researched and analyzed, and how a series of projects ensued to re-equip the Center to present and protect its collection for decades to come.

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., Andalucia, und Marini . „North Sumatera Convention Center“. International Journal of Architecture and Urbanism 2, Nr. 2 (20.08.2018): 132–37. http://dx.doi.org/10.32734/ijau.v2i2.397.

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Sumatera Utara has enhancement of population growth around 2.33% per year and economic growth around 14.7% per year. By all means, this data effect on trade sector, industry sector, entertainment sector, and education sector. From the data above can be obtained that Medan needs supporting facilities to organizing even such as conference, exhibition, a party even, or concert which nationally or internationally. There are a few even for entertainment and art in Medan seen from rarely held music or art performance nationally or internationally. Moreover, there is a very few venue to hold it. North Sumatra Convention Center is built at Jl. H. Adam Malik. This location is chosen because it is by the District of West Medan, which is destined for commercial building supporting the economy. The theme of the design is Contemporary Architecture. This theme is the result of the author's thought to make this building also become Landmark Medan. With the design of the new Convention Center in Medan itself aims to create a place for conference and other activities. The international convention center design is also expected to improve the quality and quantity of similar development for community place and improve the economy of Medan with regions and other countries. The design of North Sumatra Convention Center is expected to be able to support the big activities as mentioned above.

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Siza Vieira, Ávaro. „Centro de arte contemporáneo de Galicia en Santiago de Compostela (Galicia, España)“. Informes de la Construcción 47, Nr. 439 (30.10.1995): 41–57. http://dx.doi.org/10.3989/ic.1995.v47.i439.1053.

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Kossel, Elmar. „Der Wiederaufbau von Florenz 1945“. Architectura 46, Nr. 1 (30.12.2016): 72–103. http://dx.doi.org/10.1515/atc-2016-0005.

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AbstractFlorence suffered heavy destruction due to blasting by the german Wehrmacht in the area around the Ponte Vecchio in 1944. On the question of how the historic, in the core medieval buildings should be rebuilt, a vigorous debate was ignited, which also was intensively conducted in public. The debates core was about the question of wether the old center should be reconstructed exactly as it was or should a modern and contemporary solution be given priority. The art historian Bernhard Berenson and the archeologist Ranuccio Bianchi Bandinelli exemplified the position in the debate for the Florentine context. Linked to this discussion was also the question, how Italy would present itself after war and fascism as a new and democratic society. The built result can be seen as a compromise of these positions, as the new architecture is added in the center emphasized inconspicuousDespite the consistently negative reception, it was possible to dissociate oneself in two respects from this locally located variety of post-war modernity: On the one hand, the international architectural scene and, on the other hand, its own architectural heritage which is contaminated by fascism. The reference to its own architectural heritage and the very independent appropriation of international influences should remain the basic characteristic of the »Scuola Fiorentina« until the mid-1970s

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Dissertationen zum Thema "Center of contemporary art and architecture"

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Tartoni, Nicole M. „ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania /“. Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.

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DEGRAAF, NATHAN MARK. „MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.

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Valente, Liz Fagundes Oliveira. „Space and art – interrelations between architecture and contemporary art at Inhotim“. Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.

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Submitted by Reginaldo Soares de Freitas (reginaldo.freitas@ufv.br) on 2016-09-02T13:13:13Z No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5)
Made available in DSpace on 2016-09-02T13:13:13Z (GMT). No. of bitstreams: 1 texto completo.pdf: 3929198 bytes, checksum: 97d1e9f437e559874e88219c5ebee761 (MD5) Previous issue date: 2016-04-18
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.

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Leclerc, Pierre E. (Pierre Emile). „Architectural definition of an environment suitable for contemporary art“. Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/79013.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Supervised by Fernando Domeyko.
Includes bibliographical references (p. 111).
The title of this thesis implies a critical consideration of the subject. i.e how do we create. show and consume the product of art today. which environment suits it the best and why. The term itself, contemporary art is actually too vague and encompasses such a long historical period that I will restate its period. for the purpose of this project. to the actual; and its actors: those who are affecting the art community now. The environment that I am proposing here is neither a museum or a gallery space. neither a studio or a housing project. The main intent of this work is to create an environment which is a living one. not a monument to art or to a particular period. It is an environment which can facilitate the creative act: in its process as well as in its consumption. It is an environment which offers to both. curators and artists liberty and stimulation to redefine and confront their particular concerns. which is in my understanding the understanding the beauty of art. i.e. their needs to question and search ones own visions. This thesis is the synthesis of my professional understanding. Working in art for many years and being involved in architecture through my studies here at MIT, I wanted to end by creating an environment which will be a representation of a living place where I , as well as other artists, would want to be involved; where the quality of its rooms and spaces (light, materials, sensual qualities ... ), the discovery through intellectual and physical movement, would offer conception, feelings and images of work to be realised, telling me that there is so much to do once I am out of here!!! Art and its process is a representation of our life. Its physical environment is also a possible interpretation of a physical environment which could be applied to many individuals ...
by Pierre E. Leclerc.
M.Arch.

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Zhang, Xu. „Art Center on the Lake“. Thesis, Virginia Tech, 2020. http://hdl.handle.net/10919/96806.

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The water's shore, used for defense, trade, transportation and industry, always plays an important role in a city's development. Buildings were built there to fulfill related practical functions, such as barns, factories or piers. However, at the present time, the functions mentioned above are not the only purpose of the shore, now more entertainment activies happen along the water's edge. Therefore, architecture's roles are changing. The site is in a small town called Riva San Vitale, which is located at the south end of Lake Lugano, Switzerland. For this small town, lake's shore is usually used by local people as a place for relaxation. Based on my four-month long living experiences there, I decided to design an art center on the lake to enrich residents' daily life.
Master of Architecture
A folding method was used in form processing to reflect the mountains' shapes surrounding the town. Through this whole process, my thesis explores how the architecture is used as an instrument to bring art into people's daily life and, at the same time, extend people's life into nature. As a result, the Art Center will become a new plaza of Riva San Vitale.

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Carpenter, William Joseph. „Center for Art and Architecture: Center for Art and Architecture at the Aspen Institute for Humanistic Studies, Wye River Plantation, Queenstown, Maryland“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53286.

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Nikolic, Bojana. „Light art in Contemporary Architectural Lighting Design“. Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.

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This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping spaceshas been recognized since ancient times, yet it was much longerbefore the development of lighting design as an autonomousdiscipline.In recent years there is an increased need for creative expressionfrom lighting designers who are pushing the boundaries ofcommunication through light. In order to understand the extentto which successful innovative lighting schemes can drawinspiration from artwork, this research further analyses keyvisual and emotional properties of light art, as well as potentialconstraints of functional spaces. Distinction of roles of the artistand designer as well as the conditions in which they work withthe medium of light pose a challenge in relating these twodisciplines.Findings from first two parts of this research are further used toanalyse an example of an architectural lighting project, to drawconclusions about light art’s applicability to functional lighting.

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DeGraaf, Nathan Mark. „Milieu, meaning and architecture contemporary installation art gallery design /“. Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148191782.

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Thesis (Master of Architecture)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Art Museum; Art Display; Installation Art; Includes bibliographical references.

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Garrison, John. „The Contemporary Uncanny: An Architecture for Digital Postmortem“. University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617109466087914.

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Adamovich, Andrey. „Adaptive Envelope : Contemporary center of visual arts in Frihamnen“. Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34711.

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The main idea of my thesis work is to deal with the problem of an adaptive reuse of an existing building, which has been designed many years ago and now lost its function. And the way I am approaching this - is through the idea of infection. What if an existing building becomes infected by new purposes and qualities, and if so then how this move could be performed and realized? Unlike the majority of the adaptive reuse projects, mine has at its core the idea of introducing new feathers and elements in the way that it’s natural and a bit illusive, without contrasting the newly added to already existed. My goal is not to reveal this materiality difference. What I’m presenting today is a completely new envelope but from the inside you still can see this repetition of circular forms and understand that these are the same silos, which at some point were deformed in order to perform a different functions.

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Bücher zum Thema "Center of contemporary art and architecture"

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1968-, Dochantschi Markus, Hrsg. Zaha Hadid: Space for art ; Contemporary Arts Center, Cincinnati ; Lois & Richard Rosenthal Center for Contemporary Art. Baden: Lars Müller, 2004.

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Britain & Ireland: Contemporary art + architecture handbook. San Francisco, CA: art-SITES, 2000.

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Rubió, Ignasi Solà-Morales. Differences: Topographies of contemporary architecture. Cambridge, Mass: MIT Press, 1997.

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Dirk, Meyhöfer, und Jodidio Philip, Hrsg. Contemporary European architects. Köln [Germany]: New York, 1991.

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Neustein, Joshua. Joshua Neustein: Light on the ashes : August 10-October 2, 1996, Southeastern Center for Contemporary Art. Winston-Salem, N.C: The Center, 1996.

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Adelaide Biennial of Australian Art (6th 2000). Beyond the pale: Contemporary indigenous art : 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia. Adelaide, S. Aust: The Art Gallery, 2000.

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Tadao, Ando, und Fujimori Terunobu 1946-, Hrsg. The contemporary tea house: Japan's top architects redefine a tradition. New York: Kodansha International, 2007.

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Contemporary art: An Akbank Art Center anthology. Istanbul: Akbank Art Center, 2009.

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Akbank Kültür Sanat Eğitim Merkezi. Contemporary art: An Akbank Art Center anthology. Istanbul: Akbank Art Center, 2009.

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Walker Art Center. London: Scala, 2009.

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Buchteile zum Thema "Center of contemporary art and architecture"

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Ricci, Mosè, Alessandra Battisti, Aldo Aymonino, Pio Baldi, Franco Summa und Kay Bea Jones. „CHAPTER 23. Painted Surfaces in Contemporary Architecture“. In Science and Art, 477–99. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00477.

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Lenssen, Anneka, und Sarah A. Rogers. „Articulating the Contemporary“. In A Companion to Islamic Art and Architecture, 1314–38. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch51.

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Gilpin, George H. „The City: Pop Art and Brutal Architecture“. In The Art of Contemporary English Culture, 94–112. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21746-5_5.

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Machida, Margo. „Convergent Conversations: Contemporary Art in Asian America“. In A Companion to Asian Art and Architecture, 264–89. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch11.

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Hassanein, Hala. „Trends of Contemporary Art in Innovative Interior Architecture Design of Cultural Spaces“. In Cities' Identity Through Architecture and Arts, 25–57. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-14869-0_3.

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Bessa, Raul Vasconcelos. „The Efficiency of Air Conditioning Energy Systems in the Iberê Camargo Contemporary Art Museum – Rio Grande Do Sul – Brazil“. In Museum Technology and Architecture, 31–33. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-76172-5_3.

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau und James Bart McLeod. „At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage“. In Proceedings e report, 34–40. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.

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Burns, Maureen, und Andreas Knab. „Instant Architecture: Hosted Access to the Archivision Research Library with Built-In Image Management & Presentation Tools“. In Proceedings e report, 150–57. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.38.

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The Archivision Research Library is a collection of 100,000 digital images of art and architecture professionally photographed by a trained architect. It documents the built environment--from ancient monuments to cutting-edge contemporary constructions--with extensive, standardized descriptive metadata. Archivision is accessible for research and teaching through a web-based application--a dedicated hosted instance of MDID--with vrcHost LLC delivering full services and technical support: installation, integration, and maintenance. This combination provides not only instant access to Archivision, but also to sophisticated tools for managing images using an open source media management system to discover, aggregate, study, and present digital media.

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„Contemporary Art Glossary“. In Art and Architecture of Ireland Volume V: Twentieth Century. Royal Irish Academy, 2014. http://dx.doi.org/10.3318/978-1-908996-66-4.contempartglossary.

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Andrew, Nell. „Living Art“. In Moving Modernism, 103–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057275.003.0005.

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In the second decade of the twentieth century, the Belgian dancer Akarova created performances that contemporary artists alternately termed “music architecture,” “living geometry,” and “pure plastics.” This chapter follows Akarova’s production during the years of the Belgian avant-garde movement “plastique pure” and its champion journal, 7 Arts (1922–1929), when Akarova’s dance helped to expand the scope of an isolated Belgian avant-garde by offering the country’s first abstract artists a glimpse of a utilitarian, applied art that could be embodied and felt, offering a model of kinesthetic activation and self-projection into the spaces of art.

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Konferenzberichte zum Thema "Center of contemporary art and architecture"

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Novelli, Francesco. „Castle Garth in Newcastle (UK): processes of transformation, integration and discharge of a fortified complex in an urban context“. In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11548.

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Castle Garth is the name of the fortified area once enclosed within the castle walls. In the fifteenth century Newcastle became a county in its own right, however, the Garth, being within the castle walls, remained part of the County of Northumberland. The Great Hall, a building separate from the Castle Fortress (the “Keep”), which in later years became known as the “Old Moot Hall”, was used by courts that sat at regular intervals in every county of England and Wales. The Fortress then became a prison for the County and was used as such until the early nineteenth century. Beginning in the fifteenth century, unlicensed traders, taking advantage of the fact that the city authorities had no jurisdiction over the Garth area, settled there with their commercial activities. From the time of Charles II (1630-1685), the area then became famous for its tailors and shoemakers, who grew particularly abundantly on the path known as “Castle Stairs”. In 1619 the fortified complex was rented by James I to the courtier Alexander Stephenson, who allowed the civilian houses to be built inside the castle walls. After the civil war, new houses were added until, towards the end of the eighteenth century, Castle Garth had become a distinct and densely populated community, with a theater, public houses and lodgings. The main urban transformations were started in the early nineteenth century with the construction of the new Moot Hall called County Court. From 1847 to 1849 the fortified enclosure was partially compromised by further intersections with the infrastructure for the construction of the railway viaduct, thus interrupting direct access from the Castle guarding the Black Gate. Despite the development of the contemporary city has affected the preservation of the ancient fortified palimpsest, a strong consolidated link is still maintained by the sedimentation of values of material and immaterial culture. The proposed contribution intends to present this process of integration between fortified structure and city highlighting today the state of the art, the conservation, restoration and enhancement initiatives undertaken in the last forty years.

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Uğur, Latif Onur, und Kadir Penbe. „A Social Media Supported Distance Education Application for the Building Cost Course Given in Civil Engineering Education During the COVID 19 Quarantine“. In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0030n9.

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A distance education application in Düzce University within the Fall Semester, which started in September 2020, constitutes the main subject of this study. 118 students chose the Construction Cost course, which is one of the fourth year elective courses in Civil Engineering, this term. In addition to the lectures given within the Düzce University Distance Education Center (UZEM), different applications have been made / made through a social media (Whatsapp) group in which all students participated. With the help of additional videos, audio and written messages, an application was made based on increasing the communication opportunities with the participant students, teachers and other students, and developing a civil engineering culture. By increasing motivation with research assignments including construction industry practices and problems, monitoring documentary construction projects, interesting photographs and videos; The aim is to follow a lesson close to formal education for students who are encouraged to learn by experiencing the lesson, to make participatory practices, and to discuss their findings. In the meantime, the importance of first degree health protection was emphasized with information sharing and recommendations on the importance of compliance with COVID 19 measures. It was preferred that the course grades be made on the given homework to reinforce the importance of Self-Learning / Study practices. At the end of the term, it was determined that besides a high success rate, the satisfaction of all students was achieved, and it was concluded that the main objectives were achieved.

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Osasona, C. O. „Indigenous art and Nigerian contemporary residential architecture“. In STREMAH 2007. Southampton, UK: WIT Press, 2007. http://dx.doi.org/10.2495/str070131.

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Urbanska, Marta. „POLISH CONTEMPORARY ARCHITECTURE VS. CULTURAL HERITAGE - 21ST CENTURY PRESERVATION THROUGH SUBDUED CREATION“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s15.036.

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Aziz, A. A. „Execution of contemporary Islamic architecture through design: the Cyberjaya Green Platinum Mosque Project in Malaysia“. In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/iha160021.

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Konovalova, Nina. „Architecture as Art Object: The Analysis of One of the Flows of Contemporary Architecture“. In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.004.

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Khan, Mohammad Afzal. „Cultural Linkage between India and Iran A Study of Mughal Art and Architecture“. In Annual International Conference on Contemporary Cultural Studies. Global Science & Technology Forum (GSTF), 2013. http://dx.doi.org/10.5176/2382-5650_ccs13.27.

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Carlotti, Paolo. „Shape of cadastral plot and band of pertinence. Meaning for Architectural Design“. In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6327.

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Some our studies of urban morphology, implemented on historical and contemporary urban fabric maps, allow us to believe that the shape of the lot and of band of pertinence of a pathway are essential to reading the formative urban process. Different phases of formative process of an urban center seems, in fact, to be recognizable in the of shape of lot and interaction between lots and path. These morphological shapes (lots) are the result of different centrality that are produced in the building fabric and, consequently, the restructuring pathways are important for understanding rules and causes of urban and architectural transformation of the city. This paper aims to offer a contribution to the definition of the elements of urban morphology. This research, part of a series of research, carried out in the Lab. Lettura e Progetto dell’Architettura of the Faculty of Roma (Sapienza), tries to be implemented in some case studies: Murcia and San Mateu. References Merlin P. (1988) Morphologie urbaine at parcellaire, Centre National de la Recherche Scientifiques, Saint Denis. Larkham P.J., Conzen M.P.,(ed) (2014) Shapers of Urban Form. Explorations in Morphological agency, Routledge, London. Strappa G, Carlotti P., Camiz A. (2016), Urban Morphology an Historical Fabrics. Contemporary design of small town in Latium, Gangemi editore, Roma

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Canbakal Ataoğlu, Nihan, Habibe Acar und Aysel Yavuz. „Museum’s Open Space“. In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.

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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.

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Doyle, Shelby Elizabeth. „Bringing Bauhaus Back: Digital Architecture + Contemporary Craft“. In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.12.

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“The Bauhaus believes the machine to be our modern medium of design and seeks to come to terms with it.”—Walter Gropius, The Theory and Organization of the Bauhaus German architect Walter Gropius founded the Bauhaus in 1919 and after fourteen prolific years, it closed. Despite its short tenure, the ramifications of the Bauhaus are still present in architectural education and practice. Its core objective was a radical, and still unrealized, concept: the unity of art and technology. The introduction of contemporary digital tools, techniques, and materials make this unity possible in new and profound ways thereby extending the Bauhaus project into the present day as a meaningful model for architectural education and digital craft.

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Berichte der Organisationen zum Thema "Center of contemporary art and architecture"

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Hunter, Fraser, und Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world

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