Thematische Bibliographien / Gallery of architecture

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Auswahl der wissenschaftlichen Literatur zum Thema „Gallery of architecture“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Gallery of architecture"

Searing, Helen. „Review: The Architecture Gallery“. Journal of the Society of Architectural Historians 65, Nr. 1 (01.03.2006): 115–18. http://dx.doi.org/10.2307/25068242.

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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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Pane, Imam Faisal, und Rahmita Dewi Lubis. „Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)“. International Journal of Architecture and Urbanism 1, Nr. 1 (15.11.2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.

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Alderman, Ellen Hartwell. „Looking Obliquely: De-encoding Gallery Architecture“. International Journal of the Constructed Environment 1, Nr. 2 (2011): 61–66. http://dx.doi.org/10.18848/2154-8587/cgp/v01i02/37474.

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Figueira, Jorge, und Bruno Gil. „Biographies of Power: Personalities and Architectures“. Joelho Revista de Cultura Arquitectonica, Nr. 8 (26.12.2017): 170–200. http://dx.doi.org/10.14195/1647-8681_8_11.

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This section displays the work produced by the students of the Department of Architecture of the University of Coimbra (DARQ, UC) for the courses History of Architecture III and History of Architecture IV in the academic year 2016-2017. The main theme for the practical works of both course units was Biographies of Power: Personalities and Architectures. The work was exhibited in the gallery of DARQ, UC in September 2017. The works presented for Biographies of Power: Personalities were focused on the passage of testimony between Louis Sullivan and F. L. Wright. While they crucially contributed to the identity of a modern and American architecture, they carried out a professional and personal relationship that was also guided by the measurement of forces. The work done by the students for Biographies of Power: Architectures resulted from an observation of a set of buildings that goes beyond their architectural and physical contours, or which precisely searches for their actual description, in the light of any ideology that is ultimately represented or even reinforced by its own architectural condition.

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Saifudin, Febry Ramadan, und Ira Mentayani. „GALLERI ARSITEKTUR BANJAR“. LANTING JOURNAL OF ARCHITECTURE 9, Nr. 1 (29.02.2020): 41–47. http://dx.doi.org/10.20527/lanting.v9i1.541.

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

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Honoris, Robby, und Andalucia . „Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)“. International Journal of Architecture and Urbanism 1, Nr. 1 (15.11.2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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

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Rizali, Muhammad, und Nurfansyah Nurfansyah. „GALERI ANIMASI DI BANJARBARU“. LANTING JOURNAL OF ARCHITECTURE 9, Nr. 1 (29.02.2020): 204–11. http://dx.doi.org/10.20527/lanting.v9i1.558.

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

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Setyo Bimo, Hakiem, Indro Sulistyanto und Rully. „SOLO CITY GALLERY BERPENDEKATAN ARCHITECTURE POST MODERN“. Jurnal Teknik Sipil dan Arsitektur 25, Nr. 1 (01.01.2020): 27. http://dx.doi.org/10.36728/jtsa.v25i1.1064.

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Berkembangnya potensi industri dan perdagangan di Kabupaten Boyolali, sebagian besar pengusaha diluar kota yang disebut kaum eksekutif berdatangan untuk mengembangkan usahanya di Boyolali. Keberadaan kaum eksekutif tentunya membutuhkan sarana dan prasarana yang sangat dibutuhkan mengingat manusia memiliki kebutuhan hidup seperti kebutuhan primer (sandang, pangan, papan) dan kebutuhan sekunder (berbelanja, rekreasi). Walaupun Kabupaten Boyolali mempunyai beberapa pusat perbelanjaan seperti pasar tradisional maupun swalayan dengan skala kecil, namun dengan meningkatnya jumlah penduduk dan perekonomian yang terus berkembang, sudah saatnya perlu adanya fasilitas perbelanjaan dengan skala besar seperti Mall. Beberapa fasilitas perkantoran di Kabupaten Boyolali walaupun sudah ada namun terbilang masih minim, dengan terus bertambahnya kegiatan perekonomian di Boyolali perlu menambah adanya fasilitas perkantoran sewa guna mendukung perekonomian yang terus berkembang. Adapun kebutuhan rumah tinggal dalam bentuk apartemen juga sangat dibutuhkan dimasa mendatang karena menyadari keterbatasan lahan seiring meningkatnya perkembangan Kabupaten Boyolali. Kebutuhan sarana dan prasarana dengan pola kehidupan masyarakat zaman sekarang yang mengarah kepada kehidupan masyarakat yang serba praktis dan efektif, sehingga mereka sangat menghargai waktu yang disebabkan oleh mekanisme yang serba masal dan mobilitas yang tinggi. Untuk memenuhi kebutuhan tersebut maka perlu adanya ruang untuk mewadahi beberapa fungsi sekaligus dalam satu bangunan. Perancangan bangunan multi fungsi bertujuan untuk menyediakan ruang yang mampu memenuhi kebutuhan-kebutuhan manusia serta memberi kenyamanan bagi pemakainya dalam satu lingkup wilayah yang sama. Adapun konsep arsitektur modern akan diterapkan sebagai konsep pada bangunan multi fungsi tersebut. Kata kunci: Apartemen, Perkantoran Sewa, Mall, Boyolali, Arsitektur Modern.

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Świtek, Gabriela. „Architecture as politics“. SAJ - Serbian Architectural Journal 6, Nr. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.

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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.

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Dissertationen zum Thema "Gallery of architecture"

Forr, Molly S. (Molly Susanne). „A gallery for mathematics“. Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/31199.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Includes bibliographical references (p. 68).
The Gallery for Mathematics seeks to interpret and communicate the character and culture of mathematics through the lens of architectural tectonic. The form and program of the Gallery are driven by three goals for the architectural experience and mathematical journey: [movement], [interaction], and [solitude]. By redesigning the traditional museum experience, the Gallery aims not to simply inform its visitors, but instead to incite their curiosity, producing spaces of inquiry rather than spaces of information. Sited on top of the parking garage for Boston's Museum of Science, the Gallery and its garden also serve to reconnect the Boston and Cambridge park systems on opposite banks of the Charles River, embedding the
by Molly S. Forr.
M.Arch.

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Bergman, John. „IMMERSIVE GALLERY OF DIGITAL ART“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.

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Wolters, Erika. „A mobile art gallery“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.

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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people. This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.

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Kim, Amy M. „Connections : the structural details of an art gallery“. Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/67437.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.
Includes bibliographical references (leaves 34-35).
Connections describes the physical means by which the building transforms concept into reality. These connections link between user and building; site and building; program and building; art and public. This study uses as a starting point a previous design project where advances technology allowed and informed the complex geometry and overall composition of the building. This thesis investigates the assemblage of the major building components to demonstrate how the connections make the building. This model will show how these technologies best realize the intent of the program. This art gallery gives up-and-coming local and regional artists and designers the opportunity to exhibit their work. The combination of the building and program will increase the interaction between the general public and art. The building design distinguishes itself from the typical temple- or vault-like quality of the art museum and exhibits a more inviting form. These connections not only make the building; they connect art and public in a more dynamic relationship.
by Amy M. Kim.
M.Arch.

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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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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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Tomaselli, Devon Hannah. „Architecture as Connector to Nature“. Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91432.

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How can architecture connect us to our environments? Is architecture responsible for connecting its user to their surrounding context? Can our spaces inform us about the world around us? There are numerous ways that humans can feel a connection to nature. But, what ways are more universal than others? What aspects of the natural world cross geographical and cultural boundaries? Perhaps, architecture can connect us to our environments by revealing the universal passing of time through natural daylighting by way of structure, materiality, and texture. As the primary instrument, daylighting will be used in this body of work to explore time on an hourly and seasonal basis. It will do this by housing two light-sensitive programs, a painting conservatory and gallery space. By pairing these programs together, the architecture will investigate time by comparing and contrasting two user types and their corresponding needs from each program. Finally, by setting the architecture in the center of a urban block, the thesis can draw upon this high contrast to reinforce the connections it has constructed and made between the user and the natural environment.
Master of Architecture

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Arnold, Colin Michael. „An architectural intervention to the Corcoran Gallery of Art“. Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/44436.

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Manto, Andrew James. „Masterbuilders : a gallery for making at the edge of the mockup“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/87546.

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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2014.
Page 76 blank. Cataloged from PDF version of thesis.
Includes bibliographical references (pages 74-75).
The term "master-builder" defines an individual who encompasses the skills to conceptually conceive of and physically manifest a piece of architecture. These individuals are as much interested in the formal and social outcomes of a design as they are in the materials and construction techniques that make them real. Despite this, contemporary architectural practice has veered away from the concept of masterbuilder, and into more limiting and bracketed professional roles. The rise in project complexity and evolving legal frameworks mean that architects now work as part of a much larger and divided design and construction team. This thesis insists that designing and making are not two separate acts, but are rather one holistic process. It builds off of the contemporary momentum created by digital fabrication, rapid prototyping, and the maker movement but goes one step further. While it recognizes that the testing of design ideas through the construction of small scale models and mockups is important to the design process, this thesis argues that the 1 to 1 construction of buildings are an essential part of future architectural practice.
by Andrew James Manto.
M. Arch.

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Hoffmann, Iris. „Directing Space - Spatial Continuity in architecture“. Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/9994.

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The following presents an investigation into questions of spatial direction and continuity. This includes the directing of people via a choreographed sequence of architectural spaces through a site and a building. It further investigates a concept of continuity at various scales. A proposal for an art gallery in downtown Washington DC becomes the vehicle of exploration. The urban scale of this proposal seeks a continuity of relevant existing conditions while also creating opportunities to experience the city as well as the gallery. A serpentine-like continuous band or ribbon becomes the physical element responsible for direction and continuity for the building itself.
Master of Architecture

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Bücher zum Thema "Gallery of architecture"

Gallery, Tate, Hrsg. Turner & architecture. London: Tate Gallery, 1988.

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Niemeyer, Oscar. Serpentine Gallery Pavilion 2003: Oscar Niemeyer. London: The Serpentine Gallery, 2003.

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Murphy, John. 'The most useful art': Architecture in Australia 1788-1985. Sidney: Library Council of New South Wales, 1985.

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Serpentine Gallery pavilions. Köln: Taschen, 2011.

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name, No. The National Gallery of Canada: Ideas, art, architecture. Montreal, QC: McGill-Queens University Press, 2003.

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The National Gallery of Canada: Ideas, art, architecture. Montreal: McGill-Queen's University Press, 2003.

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Waterfield, Giles. Soane and after: The architecture of Dulwich Picture Gallery. London: Dulwich Picture Gallery, 1987.

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David, Jenkins. Clore gallery Tate gallery, Liverpool: James Stirling. London: Phaidon Press, 1992.

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Devlin, Harry. Portraits of American architecture: A gallery of Victorian homes. New York: Gramercy Books, 1996.

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Amery, Colin. Celebration of Art and Architecture: National Gallery Sainsbury Wing. London: National Gallery, 1991.

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Buchteile zum Thema "Gallery of architecture"

Moi Ying, Phoon, und Junius Soh Hock Heng. „The NUS Digital Media Gallery — A Dynamic Architecture for Audio, Image, Clipart, and Video Repository Accessible via the Campus Learning Management System and idtvukcan the Digital Library“. In Lecture Notes in Computer Science, 141–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-36227-4_14.

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Narváez-Rodríguez, Roberto, Andrés Martín-Pastor und María Aguilar-Alejandre. „The Caterpillar Gallery: Quadratic Surface Theorems, Parametric Design and Digital Fabrication“. In Advances in Architectural Geometry 2014, 309–22. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11418-7_20.

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„Gallery - Guidance“. In Fundamental Concepts of Architecture, 134–48. Birkhäuser, 2014. http://dx.doi.org/10.1515/9783034608923.134.

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„Chapter Gallery“. In Atlas of Digital Architecture, 15–28. Birkhäuser, 2020. http://dx.doi.org/10.1515/9783035620115-002.

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„Museum Architecture and Gallery Design“. In Encyclopedia of Library and Information Sciences, Third Edition, 3689–701. CRC Press, 2009. http://dx.doi.org/10.1081/e-elis3-120044114.

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„Museum Architecture and Gallery Design“. In Encyclopedia of Library and Information Science, Fourth Edition, 3148–60. CRC Press, 2017. http://dx.doi.org/10.1081/e-elis4-120044114.

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„The Changing Nature of Architectural Drawings: The Leo Castelli Gallery Shows“. In Drawing on Architecture. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11370.003.0007.

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Ritchie, Ian. „A Walk Through History The Ecology Gallery of the Natural History Museum“. In the architecture of bridge design, 90–93. Thomas Telford Publishing, 1997. http://dx.doi.org/10.1680/taobd.25295.0021.

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„Tang Teaching Museum and Art Gallery Saratoga Springs, New York, USA Antoine Predock Architect“. In International Architecture Yearbook: No. 8, 144–47. Taylor & Francis, 2014. http://dx.doi.org/10.4324/9781315012629-37.

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Galletti, Sara. „The Royal Gallery at the Time of Henry IV. Architecture and Ceremonial“. In Henri IV, 327–40. Presses universitaires François-Rabelais, 2016. http://dx.doi.org/10.4000/books.pufr.8459.

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Konferenzberichte zum Thema "Gallery of architecture"

Cassell, Stephen, und Scott Geiger. „Architecture research office/Della Valle Bernheimer“. In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400397.

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Muslimin, Rizal. „Learning from weaving for digital fabrication in architecture“. In ACM SIGGRAPH 2010 Art Gallery. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836786.1836789.

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Gelpi, Nicholas R. „Painting Architecture: House Paint Pavilion In Detroit Michigan“. In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.19.

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This project was commissioned to mark the grand opening of a new arts center and gallery, housed within a renovated fire station in the eastern market neighborhood of Detroit. The existing building which housed the gallery was largely preserved intact, with little modification to its rough walls and exposed concrete floors. As a result, the pavilion was conceived of as a freestanding structure which not only created a type of space which was diverse from its surroundings, but also created a new type of surface for displaying art, one that blurred the boundary between the art and architecture itself.

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Tu, Wei, und Yue Jiang. „Analysis of Light Art Application in the Gallery Exhibition“. In The 2nd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200923.053.

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Felli, Marco, und Antonello Incerto. „Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy“. In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11482.

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The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.

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Iribarne, Jorge. „The essential purpose of any Urban Project is to define Public Space“. In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.

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Rowland, Kristopher J., Alexandre François und Tanya M. Monro. „Excitation and lasing of whispering gallery modes in dye doped microspheres at the tip of a microstructured optical fiber and application for a sensitive dip sensor architecture“. In SPIE BiOS. SPIE, 2012. http://dx.doi.org/10.1117/12.907789.

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Fondevilla Aparicio, Juan José. „La Banda Gallega: vertebración defensiva de un espacio de frontera en el límite noroccidental del alfoz hispalense en la Baja Edad Media“. In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11485.

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The Galician Band: defensive vertebration of a frontier space in the Northwestern limit of the domains of Seville in the Late Middle AgesThe northwestern limit of the Seville domains constituted a complex frontier space of high potencial tension throughout the Late Middle Ages. Once the conquest of this historical territory was over, the council of Seville promotes the definition of a castral system destined to guarantee the guard and defense of its extensive territory. The Galician Band constituted a large network of fortifications who knew how to incorporate the existing ones and build new castles, which responded to an adaptive logic based on the poliorcetic and geopolitical requirements. The geospacial analysis carried out in this research, implemented through GIS, allowed contrasting certain hypotheses sustained from historiography regarding the territorial implementation strategy of these passive defenses. The detailed analysis of the intervisibility relations between the fortifications of the Galician Band, allowed to define its spatial link. The analyzed castramental spaces are hierarchized, presenting a progressive stratification from the border spaces into the deep lands of the Council, following a spatial pattern that allows the strategic control of the main paths of territorial penetration.

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