Zeitschriftenartikel: „Gallery of architecture“

1

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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2

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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5

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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11

Campbell, D. A. „Explorations into virtual architecture: a HIT Lab gallery“. IEEE Multimedia 4, Nr. 1 (1997): 74–76. http://dx.doi.org/10.1109/93.580398.

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12

Merkel, Jayne. „Yale Art Gallery“. Architectural Design 77, Nr. 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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Vu, Anh Viet, Thi Ai Thuy Pham und Tu Pham. „Pop-up landscape architecture in Ho Chi Minh City: Cases of creating livable city for all“. MATEC Web of Conferences 193 (2018): 04002. http://dx.doi.org/10.1051/matecconf/201819304002.

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The pop-up architecture (or landscape architecture) becomes popular nowadays. Some highlights include annual architecture program such as the Serpentine Gallery Pavilion at Hyde Park, London; MPavilion in Melbourne; MoMA PS1 and Heart Sculpture in New York. Many of these pop-up architectural works have been designed by world renowned architects, such as Zaha Hadid, Rem Koolhaas, Hezorg and de Meuron, Jean Nouvel, Toyo Ito, SANAA, Shigeru Ban, BIG, etc. And many of these designs reflect innovative thinking that changes the professional world of architectural design. But above all, these pop-up architectures were created in responsive manner to the urban community and the community controversially has good response to this type of architecture. In the other words, pop-up architecture is the way the architects touch the heartbeat of the cities, make them livable for all. Ho Chi Minh City has its own types of pop-up landscape architecture, whereas this paper intends to explore in two case studies: Nguyen Hue Floral Boulevard and Nguyen Van Binh Book Street. Nguyen Hue Floral Street is celebrating now its twelfth birthday in the city. Nguyen Van Binh Book Street has just passed its first anniversary in 2017. Both cases live its own story behind the scene about how livable a city could be through place-making by architecture and landscape design. Throughout these cases, we would like to find out how this type of pop-up landscape architecture being realized and become popular in Ho Chi Minh City, and how it is devoted to a livable city for all.

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14

Caruso, Adam. „Newport Street Gallery“. Journal of Architectural Education 73, Nr. 1 (02.01.2019): 98–99. http://dx.doi.org/10.1080/10464883.2019.1560811.

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15

Tippett, Maria. „The National Gallery of Canada: Ideas, Art, Architecture (review)“. Canadian Historical Review 85, Nr. 3 (2004): 561–64. http://dx.doi.org/10.1353/can.2004.0141.

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16

Kauffman, Jordan. „Architecture in the Art Market: The Max Protetch Gallery“. Journal of Architectural Education 70, Nr. 2 (02.07.2016): 257–68. http://dx.doi.org/10.1080/10464883.2016.1197674.

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17

Armstrong, Drew. „The National Gallery of Canada: Ideas, Art, Architecture (review)“. University of Toronto Quarterly 74, Nr. 1 (2004): 354–56. http://dx.doi.org/10.1353/utq.2005.0005.

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18

He, Wenhao, Haitao Song, Yue Guo, Xiaoyi Yin, Xiaonan Wang, Guibin Bian und Wen Qian. „A Gallery-Guided Graph Architecture for Sequential Impurity Detection“. IEEE Access 7 (2019): 149105–16. http://dx.doi.org/10.1109/access.2019.2946861.

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19

Miller, John. „Fun Gallery“. Grey Room 35 (April 2009): 92–99. http://dx.doi.org/10.1162/grey.2009.1.35.92.

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20

Bioza, Betyona, Titis Srimuda Pitana und Gunawan Gunawan. „SOLO CRAFT GALLERY EXPO DENGAN PENDEKATAN ARSITEKTUR JAWA KONTEMPORER“. Arsitektura 15, Nr. 1 (14.07.2017): 269. http://dx.doi.org/10.20961/arst.v15i1.12182.

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Abstract: Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city’s potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city’s identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture. Keywords: MSME craft’s sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.

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21

Melvin, Jeremy. „Serpentine Gallery Pavilion 2005“. Architectural Design 75, Nr. 6 (November 2005): 102–6. http://dx.doi.org/10.1002/ad.185.

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22

Khonsari, Torange. „Contemporary Initiatives in Participatory Art and Architecture Practice“. Open House International 33, Nr. 2 (01.06.2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.

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Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commissioned by Gasworks Gallery was a residency over a 3-month period, which examined how the gallery is perceived and used by its audiences. The second project shows work with the residents of two housing estates, Braithwaite House and Quaker Court in Bunhill Row - Old street - London. The project was derived from the public realm strategy for EC1, commissioned by EC1 New Deal for Communities and was to create an active public and social space to be shared by two rather conflicting communities.

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Sari, Marchelia Gupita, und Imaniar Sofia Asharhani. „IDENTIFIKASI PENDEKATAN WHITE CUBE DAN REGIONALISME KRITIS PADA ARSITEKTUR GALERI SENI DI YOGYAKARTA“. LANGKAU BETANG: JURNAL ARSITEKTUR 7, Nr. 2 (14.10.2020): 163. http://dx.doi.org/10.26418/lantang.v7i2.39678.

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Regionalisme dalam arsitektur kerap dibahas sebagai respon terhadap arsitektur modern yang bersifat univalen dan melunturkan nilai-nilai kesetempatan. Estetika galeri seni dengan pendekatan white cube yang berakar pada modernisme telah mengglobal atau melanda dunia, seperti halnya international style dalam arsitektur. Yogyakarta kini tengah menghadapi isu lokalitas dalam arsitektur yang dapat mencerminkan identitasnya sebagai kota seni dan budaya. Galeri seni memiliki peranan penting untuk menyebarkan kesenian kontemporer yang dinamis. Penelitian ini bertujuan untuk mengidentifikasi penerapan pendekatan white cube pada arsitektur galeri seni dan penerapan regionalisme kritis sebagai respon terhadap modernitas. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Analisis data dilakukan dengan komparasi antarkasus berdasarkan indikator dari regionalisme kritis dalam arsitektur. Penarikan kesimpulan berdasarkan kecenderungan penerapan white cube dengan indikator regionalisme pada kasus. Hasil penelitian menunjukkan bahwa pendekatan regionalisme ditemukan pada kasus yang menekankan tektonika, respon terhadap iklim, dan respon terhadap konteks sekitar. Karya seni di galeri seni Yogyakarta ternyata tidak serta merta dibebaskan dari konteks sekitar seperti halnya konsep white cube gallery.IDENTIFICATION OF WHITE CUBE APPROACH AND REGIONALISM IN ART GALLERY ARCHITECTURE IN YOGYAKARTA Regionalism in architecture is often discussed as a response to modern architecture, which contains a univalent value and attenuates the values of context. The aesthetics of art galleries with the concept of white cube rooted in modernism have become trend in the world and international style in architecture. Yogyakarta is currently facing locality in architecture that can reflect its identity as a city of arts and culture. Art galleries have an essential role in spreading dynamic contemporary art. This study aims to identify the white cube approach to art gallery architecture and critical regionalism to respond to modernity. This research uses descriptive qualitative research methods. Data analysis was conducted by comparisons between cases based on indicators of crucial regionalism in architecture. The conclusion is based on the tendency of applying white cube with indicators of regionalism in cases. The results showed that the regionalism approach was found in cases that emphasized tectonic aspects, responses to climate, and responses to the surrounding context. Artwork in the Yogyakarta art gallery is not necessarily freed from the surrounding context, such as the concept of the white cube gallery.

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Wibisono, Alenda Khoirunnisa, Hardiyati Hardiyati und Rachmadi Nugroho. „THE IMPLEMENTATION OF THE ORGANIC ARCHITECTURE THEORY IN CONTEMPORARY ART GALLERY DESIGN STRATEGY IN SURAKARTA“. ARSITEKTURA 17, Nr. 1 (30.04.2019): 15. http://dx.doi.org/10.20961/arst.v17i1.23906.

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Surakarta has various potentials in contemporary art, namely the potential of artists, the intensity of activities, as well as formal and informal art groups and institutions. Unfortunately, those potentials are not equal with the availability of facilities to accommodate them. Therefore, a Contemporary Art Gallery in Surakarta is needed as a place of appreciation, recreation and education. Gallery is a fixed container in the form of a closed building to accommodate visual communication activities through exhibitions and other artistic activities (Webster, 1979). Contemporary art is a developing art that responds to and reflects the situation at the moment (Maria & Belle Bintang Biarezky, 2016). To be able to accommodate contemporary art, Organic Architecture is the right approach to be applied to building design strategies. Organic Architecture is radical, free, flexible, dynamic (Pearson, 2002). Organic Architecture has 8 design principles, namely building as nature, continuous present, form follows flow, of the people, of the hill, of the materials, youthful and unexpected, and living music, which will be studied to determine design strategies. The principles that can be applied will be applied to the analysis process that will result in the design of the Contemporary Art Gallery which can accommodate various contemporary art activities, represent them and accommodate possible changes.

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Carr, Angela. „Ord, Douglas. The National Gallery of Canada: Ideas, Art, Architecture“. Urban History Review 33, Nr. 1 (September 2004): 55–56. http://dx.doi.org/10.7202/1015678ar.

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Maheswara, Made Bagus Angga, Tri Anggraini Prajnawrdhi und I. Wayan Wiryawan. „Tato Arts Center in Badung, Bali“. Journal of A Sustainable Global South 1, Nr. 2 (31.08.2017): 18. http://dx.doi.org/10.24843/jsgs.2017.v01.i02.p05.

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The centre of arts was a place for activity that related to the arts itself, as a place to show the local art and culture, and provide us information about the artworks that made by the artist and show it to the visitors or consumers by displaying these artworks into art exhibition that expected to be able reach a wider market. This art centre published as a gallery that will accommodate tattoo artist to show their artwork as a paintings and tattoos on synthetic leather. The research of this study using qualitative method by spreading questionnaires, studying literature with local regulations including the application of the characteristics of traditional Balinese architecture that are harmoniously environmentally friendly, and field observation techniques on objects related to facilities found in art centers such as galleries, exhibitions and tattoo studios where the results of the research steps are the results of questionnaires with 70 respondents 98, 6% were in-terested in tattoo art and agreed to realize the planning of the Tattoo Art Center in Badung, The result of this literature study and observation were the architecture that used generally between Balinese architecture with modern architec-ture in the building that used neo vernacular concept. This building was applying the neo vernacular concept in the gallery section where the gallery facade applies the Tri Angga concept, such as the head, body and legs which were in traditional forms, using pyramid roofs which have mudras and participate in Ciledu and used local materials in the form of bricks and natural stones through application it produced concept of neo vernacular. Index Terms— neo vernacular, art center, tattoo, gallery, facade.

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Hava, Jarmila. „The Library at the National Gallery of Zimbabwe“. Art Libraries Journal 11, Nr. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often content to continue traditions without seeking to innovate or to respond to other works of art. Both Gallery and Library have accepted and are developing an active educational role.

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Gomes, Susana. „Introducing Modern Gallery Housing in Maputo: Design Experimentations, 1950-1968“. Modern Africa, Tropical Architecture, Nr. 48 (2013): 46–55. http://dx.doi.org/10.52200/48.a.x5cbaiw3.

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Modern architecture has recently been the subject of a more systematic analysis in the formerly Portuguese African territory. These studies aim at understanding the specific circumstances from which Modern Portuguese architecture first arose. Following the international debate on housing during the 20th century, Mozambique has been the arena of a new and experimental approach to collective housing in accordance with the guidelines set out by Le Corbusier. A singular social, economic and cultural territory, it adopted a tropical variant of the gallery typology, briefly introduced in this paper by means of select case studies built in Maputo between 1950 and 1968.

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Murphy, R. „Architecture: Architect and client: The renovation of the Fruitmarket Gallery, Edinburgh“. Museum Management and Curatorship 13, Nr. 1 (März 1994): 81–86. http://dx.doi.org/10.1016/0964-7775(94)90034-5.

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30

Littlefield, David. „Saatchi Gallery/ Duke of York Headquarters“. Architectural Design 78, Nr. 6 (November 2008): 114–17. http://dx.doi.org/10.1002/ad.785.

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31

Littlefield, David. „Herbert Art Gallery and Museum, Coventry“. Architectural Design 79, Nr. 2 (März 2009): 124–29. http://dx.doi.org/10.1002/ad.869.

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32

Tyack, Geoffrey. „'A Gallery Worthy of the British People': James Pennethorne's Designs for the National Gallery, 1845-1867“. Architectural History 33 (1990): 120. http://dx.doi.org/10.2307/1568552.

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33

Narkin, Elisabeth. „Architectural Network as Dynastic Strategy in Fontainebleau's Galerie des Cerfs“. Renaissance Quarterly 74, Nr. 2 (2021): 454–97. http://dx.doi.org/10.1017/rqx.2021.3.

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Around 1604, Henri IV commissioned a cycle of mural maps depicting royal residences in Fontainebleau's newly constructed Galerie des Cerfs. The gallery was part of Henri IV's response to the dynastic disruption and civil war that had precipitated his ascendance and was designed to signal his authority over France as a unified realm. This article examines the Galerie des Cerfs in the context of contemporary cartography and architecture as an expression of continuity at a moment when the royal family's retreat to the Paris region threatened the political efficacy of the architectural network that had previously sustained the monarchy.

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Pimenova, Elena V., Marina N. Grigoryan und Polina V. Ivanova. „The Use of Spatial Voids in the Formation of High-Rise Buildings Architecture“. Materials Science Forum 931 (September 2018): 443–50. http://dx.doi.org/10.4028/www.scientific.net/msf.931.443.

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One of the prior directions in the high-rise buildings formation was the use of spatial voids in their architectural solution. This article discusses the world experience in the design and construction of high-rise buildings, the formation of which is based on techniques connected with the use of spatial voids. On the design experience analysis basis is revealed through the classification of unique high-rise buildings architecture formation existing methods on the basis of application of spatial voids in their figurative decisions. The five main shape-forming schemes of high-rise buildings based on the use of spatial voids in their structure: gallery, bridge, arch, closed, combined (hybrid) are defined. The basic principles of high-rise buildings architecture formation with application of spatial apertures in their volume solutions are determined. The work's practical significance in the possible application of the obtained study results, both in project practice and for the further theoretical research is specified.

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Smyth, Cherry. „Dan Shipsides: Radical Architecture, Cherry Smyth, Castlefield Gallery, Manchester, October - November 2007“. Circa, Nr. 123 (2008): 74. http://dx.doi.org/10.2307/25564895.

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Cannon-Brookes, P. „Architecture: The sackler room and the restoration of historic art gallery interiors“. Museum Management and Curatorship 13, Nr. 4 (Dezember 1994): 427–30. http://dx.doi.org/10.1016/0964-7775(94)90097-3.

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Hendry, Holly. „Amputated Architectures“. Architectural Research Quarterly 18, Nr. 4 (Dezember 2014): 396–402. http://dx.doi.org/10.1017/s1359135515000135.

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Holly Hendry is a sculptor based in London. Graduating from the Slade School of Art, University College London in 2013, Hendry was the inaugural Woon Fellow at Northumbria University, a significant prize for young and emerging artists. Hendry held a twelve-month residency at Baltic 39 in Newcastleupon-Tyne, culminating in her first solo-show at Gallery North, Hollow Bodies. Her work is concerned with the spatial, material and structural qualities of architecture and how space is experienced in historical and contemporary contexts. Currently in the first year of a two-year sculpture MA programme at the Royal College of Art, London, Hendry sat down with reviews and insight editor Ed Wainwright to discuss the intersections of art and architecture, the architecture of hollowness and the cut, and how her sculpture interrogates architecture for its silent symbolism.

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TA!LAB. „Formafantasma: ‘Cambio’, at the Serpentine Sackler Gallery“. Architectural Research Quarterly 24, Nr. 2 (Juni 2020): 210–16. http://dx.doi.org/10.1017/s1359135520000196.

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Kieran, Stephen, und James Timberlake. „Yale Sculpture Building and Gallery - Kieran Timberlake“. Architectural Design 79, Nr. 2 (März 2009): 62–65. http://dx.doi.org/10.1002/ad.853.

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Ziyaeifar, Mansour, Hossein Meshki und Mohammed Ali Morovat. „Arg-e-Bam (Bam Citadel) and Its History“. Earthquake Spectra 21, Nr. 1_suppl (Dezember 2005): 13–28. http://dx.doi.org/10.1193/1.2101927.

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Arg-e-Bam (Bam Citadel) was a large urban complex of ancient earthen architecture in an arid environment. This complex was renowned for its majestic size and its peculiar impression on the visitors at first sight. The Arg-e-Bam was built on approximately 20 hectares of land over a period of 1,800 years; it was abandoned 180 years ago. The Arg was a gallery of different ancient architectural elements in its original urban concept of a city in the pre-medieval era. The whole area was constructed entirely of earthen material and was heavily damaged by the 2003 Bam earthquake. The level of destruction is about 70% on major parts of this huge monument.

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Willmert, Todd. „Heating Methods and Their Impact on Soane's Work: Lincoln's Inn Fields and Dulwich Picture Gallery“. Journal of the Society of Architectural Historians 52, Nr. 1 (01.03.1993): 26–58. http://dx.doi.org/10.2307/990756.

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During the years of Sir John Soane's practice, there were tremendous advancements in central heating methods. Stoves and fireplaces were no longer the primary means of heating spaces as hot air, steam, and hot water systems were introduced and gained currency. Soane designed expressive stoves, and fireplaces remained especially important to him because of their cultural associations, but he also readily recognized the possibilities of central systems and utilized them as they became available. The result is a compelling dialogue between his architecture and the diversity of available heating strategies. To understand fully Soane's manipulation of space or design intent in such major works as Lincoln's Inn Fields and Dulwich Picture Gallery, it is critical to understand his awareness of heating methods and his expertise in addressing the architectural opportunities they offered.

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García, Eusebio Alonso. „JAMES STIRLING Y EL PROYECTO DE LA TATE GALLERY EN ALBERT DOCK, LIVERPOOL, 1982–88 / JAMES STIRLING AND THE TATE GALLERY PROJECT IN ALBERT DOCK, LIVERPOOL, 1982–88“. Proyecto, Progreso, Arquitectura, Nr. 19 (2018): 134–49. http://dx.doi.org/10.12795/ppa.2018.i19.08.

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Jackson, Doug. „Wiki-tecture: The DRAPE Artist Residence and Gallery“. Journal of Architectural Education 63, Nr. 1 (Oktober 2009): 96–106. http://dx.doi.org/10.1111/j.1531-314x.2009.01034.x.

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Burganova, Maria, und Malsch Friedemann. „Interview with Director of the Liechtenstein National Gallery“. Scientific and analytical journal Burganov House. The space of culture 16, Nr. 1 (10.03.2020): 12–18. http://dx.doi.org/10.36340/2071-6818-2020-16-1-12-18.

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We are pleased to present an interview with Director of the Liechtenstein National Gallery Kunstmuseum Liechtenstein, Dr. Malsch Friedemann Dr. Friedmann Malsch, has been cooperating with Russia for more than 15 years in organizing and conducting exhibitions, preparing publications. He is actively engaged in educational and publishing activities. In 2018, with the support of the Liechtenstein Museum, a translation of the book dedicated to the Black Square painting by Kazimir Malevich was released. At the presentation, Friedman Malsch called this book a publication that turns the prevailing ideas about the icon of Suprematism. The architecture of the new building of the Liechtenstein State Museum in Vaduz, which opened in 2000, interprets in its own way the plastic idea of Suprematism, the idea of a black square. The creation of the Swiss architects Meinrad Morger, Heinrich Degelo and Christian Kerez with a very complex and extensive internal infrastructure from the outside is a combination of two laconic volumes: a white and black cube. Material for the construction is taken from the vicinity of the city. We thank Dr., Professor Alexander Lavrentiev for professional support and assistance in arranging the interview with Dr. Malsch Friedemann

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Coope, Rosalys. „The 'Long Gallery': Its Origins, Development, Use and Decoration“. Architectural History 29 (1986): 43. http://dx.doi.org/10.2307/1568501.

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Malaniuk, Viktoriia. „Modern Tendencies in Architecture on the Example of Pavilions of Serpentine Gallery in London“. Demiurge: Ideas, Technologies, Perspectives of Design 2, Nr. 1 (26.06.2019): 28–36. http://dx.doi.org/10.31866/2617-7951.2.1.2019.170354.

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Hunt, Andrew. „Focal Point Gallery: A New Institutional Model?“ Architecture and Culture 4, Nr. 1 (02.01.2016): 91–113. http://dx.doi.org/10.1080/20507828.2015.1089058.

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Bahri, Samsul, und Febby Khafilwara. „Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)“. International Journal of Architecture and Urbanism 2, Nr. 2 (20.08.2018): 115–21. http://dx.doi.org/10.32734/ijau.v2i2.395.

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Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture

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BROWN, CHRISTOPHER. „The Renaissance of Museums in Britain“. European Review 13, Nr. 4 (Oktober 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

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Herlina, Yenny, und Ira Mentayani. „GALERI SASIRANGAN DI BANJARBARU“. LANTING JOURNAL OF ARCHITECTURE 9, Nr. 2 (31.08.2020): 67–76. http://dx.doi.org/10.20527/lanting.v9i2.683.

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Sasirangan is a typical fabric of South Kalimantan that has a variety of types, motifs and techniques. Along with the development era Sasirangan experienced ups and downs of interest due to lack of public knowledge. Sasirangan Gallery is a form to promote sasirangan fabric, facilitating the process of buying and selling sasirangan fabric, providing knowledge to the public about the history, motifs and meaning of sasirangan fabric, and providing sasirangan wastewater treatment. Through the semiotic approach method with an interactive concept, users can understand the information provided by visual form and experience. This semiotic approach method is applied to emphasize the characteristics of Sasirangan motifs that are characteristic of Sasirangan fabrics. The Sasirangan Gallery design concept in Banjarbaru applies an interactive architecture in the building mass and space that refers to the material, texture and color in the space so that visitors can interact directly or indirectly.

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