Journal articles on the topic 'Architectural design – History'
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Chang, Wei. "Application of Tessellation in Architectural Geometry Design." E3S Web of Conferences 38 (2018): 03015. http://dx.doi.org/10.1051/e3sconf/20183803015.
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Tessellation plays a significant role in architectural geometry design, which is widely used both through history of architecture and in modern architectural design with the help of computer technology. Tessellation has been found since the birth of civilization. In terms of dimensions, there are two- dimensional tessellations and three-dimensional tessellations; in terms of symmetry, there are periodic tessellations and aperiodic tessellations. Besides, some special types of tessellations such as Voronoi Tessellation and Delaunay Triangles are also included. Both Geometry and Crystallography, the latter of which is the basic theory of three-dimensional tessellations, need to be studied. In history, tessellation was applied into skins or decorations in architecture. The development of Computer technology enables tessellation to be more powerful, as seen in surface control, surface display and structure design, etc. Therefore, research on the application of tessellation in architectural geometry design is of great necessity in architecture studies.
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Bazilevich, Evgeny M. "HISTORICAL ARCHITECTURAL HERITAGE AND HISTORY PRESERVED IN STUDENT DRAWINGS." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 24. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-24.
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The articles presents the experiences of the fine art teaching staff at the Institute of Architecture and Design, the Pacific State University, in the study of historical architectural environment and history based on an archive of preserved student drawings. The author considers this approach as one of the possible ways of organizing research work in the university in the areas of "Architecture" and "Design of Architectural Environment".
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Asak, Ilayda. "A study on graduate level education in architecture: Case of Turkey." Global Journal of Arts Education 6, no. 3 (May 31, 2017): 89–100. http://dx.doi.org/10.18844/gjae.v6i3.1702.
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Today, there are 41 universities offering graduate education programs in architecture. Those programs cover a number of different topics including architectural conservation and restoration, architectural restoration, architectural design, informatics in architectural design, architectural planning and design, architecture history, architectural history and theory, architecture and built environment, digital design in architecture and production. The council of higher education presents that 2978 master theses submitted and approved by Council of higher education. In this study, the master theses submitted to the graduate programs have been investigated. Matrix has been developed regarding o the sex, language, topics, universities. The types of graduate school are natural science and social science. The results of the study show that the number of female students is higher than the male students. The number of theses in Turkish is increasing. The increasing number of theses investigating build technology builds physics and building and construction and computational design is of importance. It is possible to determine that the current and popular topics of Turkish graduate programs in Architecture are in parallel with the prevailing agenda of World architecture.
Key Words: theses in architecture, graduate level education, architectural education.
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Baweja, Vandana. "Sustainability and the Architectural History." Enquiry A Journal for Architectural Research 11, no. 1 (December 2, 2014): 12. http://dx.doi.org/10.17831/enq:arcc.v11i1.207.
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In this paper, I will address the challenges of incorporating the discourse of Sustainability into the architectural history curriculum and how Sustainability in the survey can be related to the Sustainability education the design studio. I argue that the inclusion of Sustainability into the architectural survey will necessitate the production of revisionist architectural histories that are written through an environmental paradigm and are able to establish a dialogue with Sustainability education in the design studio. These revisionist histories will occupy the disciplinary territory that is produced at the intersection of architectural and environmental histories
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Yahya, Hafedh Abed, and Muna Hanim Abdul Samad. "The Role of Building Materials in Architectural Design." Applied Mechanics and Materials 679 (October 2014): 6–13. http://dx.doi.org/10.4028/www.scientific.net/amm.679.6.
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The argumentation of previous studies demonstrated the historical evolution of the materials in architecture and the position of the materials in the design process. The purpose is to recognize the role of materials in architectural design, and the materials are a core element of the design process. This paper is about the way materials can be used to create personality and character of the design. The research finds two overlapping roles for materials which are providing technical functionality and building personality. Thus building materials were one of the major factors for new innovation forms through the history of architecture. Keywords: Building Materials, Architectural Design, Technical Functionality, Aesthetic Attributes.
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Okubo, Takeyuki. "Architectural Design of Incineration Plants. History and Perspective." Waste Management Research 10, no. 3 (1999): 215–27. http://dx.doi.org/10.3985/wmr.10.215.
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Lee, I. S. "Architectural Design Propaedeutics in Russia: History and Prospects." IOP Conference Series: Materials Science and Engineering 262 (November 2017): 012124. http://dx.doi.org/10.1088/1757-899x/262/1/012124.
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Li, Wei. "A Research on Undergraduate Architecture Teaching Approach Based on Integration of Architectural Design and Architectural History Teaching." Creative Education 09, no. 12 (2018): 1843–53. http://dx.doi.org/10.4236/ce.2018.912135.
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Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 448–69. http://dx.doi.org/10.2307/3592497.
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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.
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Gamayunova, Olga, and Nikolay Vatin. "BIM-Technology in Architectural Design." Advanced Materials Research 1065-1069 (December 2014): 2611–14. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2611.
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The past period of history, when engineers create design documents standing at drawing board and armed with a pencil, going farther and farther away from us. Less and less used programs allow you to create only 2D-models. In the leading design companies it's time to BIM - the era of parametric modeling. The article provides a definition of BIM, considered the advantages and disadvantages of BIM, identified the main categories of BIM-technology users.
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Broner-Bauer, Kaisa. "Architectural visions." Approaching Religion 11, no. 1 (March 20, 2021): 77–97. http://dx.doi.org/10.30664/ar.98060.
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In this article I examine the architecture and architectural thinking of Finnish Academician Reima Pietilä (1923–93) in relation to his design methodology. Pietilä was an architect with an original, creative, artistic personality, who set out early in his career to develop the form language, and theory of modern architecture, moving it towards an organic expressionism. Finnish nature mysticism was a source of inspiration for him, and ‘nature architecture’ one of his key concepts.
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Nash, Joshua. "Architectural Pilgrimage." Transfers 5, no. 2 (June 1, 2015): 121–28. http://dx.doi.org/10.3167/trans.2015.050208.
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Architectural pilgrimage is implicitly appreciated in architecture and design circles, especially by students who are encouraged to “travel to architecture,” with the focus on the Grand Tour as a means of architectural exploration. However, the expression has not been made explicit in the fields of architectural history, pilgrimage studies, tourism research, and mobility studies. I explore how pilgrimage to locations of modern architectural interest affects and informs pilgrims' and architects' conceptions of buildings and the pilgrimage journey itself. Drawing initially on a European architectural pilgrimage, the personal narrative highlights the importance of self-reflection and introspection when observing the built environment and the role of language in mediating processes of movement through and creation of architectural place-space.
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Manic, Bozidar, Dragana Vasiljevic-Tomic, and Ana Nikovic. "Contemporary Serbian Orthodox church architecture: Architectural competitions since 1990." Spatium, no. 35 (2016): 10–21. http://dx.doi.org/10.2298/spat1635010m.
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This paper focuses on the architectural competitions for Orthodox Christian churches in Serbia since 1990, both on the analysis of the designs submitted and the competition requirements. The first competition for an Orthodox church in Serbia after World War II was announced for Pristina in 1991. After that, competitions for the temple in Cukarica, Novi Beograd, Nis, Aleksinac and Krusevac were conducted. Thanks to the fact that architectural competitions allow a greater degree of creative freedom to the architects than regular practice, various solutions were offered, from replicas of models from architectural history and tradition to fully non-traditional proposals. Depending on the relationship to tradition, architectural design approaches can be classified into three main groups: radically modernizing, conservatively traditionalist, and compromising. Of the six competitions conducted, four churches were built, which are among the most architecturally successful newer churches in Serbia. This points to the importance of the implementation of the architectural competition in this field of architecture. The diversity of the award-winning projects shows that there is awareness of the possibility for the further development of church architecture, favouring a moderate approach.
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Zhao, Jie. "Art of Light and Shadow Reflected in Architecture." Applied Mechanics and Materials 357-360 (August 2013): 100–103. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.100.
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Architecture is a kind of art and the substance of architecture lies in space. Based on the change of light and shadow the plane and elevation scheme of the school history Museum was designed in detail. When the space of building is no longer drawn conclusion with the traditional entity enclosing, light gives architectural space new vitality, and creates a variety of architectural space artistic conception. The different architectural mood which is brought about by the change of light and shadow is analyzed and compared. The result shows the art of light and shadow should be embodied constantly during the design. These can provide valuable references for initial architectural scheme design.
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Muxí, Zaida, and Daniela Arias Laurino. "Filling History, Consolidating the Origins. The First Female Architects of the Barcelona School of Architecture (1964–1975)." Arts 9, no. 1 (February 25, 2020): 29. http://dx.doi.org/10.3390/arts9010029.
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After Francisco Franco’s death, the process of democratisation of public institutions was a key factor in the evolution of the architectural profession in Spain. The approval of the creation of neighbourhood associations, the first municipal governments, and the modernisation of Spanish universities are some examples of this. Moreover, feminist and environmental activism from some parts of Spanish society was relevant for socio-political change that affected women in particular. The last decade of Franco’s Regime coincided with the first generation of women that graduated from the Barcelona School of Architecture (ETSAB). From 1964 to 1975, 73 female students graduated as architects—the first one was Margarita Brender Rubira (1919–2000) who validated her degree obtained in Romania in 1962. Some of these women became pioneers in different fields of the architectural profession, such as Roser Amador in architectural design, Alrun Jimeno in building technologies, Anna Bofill in urban design and planning, Rosa Barba in landscape architecture or Pascuala Campos in architectural design, and teaching with gender perspective. This article presents the contributions of these women to the architecture profession in relation to these socio-political advances. It also seeks—through the life stories, personal experiences, and personal visions on professional practice—to highlight those ‘other stories’ that have been left out of the hegemonic historiography of Spanish architecture.
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Jadrešin-Milić, Renata, and Catherine Mitchell. "The death of aesthetics in architectural education? Possibilities for contemporary pedagogy." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 553–70. http://dx.doi.org/10.5937/saj1903553j.
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The importance of aesthetics within architecture has a long history. Although evidence suggests that the term was not brought into architectural writing until 17351 , the place of aesthetics can be identified across architectural theory and philosophy since the time of Vitruvius. Developing an aesthetic sensibility was seen as crucial for an architect and the study of architecture was understood through the three Vitruvian lenses (utlitas, firmitas, venustas) one of which, venustas, is directly associated with aesthetics. This paper responds to the current and ongoing discussions between architects, architectural educators and architectural students on the role of aesthetics in architectural education and professional practice today. It was initially inspired by questions raised at the 2017 and 2018 annual conferences of the Society of Architectural Historians (SAH 2017 and 2018) about the role of architectural history in architectural design and practice today, and in line with this, questions about place of aesthetics in architectural education. This paper considers the place of aesthetics in architectural education and provides a detailed overview of the key pedagogical interventions undertaken in one architectural studies programme which might serve as a guide for educators interested in maintaining the place of aesthetics in contemporary architectural education. It suggests that aesthetics can continue to play a key role in the architectural curriculum whilst a focus on design problem-solving and achieving the contemporary educational requirements of accreditation is maintained.
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Tang, Xi Ya. "Architectural Historical Context Continuation and Modern Architecture Self-Realization." Advanced Materials Research 368-373 (October 2011): 3284–87. http://dx.doi.org/10.4028/www.scientific.net/amr.368-373.3284.
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This paper use the design of Suzhou Museum as a example,study the cultural value of modern architecture "suzhou museum" and discuss several design strategies of continuing historical context from the aspects of history, culture and environment. Meanwhile, From the angle of architecture, we discuss how to inherit Chinese architectural context and realize self-innovation of Chinese modern architecture under the background of internationalization.
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Varga, Tibor, and Pavol Pauliny. "Timber - Traditional Material History or Vision in Architectural Design." Advanced Materials Research 899 (February 2014): 460–65. http://dx.doi.org/10.4028/www.scientific.net/amr.899.460.
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Wood belongs among one of the oldest building materials in Slovakia. Historically, it has been used mainly in traditional folk architecture, however in many forms; as a structural and expressive material, it is an inherent part of representative historical architecture. Considerable decline in the use of wood as structural material started in the 2nd half of the 20th century, when building construction industry turned to more progressive materials such as concrete, steel, aluminium, plastics and glass.
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Kelly, Jessica, and Claire Jamieson. "Practice, Discourse and Experience: The Relationship Between Design History and Architectural History." Journal of Design History 33, no. 1 (December 30, 2019): 1–15. http://dx.doi.org/10.1093/jdh/epz045.
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Abstract This Special Issue explores the relationship between architectural history and design history; two disciplines with close subject areas and methodological links, but which have developed distinct institutional and academic identities that often separate them. This introduction frames the articles contained in the issue—which in different ways demonstrate the compelling nature of research that straddles these disciplines—through an examination of the roots such research approaches have within the recent past of each field. Through a re-reading of key moments within the historiography of each discipline in the UK and USA since the Second World War, it is possible to understand how architectural and design history have evolved in relation to each other, and how the expansion of each into the territory of the other has emerged.
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Klochko, Asmik, and Iuliya Yaseneckaya. "Modern trends in architectural design of hospices." Stroitel stvo nauka i obrazovanie [Construction Science and Education], no. 2 (June 30, 2020): 2. http://dx.doi.org/10.22227/2305-5502.2020.2.2.
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Introduction. This article reviews the brief history of palliative care spreading, it also studies specific characteristics of palliative care centers architecture. It also gives attention to the current condition of hospices in our country, and to the problems and opportunities that these hospices face. Materials and methods. Studies consider, firstly, methods of comparative analysis and synthesis of foreign and domestic scientific, literary and design materials; secondly, use of opinion poll findings; thirdly, use of interdisciplinary approach, which takes into account issues in the fields in medicine, sociology, legal regulations, that affect a set of requirements for hospice and palliative care centers design. Results. of the survey are presented as recommendations for the design of hospice territory, their landscaping, architectural planning and architectural-artistic characteristics of hospice design. These results can be used in architectural practice of hospice and palliative care centers design, as well as in the teaching and learning process as guidelines for hospice and palliative care centers design. Conclusions. Basic recommendations for hospice design are introduced. Problem analysis in the context of architectural planning and city planning organization of hospices will help to improve the structure of such architectural objects, and investigate their typology for future evolution. Public involvement in palliative care evolution, and in particular from the point of view of their architectural and spatial design, places an emphasis not only on currently dominating entertainment culture, but also on human duty and dignity.
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Davidson, James. "A Proposal for the Future of Vernacular Architecture Studies." Open House International 38, no. 2 (June 1, 2013): 57–65. http://dx.doi.org/10.1108/ohi-02-2013-b0006.
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Given the broad scale and fundamental transformations occurring to both the natural environment and human condition in the present era, what does the future hold for vernacular architecture studies? In a world where Capital A (sometimes referred to as ‘polite’) architectural icons dominate our skylines and set the agenda for our educational institutions, is the study of vernacular architecture still relevant? What role could it possibly have in understanding and subsequently impacting on architectural education, theory and practice, and in turn, professional built environment design? Imagine for a minute, a world where there is no divide between the vernacular and the ‘polite’, where all built environments, past and present are open to formal research agendas whereby the inherent knowledge in their built histories inform the professional design paradigm of the day – in all built settings, be they formal or informal, Western or non-Western. In this paper, the author is concerned with keeping the flames of intellectual discontent burning in proposing a transformation and reversal of the fortunes of VAS within mainstream architectural history and theory. In a world where a social networking website can ignite a revolution, one can already see the depth of global transformations on the doorstep. No longer is there any excuse to continue intellectualizing global futures solely within a Western (Euro-American) framework. In looking at the history of VAS, the purpose of this paper is to illustrate that the answers for its future pathways lie in an understanding of the intellectual history underpinning its origins. As such, the paper contends that the epistemological divide established in the 1920s by art historians, whereby the exclusion of so-called non-architect architectures from the mainstream canon of architectural history has resulted in an entire architectural corpus being ignored in formal educational institutions and architectural societies today. Due to this exclusion, the majority of mainstream architectural thinkers have resisted theorizing on the vernacular. In the post-colonial era of globalization the world has changed, and along with it, so have many of the original paradigms underpinning the epistemologies setting vernacular environments apart. In exploring this subject, the paper firstly positions this dichotomy within the spectrum of Euro-American architectural history and theory discourse; secondly, draws together the work of scholars who have at some point in the past called for the obsolescence of the term ‘vernacular’ and the erasure of categorical distinctions that impact on the formal study of what are perceived as non-architectural environments; and finally, sets out the form by which curricula for studies of world architecture could take.
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Akcan, Esra. "Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi." ARTMargins 4, no. 1 (February 2015): 79–101. http://dx.doi.org/10.1162/artm_r_00105.
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This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.
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Dragisic, Maja, and Andjelka Bnin-Bninski. "The application models of the topological principle of continuous deformation in the architectural design process." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 453–64. http://dx.doi.org/10.2298/fuace161115035d.
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Architecture and geometry share a mutual history, and their relationship precedes the introduction of digital and computer technologies in architectural theory and design. Geometry has always been directly related to the modalities of thinking in architecture through the problems of conceptualisation, representation, building, technology. Through the historical overview of these two disciplines, it is possible to perceive direct influences of geometry on the architectural creative concepts, formal characteristics of architectural works, structural aspects, and building methods in architecture. However, the focus of this paper is not on the representation of historical intertwining of these two disciplines, which is indisputable, it is on the attempt to represent one specific bond between topology and architecture, firstly through the explanation of the principle of continuous deformability, and secondly through the representation of the models through which the principle occurs in the architectural design process, as well. The first part of this work will introduce and analyse the transition of concepts of continuity and deformability, from mathematical topology through philosophy to architecture, while the second part of the work will explain two models in detail, formal and systematic, through which the principle of continuous deformation is applied in certain architectural design practices. Overall, this work deals with the interpretation of the principle of continuous deformation in architecture and it shows in which way the architectural discourse changes the meaning of a mathematical-philosophical notion and turns it into a design methodology of its own. The subtlety of the question Bernard Tschumi asks about space illustrates the need to thoroughly investigate interdisciplinary relation between architecture, philosophy, and mathematics: ?Is topology a mental construction toward a theory of space?? (Tschumi, 2004, p.49)
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Lai, Delin. "Idealizing a Chinese Style." Journal of the Society of Architectural Historians 73, no. 1 (March 1, 2014): 61–90. http://dx.doi.org/10.1525/jsah.2014.73.1.61.
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The National Central Museum in Nanjing (1935–48) was co-designed by the most distinguished architectural historian in twentieth-century China—Liang Sicheng. It has long been regarded, however, as a representative work of “conservative revivalism” in modern Chinese architectural history. Idealizing a Chinese Style: Rethinking Early Writings on Chinese Architecture and the Design of the National Central Museum in Nanjing attempts to demonstrate the creativity of the design process, Lin Huiyin, and the architects’ ideal for a Chinese-style modern architecture. This ideal, Delin Lai argues, is profoundly rooted in the expectation of Chinese intellectuals for a “Chinese renaissance,” for which the Chinese architectural past was studied, evaluated, and more importantly, redefined through a dialogue with the contemporary architectural discourses and historiography formed in the West. The National Central Museum epitomizes this search for an ideal.
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Zhang, Dong Xu, Da Ping Liu, Xin Ru Wei, and Meng Xiao. "Research of Chinese Buddhist Temples Space Design." Advanced Materials Research 311-313 (August 2011): 1569–72. http://dx.doi.org/10.4028/www.scientific.net/amr.311-313.1569.
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The number of the religious architecture makes up 70 percent of the total of existing traditional buildings in China, in which the largest proportion is the Chinese Buddhist architecture, this paper has been studied in this kind of building. Firstly, the religious background and development history of the Chinese Buddhist architecture is introduced, and this paper puts forward that this architectural form was affected by the ancient folk houses. Compared to Buddhist architecture in other countries, they are majestic in shape and beautiful elaborate in decoration, the whole form and nature landscape melt into one another. Secondly, religious spaces are analyzed, including the location of Buddhist temple, the overall layout and the single building. Most temples were built on the hill, and the Buddhist hall is the center of architectural complex. Single building is very similar, and its position is attached to its status in spatial sequence. Thirdly, the design concept of Buddhist architecture was discovered. It was pointed out that Chinese traditional philosophy, i.e. the view of the nature, determines the space composition inside and outside of Chinese Buddhist architecture. At last, the paper summed up the design of Buddhist architecture and gave a prospect about the way of its future development.
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Xiao-li, Fu, and Dai Zhi-yong. "Study on the Connotation of Holistic Design Associated with De Stiji Architecture and Furniture." E3S Web of Conferences 136 (2019): 01032. http://dx.doi.org/10.1051/e3sconf/201913601032.
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The modern furniture has been closely linked to architecture since its inception. There is an intrinsic correlation between furniture and architecture in Schröder House, which is designed by Gerrit Rietveld who is one of the masters of De Stiji architecture. The architectural space is constructed based on the design vocabulary of ‘architectural furniture’. On the contrary, the furniture design presents the characteristics of "furniture building”. The article tries to assay the history between Schröder House and De Stiji, the characteristics of the epoch, and combined with Gerrit Rietveld’s design thought and related works, it analyzes the integration between furniture and architecture from the angles of structural system based on scaffolding, spatial ratio based on golden segmentation, colour system based on t primary colours in Schröder House.
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Cui, Zhang. "Research on Planning and Design of Urban Architectural Color in Changchun." E3S Web of Conferences 165 (2020): 04029. http://dx.doi.org/10.1051/e3sconf/202016504029.
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Architecture is the soul of city color. The planning focus of city color is city architecture, especially the planning control of the main wall color of street buildings. The design of architectural color should not only consider the surrounding environment of the building, the content of the building and the building materials, but also proceed from the aesthetic needs and conform to the principle of color engineering. On this basis, the plan proposes color design guidelines and relies on scientific and standardized “urban building color design guidelines” to achieve the purpose of maintaining the original appearance of history and creating a new era style. Besides the traditional buildings, the other “architectural color guidelines” should leave more room for manoeuvre and not restrict the creative thinking of architects.
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Kurath, Monika. "Architecture as a Science: Boundary Work and the Demarcation of Design Knowledge from Research." Science & Technology Studies 28, no. 3 (January 1, 2015): 81–100. http://dx.doi.org/10.23987/sts.55343.
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Recent STS literature has described a trend of academisation in higher education and universities in which administrative bodies and formalised practices like evaluations have gained increased influence. This article discusses the impact of such trends on the discipline of architecture, focusing on the strains and boundaries that architectural faculties face in their research and teaching practice. Specifically, the development of design knowledge from individual and multiple theoretical and methodological approaches, the tight connection with tacit knowledge forms, as well as the use of non-formalised tenure and peer-review indicate on-going processes of boundary work (Gieryn, 1983), where external disciplines evaluate architectural knowledge production and demarcate it from their own research approaches. Due to the increased meaning of evaluations, such boundary work plays an increasing role in framing the form and content of design research. In this respect, architectural research becomes a matter of negotiation that not only involves architecture, but also traditional research disciplines as well as the added restrictions of interdisciplinary and administrative bodies.
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Зарекор, Кимберли, Владимир Кулич, and Николай Андреевич Ерофеев. "The President of our Country is a Real Estate Developer." Городские исследования и практики 3, no. 4 (July 3, 2020): 12–17. http://dx.doi.org/10.17323/usp34201812-17.
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Professors of Iowa State University and specialists in Socialist architecture and urban development, Kimberly Zarecor and Vladimir Kulić spoke in their interview about their approach to research and teach socialist architecture. They see the aim of their research in reintegrating the history of Eastern European and Soviet architecture into the general history of architecture. The main contribution of Soviet architects, they argue, was on developing typologies of public architecture, in contrast to the canonical Western architectural history, which celebrates private buildings. Soviet architects developed an entire culture of original, functional and economic public design. They see their course ‘The Architectures of Global Socialism,’ taught at Iowa State University, not only as an opportunity to learn from social legacies but also to start a broader discussion about socialism today.
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KARAKOVA, T. V., and Yu O. SIDOROVA. "PUNCHING IN OBJECTS OF DESIGN OF ENVIRONMENT." Urban construction and architecture 1, no. 4 (December 15, 2011): 11–15. http://dx.doi.org/10.17673/vestnik.2011.04.2.
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The history and punching evolution in architecture, design and in objects of the city environment is studied. Kinds of punching and area of its application, popularity of use of the punched sheet in modern architecture, punching and light interaction, both artificial, and natural, structure of punching and the newest technologies in the field of the punched sheet are considered. The theme of punching of surfaces is brightly presented in works of modern architects and designers, such as to architectural bureau Jakob + Macfarlane, BHSF ArchitectsClaus en Kaan Architecten, Steven Holl, Manuelle Gautrand and others.
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Madanović, Milica. "Passion for past and functional imperative: Belgrade interwar residential architecture by Aleksandar Deroko." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 43–70. http://dx.doi.org/10.5937/saj1901043m.
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The name and the achievements of Aleksandar Deroko shine brightly in the constellation of Serbian architectural history. Deroko actively contributed to the Serbian twentieth-century architecture as a distinguished professor at the University of Belgrade, a prolific author, esteemed scholar, designer, and a highly driven heritage enthusiast. However, though recognised by his contemporaries and successors alike, Deroko's design activity has not yet been thoroughly examined. Exploring residential buildings designed for Deroko's Belgrade clientele, this paper widens the knowledge of his architectural production. Deroko's well-known passion for architectural history and extensive research of the Serbian vernacular buildings serve as a starting point for the study of his residential structures in Belgrade. Was Deroko's design process influenced by his deep appreciation for architectural past, and by the results of his findings? Or has he only adopted the formal characteristics of historic styles and vernacular architecture in his work? If so, to what extent? Discussing five structures built in the interwar period - house of Colonel Elezović, the Rakić villa, the Simić villa, the Marinković villa, the Stakić villa and the architect's personal villa - the paper traces transformation of Deroko's architectural inspiration, from typical academic historicist eclecticism to vernacular construction.
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Gan, Chun, and Xue Song Luo. "Application of Earthquake Resistance Analysis Technique in the Design of Constructional Engineering." Advanced Materials Research 756-759 (September 2013): 4482–86. http://dx.doi.org/10.4028/www.scientific.net/amr.756-759.4482.
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In recent years, frequent earthquakes have caused great casualties and economic losses in China. And in the earthquake, damage of buildings and the collapse is the main reason causing casualties. Therefore, in the design of constructional engineering, a seismicity of architectural structure is the pressing task at issue. Through time history analysis method, this paper analyzes the time history of building structural response and then it predicts the peak response of mode by response spectrum analysis. Based on this, this paper constructs a numerical simulation model for the architecture by using finite element analysis software SATWE. At the same time, this paper also calculates the structure seismic so as to determine the design of each function structure in architectural engineering design and then provides reference for the realization of earthquake-resistant building.
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Hutterer, Maile. "Architectural Design as an Expression of Religious Tolerance:." Journal of the Society of Architectural Historians 76, no. 3 (September 1, 2017): 281–301. http://dx.doi.org/10.1525/jsah.2017.76.3.281.
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The inventive hybridity of early modern ecclesiastical architecture in France mixes the traditional and local forms derived from the medieval past with neoclassical ones imported from Italy and ultimately derived from antiquity. Although this combination of seemingly disparate styles generally characterizes sixteenth-century French churches, the flying buttresses of the Church of Sainte-Madeleine in Montargis remain exceptional in their classicizing reimagination of a conventional architectural typology. In Architectural Design as an Expression of Religious Tolerance: The Case of Sainte-Madeleine in Montargis, Maile Hutterer suggests that the unusual form of the Montargis buttresses derives from the political and religious circumstances of their creation. Calvinist Jacques Androuet du Cerceau I is the most likely designer of the Montargis buttresses, and they were constructed while Montargis was part of the holdings of Protestant sympathizer Renée de France. The designer's careful balancing of orthodoxy and heterodoxy paralleled Renée's carefully constructed position between Catholicism and Calvinism.
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Zloković, Đorđe. "Milan Zloković: Observations from proximity." SAJ - Serbian Architectural Journal 2, no. 1 (2010): 1–6. http://dx.doi.org/10.5937/saj1001001z.
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Serbian architect and professor Milan Zloković developed his procedure of proportioning and modular coordination which he expounded in his papers and demonstrated its results in his significant architectural designs. As his son and witness of events in the life history of Milan Zloković, the Author of this paper, architect and civil engineer, presents his personal observations that may contribute to the understanding of his father's inventive and creative approach to architecture. They refer to his work in architectural design, modular coordination and theory of proportions embedded in his creative and educative activity.
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Dainese, Elisa. "Histories of Exchange." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 443–63. http://dx.doi.org/10.1525/jsah.2015.74.4.443.
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During World War II, interest in indigenous South African architecture deepened, leading to studies that challenged modernism and influenced architectural design. Histories of Exchange: Indigenous South Africa in the South African Architectural Record and the Architectural Review remaps the tension between modern and indigenous cultures during the 1940s and 1950s, examining the diaspora of ideas between South Africa and Britain and revealing a new genealogy of postwar architecture. Elisa Dainese addresses indigenous South African architecture as it was seen in the postwar years from the perspectives of two architectural magazines. In doing so, she provides a new theoretical framework that probes the role of architectural journals, considering them as alternative spaces where contact took place among European and African cultures.
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Kelleher, Michael. "Bulgaria's Communist-Era Landscape." Public Historian 31, no. 3 (2009): 39–72. http://dx.doi.org/10.1525/tph.2009.31.3.39.
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Abstract This essay discusses the various architectural and design elements that helped define the communist-era landscape of Bulgaria. The conclusions presented here are based on observations made by the author while living in Bulgaria and research into the literature on communist architecture and design in the East Bloc. Bulgaria was the member of the East Bloc that most closely followed the architectural and design model established by the Soviet Union and exported to its satellite states following the Second World War. This didactic model was intended to present a certain image of communism and its achievements. Despite physical changes that came with the end of communism in Bulgaria, the country has retained a significant communist-era landscape. Bulgaria, therefore, presents an opportunity to examine many of the architectural and design elements typical of the East Bloc, both how the communists intended them to be interpreted and how these buildings and monuments made the transition to the postcommunist era.
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Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (September 14, 2020): 97–108. http://dx.doi.org/10.3846/jau.2020.13053.
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The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.
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Lovra, Éva. "Perceptions. The Unbuilt Synagogue in Buda through Controversial Architectural Tenders (1912–1914)." Arts 8, no. 4 (November 8, 2019): 149. http://dx.doi.org/10.3390/arts8040149.
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The unbuilt synagogue in Buda is an almost forgotten chapter in Hungarian architectural history which drew great attention between 1911 and 1914. It was discussed extensively by the contemporary press in the early 20th century and by architects in the Hungarian capital of Austria–Hungary. Between 1912 and 1914 three tenders for the design of the synagogue of Buda were announced, with the participation of well-known (synagogue) architects of Hungary, who represented the diverse architectural styles of the period. The efforts to build the synagogue, including the three failed tenders, the 30 competition designs and the opinions of contemporaries raised, and continue to raise, many provocative questions. The present study is based on the analysis of the designs submitted and criticisms published in official architecture magazines between 1912 and 1914, but not yet studied and published elsewhere. Through these, the study showcases the controversial architectural decisions that could have changed the appearance of a neighbourhood but failed to do so. The study puts the townscape of Széll Kálmán Square in Buda in a new context, revealing another layer of architecture, urban design and architectural-sociology and perception of the capital’s synagogue on the eve of World War I and the dissolution of the Austro-Hungarian Empire.
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van Impe, Ellen. "The Rise of Architectural History in Belgium 1830–1914." Architectural History 51 (2008): 161–83. http://dx.doi.org/10.1017/s0066622x00003063.
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On the map of nineteenth-century architectural historiographies in Western Europe, Belgium has so far remained a blind spot. While the country’s architectural history of the nineteenth century has already received some (if selective) international attention, with a somewhat disproportionate focus on the Art Nouveau, the historiography arising alongside of it has largely remained outside the picture. Meanwhile, considerations as to Belgium’s particular situation, which presumably influenced its architecture, equally apply to its historiography; for instance its design as a crossroads of influences, as demonstrated in research into the Belgian Catholic Gothic Revival and into nineteenth-century (architectural) history in general, among cases one could cite. While interesting because of its own particularities, Belgium also represents a type of ‘smaller European country’ created in the nineteenth century, whose architectural history has been characterized as ‘often fascinating precisely in the extent to which [these countries] present attempts to resolve the inherent contradictions between the major interpretive models and prescriptions of the English Pugin-Ruskin tradition, French Rationalism, and the more archaeological approach of the Cologne school’. The relatively limited corpus of Belgian architectural historiography — at least when compared with the historiographies of the United Kingdom, France or Germany — is an additional advantage, since it makes the field of study more easily definable and thus allows for more detailed study.
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Pilsitz, Martin. "Drawing and Drafting in Architecture Architectural History as a Part of Future Studies." Periodica Polytechnica Architecture 48, no. 1 (August 10, 2017): 72–78. http://dx.doi.org/10.3311/ppar.11310.
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Architectural historians take an academic interest in past architectural styles and techniques. The actual value of the exploration of the past is to design, from the knowledge gained, a possible image of the future. Consequently, architectural history becomes a part of the futurology. In this context, the first questions are in regard to the fundamental skills of architects. How does work drafting in the architecture? What future presentation methods could be applied? The following article takes a critical look at factors that may influence solutions in the field of drafting in the future, such as the inclusion of the public in the dialogue of the drafting process. This could lead to a discussion about the current didactic for the teaching of drafting and architectural history at universities. Architectural history currently creates a rigid corset for the concepts of styles and for different time frameworks. Is this approach still up-to-date at all? Because of the current teaching method, the vocabulary predominantly originates from the history of art. Accordingly, large numbers of lexical facts are taught and requested, but are there other options available? Against the background of current developments, the question arises: whether architects and architectural historians should not become emancipated and develop, for subject-related issues, their own linguistic forms of expression? If this approach were to be taken into consideration, the knowledge gained and the practical benefits from these studies would be a multiple for the everyday work of prospective architects. As a result, the future of architecture would obtain its own past.
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Vellinga, Marcel. "“How Other Peoples Dwell and Build”." Journal of the Society of Architectural Historians 78, no. 4 (December 1, 2019): 409–21. http://dx.doi.org/10.1525/jsah.2019.78.4.409.
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In 1953, architect, planner, and historian Erwin Anton Gutkind published a series of articles collectively titled “How Other Peoples Dwell and Build” in Architectural Design. At a glance, the series seems an anomaly in Gutkind's extensive oeuvre, and it remains little known in the field of vernacular architecture. In “How Other Peoples Dwell and Build”: Erwin Anton Gutkind and the Architecture of the Other, Marcel Vellinga aims to place the series within the broader context of Gutkind's writings. Running through Gutkind's work—and underlined in Vellinga's article—is the thesis that the historical development of human settlements mirrors the degenerating relationships between individuals and their communities, and between human beings and the natural environment. Thus, the Architectural Design series is an integral part of Gutkind's writings on the history of urban development. The series is one of the first architectural publications to focus on vernacular traditions from an international perspective and to emphasize the importance of studying vernacular architecture in its larger cultural and environmental contexts.
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Ding, Guanghui, Jonathan Hale, and Steve Parnell. "Constructing a place for critical practice in China: the history and outlook of the journal Time + Architecture." Architectural Research Quarterly 17, no. 3-4 (December 2013): 237–52. http://dx.doi.org/10.1017/s1359135514000062.
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This paper investigates the history and programme of the Chinese architectural journal Time + Architecture (Shidai Jianzhu). As one of the newly established architectural periodicals in post-Mao China, the journal was launched in 1984 by academics Luo Xiaowei, Wang Shaozhou and their colleagues at the Department of Architecture in Tongji University, Shanghai. The journal's close association with academic institutions and commercial design firms shaped its dual nature; that is, both scholarly and professional. At the turn of the millennium, the journal's substantial reform of editorial policy redefined its character from a ‘presenter’ of received materials to a ‘producer’ of selected collaborative work, and enabled it to maintain editorial distinctiveness in the Chinese architectural publishing scene.This paper argues that Time + Architecture constructed a significant place for critical practice in contemporary China through the presentation of critical architecture and architectural criticism. Over the past few decades, the journal, under the editorship of Zhi Wenjun, published a number of special issues on the work of emerging independent architects such as Yung Ho Chang, Wang Shu, Liu Jiakun and others. The thematic topics, projects and criticisms presented by the journal exemplified an editorial agenda to publish innovative and exploratory work and demonstrated the editors' and contributors' collective endeavours to develop a critical discourse that confronted the dominant ideology of architecture.
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Vallerand, Olivier. "Messing up the Domestic: Queer Bodies Expanding Architectures." Somatechnics 10, no. 3 (December 2020): 397–415. http://dx.doi.org/10.3366/soma.2020.0329.
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Queer space discourse in architecture has often been about reclaiming sexualized spaces or spaces used by LGBT people as being part of architectural history. However, critical practitioners have sought to expand from an understanding based on an essentialist understanding of queer bodies to link instead the experience of built environments to the repression of non-normative/non-compliant bodies. This article discusses projects by J. Mayer H., Andrés Jaque/Office for Political Innovation (OFFPOLINN), and MYCKET that build on a queer understanding of architecture and design to explore relationships between bodies, the materiality of domestic spaces, and communal identities, challenging binary understandings of architectural design spaces and linking them to the configuration of citizenship. J. Mayer H.’s work on data-protection patterns and thermo-sensitive materials uses bodies as material in developing a discourse on privacy stemming in part from queer people's experience of oppressing policies. OFFPOLINN's projects on IKEA and on gay cruising digital environments question the role of architects by underlining the close integration of advertisement, online social networks, and urban and architectural policies in relation to the experience of citizenship and migration. Finally, MYCKET's queer feminist performative architectures attempts to reframe the neutrality of the architectural modernist tradition to celebrate the messiness that comes with thinking of space as designed for a diversity of people. The three practices expand architectural discussions of domesticity beyond an understanding of the house as a container for family life and towards seeing it as a nexus of social and political relations that converge around the body.
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Hay, Rowena, Neal Shasore, and Flora Samuel. "Research at the RIBA: an institutional history 1958–71." Architectural Research Quarterly 21, no. 4 (December 2017): 328–37. http://dx.doi.org/10.1017/s135913551800012x.
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Exactly 50 years ago, the Council of the Royal Institute of British Architects (RIBA) launched a new policy and commitment to ‘architectural research.’ At its meeting on 7 December 1967, it set in motion a new programme to accelerate and coordinate the growth of research in architecture, not only in architectural schools but through research centres and in practices. In addition, it reinforced its commitment to building up the Institute's own competence in research, ‘so that it can speak authoritatively on behalf of the profession in the formulation of national research policies and investment programmes.This paper seeks to historicise the formation, development and promotion of architectural research – what we are terming the idea of architectural research – in light of the Institute's renewed commitment to a research agenda through the appointment in December 2017 of a Vice President for Research (an entirely new role) and the publication of a suite of resources aimed at ‘de-mystifying’ research in practice and promoting the evidencing of design quality and the value of the architect. These initiatives have their origin in the invention of architectural research as a distinct tradition and a post-rationalisation of what had gone before following on from the Oxford Conference in 1958. Furthermore, we situate the invention of this tradition not only within professional and educational debates of the post-war period, but also in the changing and fluctuating landscape of government policy on the promotion and funding of research, itself a response to a perceived cultural and political angst about the UK's shortcomings in productivity and development. In contextualising and problematising the creation and fostering of a ‘research culture’ in the UK architecture profession over the last 60 or so years, we also uncover some of the assumptions behind the contemporary self-conscious pre-occupation with developing the research culture of architects. The paper begins with a discussion of historiography and methodology before moving to the research context of construction history and the role played by the RIBA Research Group in developing the idea of architectural research.
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Fomenko, О., and S. Danylov. "About the prospects for the development of architectural innovations at the department of ITDAS." New Collegium 4, no. 102 (December 25, 2020): 76–80. http://dx.doi.org/10.30837/nc.2020.4.76.
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Celebrating the 90th anniversary of Kharkiv National University of Civil Engineering and Architecture, it is important to note the role of innovation in the formation of the architectural faculty of the university. Throughout the history of the faculty, its architects have sought to be ahead of the latest advances in the profession. Preserving the best traditions of architectural pedagogy, each generation added new ones to them, developing and multiplying the results achieved by its predecessors. This article is devoted to the trend of innovative development of architecture as a factor influencing the scientific and pedagogical practice of the Department of Innovative Technologies of Design of Architectural Environment (ITDAE).
Today, the problem of training qualified architects who can be competitive in the labour market is becoming more acute. The architect of the new generation must effectively interact in the professional, corporate and social environment, have a scientific thinking apparatus, modern methods and means of research, know the programs of architectural and construction design, focus on the market of modern architectural and design services.
The article discusses the problems of implementing innovative methods of analysis, modelling and design of the architectural environment into the scientific and pedagogical practice of the Department of Innovative Technologies of Design of Architectural Environment (ITDAE) of KNUCEA. The issues of development in the scientific and practical work of the department of the directions of dual education and the principles of multidisciplinary interactions are also considered. A description of the directions of research carried out at the department is provided, including virtual reality, parametric modelling of energy-efficient buildings, modelling of a city as a dynamic system, architectural urbanism and the like.
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Karlsson, Ulrika. "Rustic figuration." Architectural Research Quarterly 21, no. 4 (December 2017): 359–68. http://dx.doi.org/10.1017/s1359135518000118.
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The entwined relationships between the physical and the computational continue to produce sensibilities where our understanding of the division between them is becoming blurred. The prolog to Rustic Figurations identifies a growing interest in disciplinary questions on the role of history and the history of digital tools and techniques of representation to support and understand the cultural context of architecture. The second part of the text tries to describe, define and situate rustic figuration as an aesthetic and material concept in architecture that has developed through the architectural design research of the practices servo and Brrum, in parallel with research into the history of rustication.The notion of rustic figuration is imbued with architectural qualities that oscillate between the legibility of form and geometry and the disappearance of that legibility. Aspects of legibility are discussed in relation to related discourses in architectural history, as well as in the context of a few contemporary practices and projects that engage both computational and analogue techniques for design, communication and fabrication. The qualities of rustic figuration in the projects are neither bound by the unique properties of the building materials, nor by the computational information but happen in the translations between digital information and material manifestation or vice versa.
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Hejazi, Mehrdad, Bina Hejazi, and Saba Hejazi. "EVOLUTION OF PERSIAN TRADITIONAL ARCHITECTURE THROUGH THE HISTORY." Journal of Architecture and Urbanism 39, no. 3 (September 29, 2015): 188–207. http://dx.doi.org/10.3846/20297955.2015.1088415.
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The architecture of Iran is wholly based on the comprehensive use of knowledge of both metaphysical and physical sciences. Architecture and structural engineering in Iran involve a great range of buildings distributed over a vast area from the borders of China to the Mediterranean coastlines. Certain design elements, developed by Iranian architecture and aesthetics, persisted for thousands of years and exerted a marked effect on other successive styles of construction throughout the world. Architecture in Iran solved complicated structural problems and created magnificent architectural masterpieces. In this paper, the evolution of Persian traditional architecture is discussed and a general overview of the paramount virtues of the traditional architecture and historical buildings of Iran with emphasis on structural and scientific features will be presented.
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Benyamin, Jasmine. "Walter Gropius and Operative History: an Architectural Palimpsest." Education and Reuse, no. 61 (2019): 18–23. http://dx.doi.org/10.52200/61.a.yy72uckw.
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This essay evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Walter Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Walter Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to “make history” for themselves. What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to 20th century Modernism? It is undeniable that there is a concerted effort among contemporary historians to complicate the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.
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Hein, Carola, and Elise van Dooren. "Teaching history for design at TU Delft: exploring types of student learning and perceived relevance of history for the architecture profession." International Journal of Technology and Design Education 30, no. 5 (July 1, 2019): 849–65. http://dx.doi.org/10.1007/s10798-019-09533-5.
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Abstract Historical investigation anchors architectural and urban practice. Analyzing two sets of questionnaires distributed in different class settings, this paper explores two questions: how do design students currently learn about architectural history, and how do they translate this knowledge into their design practice? First, tentative conclusions are that (1) physical engagement with buildings outside the classroom is an important inspiration for the students, (2) (assigned) books definitely influence their (design) thinking, (3) different types of pedagogy–lecture, seminar, thesis, studio–affect student learning in different and complementary ways, and (4) students overwhelmingly see history as a relevant preparation and foundation for design, but this understanding is implicit and often unspecific.