Journal articles on the topic 'Architectural experience'
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1
Liu, Jia Sheng. "The Influence of Architectural Culture on Architectural Design." Applied Mechanics and Materials 357-360 (August 2013): 278–81. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.278.
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The paper focuses on the relationship between the architectural culture and architectural design, puts forward the concept of architectural culture, expounds architectural cultures influence on Chinese traditional architecture and the western traditional architectures, and summarizes the importance and influence of architectural culture in the modern architectural design. This paper provides reference and experience for architects to design the modern architecture that can embody the design and spirit more vividly.
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Erzen-Jale, Nejdet. "Form and meaning in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 75–84. http://dx.doi.org/10.5937/saj1501075e.
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Often architectural theory has been articulated on prescriptive views about what architecture should be, rather than on views formulated from historical experiences and examples of architecture. In this paper I will try to offer readings of architectural form by looking at a historical example from classical Ottoman architecture and at contemporary examples, to show how different architectures treat form. In examples taken from Sinan's architecture, symbols are investigated in relation to movement, to urban settlement, to religion and power. It is hoped that this analysis will offer an understanding of how the significance of architecture in human experience and in the urban context goes beyond structure and function
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Gao, Yun, and Kevin Orr. "Architectural students’ year-out training experience in architectural offices in the UK." Architectural Research Quarterly 19, no. 2 (June 2015): 175–82. http://dx.doi.org/10.1017/s1359135515000391.
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This paper investigates architectural students’ ‘year-out’ learning experiences in architectural offices after completing RIBA Part I study within a UK university. By interviewing and analysing their reflections on the experience, the study examines how individual architecture students perceive and value their learning experience in architectural offices and how students understand and integrate what they have learned through two distinct elements of their training: in university and in offices.The architectural offices that students worked with vary in terms of workforce size and projects undertaken. The students’ training experience is not unified. The processes of engaging with concrete situations in real projects may permit students to follow opportunities that most inspire them and to develop their differing expertise, but their development in offices can also be restricted by the vicissitudes of market economics.This study has demonstrated that architectural students’ learning and development in architectural offices continued through ‘learning by doing’ and used drawings as primary design and communicative media. Working in offices gave weight to both explicit and tacit knowledge and used subjective judgments. A further understanding was also achieved about what architects are and what they do in practice. The realities of their architectural practice experience discouraged some Part I students from progressing into the next stage of architectural education, Part II, but for others it demonstrated that a career in architecture was ‘achievable’.This study argues that creative design, practical and technical abilities are not separate skill-sets that are developed in the university and in architectural offices respectively. They are linked and united in the learning process required to become a professional architect. The study also suggests that education in the university should do more to prepare students for their training in practice.
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Radevski, Aleksandar, and Bojan Karanakov. "Light and Experience of Space - Construction of Metaphysical Space." South East European Journal of Architecture and Design 2022 (October 22, 2022): 1–7. http://dx.doi.org/10.3889/seejad.2022.10065.
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The main goal of this research is to perceive the influence of light on the brightness of the architectural space through the different positions of the Sun and its varying intensity at different periods throughout the year. Through a historical review of architectural styles and architectural elements, the influence of daylight on the shaping of the architectural space is presented. When we talk about architecture, we talk about light, first of all daylight. It is not just physical, its enabling perception of the exterior and the interior, it also provides energetic component to architecture, duality of matter and energy thus generating aesthetic sensation among users.
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Mazurenko, S. V. "Legal protection of architectural works: international experience." Analytical and Comparative Jurisprudence, no. 4 (April 28, 2022): 52–57. http://dx.doi.org/10.24144/2788-6018.2021.04.9.
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Traditionally, the construction of buildings and structures is carried out in accordance with previously prepared project documentation, the basis of which is made up of works of architecture. However, it should be noted that the legal nature of these objects has not been fully investigated. In particular, it is necessary to answer the question of what is the essence of such works and how their creative nature is manifested as a necessary element of legal protection. Traditionally, the very concept of "architecture" is associated with the creation of a new, beautiful, original and unique building. This is achieved by using previously developed structural elements, the set of which forms the architectural style. Hence, on the one hand, the difficulty lies in how to distinguish between a simple set of elements within one architectural style and a created, creatively completed object. It is necessary to pay attention to the fact that we are talking about works as a set of ideas, thoughts and images that have received, as a result of the author's creative activity, their expression in a form accessible to human perception. Thus, in terms of content, a work is an intangible good that is the result of creativity and has an objective form of expression. It is the creative nature of the work and the objective form of expression that should be considered as its features, which subsequently provide conditions for the protection of the author's rights. The main task of this article is to find out what is the creative nature and the objective form of expression in works of architecture. It is rather difficult to determine the creative nature of a work of architecture, since we are talking about a set of features that are characteristic only of a work. In addition, it is necessary to find out what the minimum level of creativity must be in order for a work of architecture to be protected by copyright rules. With regard to works of architecture, we can talk about the ability, characteristic only of the author of this work, to select architectural or structural elements. In addition, one can point to the individual author's layout and the ratio of space-planning solutions, expressed in the location of various rooms, decorating the facades of buildings with elements borrowed from various architectural styles. It is due to this kind of combinatorics of structural elements carried out by the author that the novelty, uniqueness and individuality of the work of architecture are achieved. Works of architecture cannot be completely equated with design results. For the emergence of copyright, it is necessary to have creative principles in the design object. The presence of creative principles is typical only for architectural and planning solutions. The construction project consists of working drawings, which, in fact, display architectural and planning solutions as a creative idea of the author, and an explanatory note. It seems that copyright norms should protect only that part of the design object that contains architectural and planning solutions. Works of architecture must have an objective form of expression. It seems that the form of expression of this kind of works is the project. A building (structure) constructed according to the project cannot be a work of architecture or an object of copyright. The constructed building can only be considered as the second form of displaying the work of architecture, since the first is the project. Thus, from the moment of the creation of an architectural project, we can say that the work already exists, and therefore, it is the project that should be considered as a form of objective expression of the work of architecture.
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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Abdullah, Wrya Sabir, and Amjad Muhammad Ali. "Measurable Mistakes in Architecture the Effect of Designer's Experience on the Propagation of Mistakes in Architectural Design - Residential Buildings in Al Sulaymaniyah City as a Case Study." Journal of Engineering 27, no. 1 (January 1, 2021): 89–111. http://dx.doi.org/10.31026/j.eng.2021.01.07.
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The importance of physical and nonphysical architectural design values made architectural designers need good experience to be experts of architectural values reasonably without neglecting any value in the design process. The importance of such values made that ignoring any values and mistakes occurs in the design process. Simultaneously, architectural designers' different nature and the difference in their experiences are causing different understandings of the design values, thus causing architectural mistakes. The research problem appears from the randomly propagating of mistakes in contemporary architecture, which is about to become a phenomenon in Al Sulaymaniyah city. The research aims to find the main reasons and influences of making architectural mistakes and propagating such mistakes in the contemporary architectural design depending on randomly selected samples. The study took the factor of "Architectural Designers' Experience" as an influential factor in avoiding the propagation of architectural mistakes. To see architectural mistakes in real existing cases, the research took some of the different types of residential buildings in Al Sulaymaniyah city designed during (2000-2010) as case study to show architects' architectural mistakes in residential buildings
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Abdullah, Wrya Sabir, and Amjad Muhammad Ali. "Measurable Mistakes in Architecture the Effect of Designer's Experience on the Propagation of Mistakes in Architectural Design - Residential Buildings in Al Sulaymaniyah City as a Case Study." Journal of Engineering 27, no. 1 (January 1, 2021): 89–111. http://dx.doi.org/10.31026/10.31026/j.eng.2021.01.07.
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The importance of physical and nonphysical architectural design values made architectural designers need good experience to be experts of architectural values reasonably without neglecting any value in the design process. The importance of such values made that ignoring any values and mistakes occurs in the design process. Simultaneously, architectural designers' different nature and the difference in their experiences are causing different understandings of the design values, thus causing architectural mistakes. The research problem appears from the randomly propagating of mistakes in contemporary architecture, which is about to become a phenomenon in Al Sulaymaniyah city. The research aims to find the main reasons and influences of making architectural mistakes and propagating such mistakes in the contemporary architectural design depending on randomly selected samples. The study took the factor of "Architectural Designers' Experience" as an influential factor in avoiding the propagation of architectural mistakes. To see architectural mistakes in real existing cases, the research took some of the different types of residential buildings in Al Sulaymaniyah city designed during (2000-2010) as case study to show architects' architectural mistakes in residential buildings
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Xu, Yongrui, and Peng Liang. "A Cooperative Coevolution Approach to Automate Pattern-based Software Architectural Synthesis." International Journal of Software Engineering and Knowledge Engineering 24, no. 10 (December 2014): 1387–411. http://dx.doi.org/10.1142/s0218194014400130.
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To reuse successful experience in software architecture design, architects use architectural patterns as reusable architectural knowledge for architectural synthesis. However, it has been observed that the resulting architecture does not always conform to the initial architectural patterns employed. Architectural synthesis using architectural patterns is also recognized as a challenging task, especially for novice architects due to lack of experience. In this paper, we propose a cooperative coevolution approach to automate architectural synthesis using architectural patterns. We first analyze several common architectural patterns and the constraints when using them. We then extend existing architectural synthesis activity with patterns based on the results of this analysis. Finally, we map the extended architectural synthesis to a cooperative coevolution model, which can optimize the resulting architectural solutions and avoid the violations to the pattern constraints automatically. We evaluate the proposed approach through a case study: architecture design of a cinema booking system. The results show that the proposed approach can generate architectural solutions which are closer to the expert design.
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Zobel, Richard W. "The Representation of Experience in Architectural Design." Presence: Teleoperators and Virtual Environments 4, no. 3 (January 1995): 254–66. http://dx.doi.org/10.1162/pres.1995.4.3.254.
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Architecture, which is by its very nature a three-dimensional art, has in the last 500 years evolved to a stage where nearly all of the design exploration and visualization occur in any of a number of two-dimensional media. These media do not effectively portray the experiential quality of approaching, entering, and moving through an architectural space, an aspect which is primary to any design. In discussing this, James J. Gibson's concept of affordance will be used as a basis for the examination of a variety of media that are commonly used to describe the experiential quality of architecture, and how each of these media speaks to this frequently neglected characteristic. Particular attention will be given to the new technology of computer-generated immersive environments, which as a design medium promises to bring the issue of experiential quality in architecture to the forefront of design. Examples of each of the most common media, physical models, perspectives, noninteractive screen-based architectural walk throughs, interactive screen-based architectural walk throughs, and computer-generated immersive environments, will be examined as to their utility in experiential description. A discussion of the specific characteristics of each of the electronic media and the applications benefits and drawbacks will be included.
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Ozorhon, Guliz, and Gulbin Lekesiz. "Re-considering the Architectural Design Studio after Pandemic: Tools, Problems, Potentials." Journal of Design Studio, no. 1 (July 20, 2021): 19–36. http://dx.doi.org/10.46474/jds.927181.
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The Covid-19 outbreak has significantly influenced all disciplines from economics to politics, especially health, and forced every discipline to develop new strategies to adapt to this situation. For this reason, education has been suspended as of mid-March 2020 in our country; after the break, education methods have changed in a mandatory and rapid way and largely switched to distance education. This compulsory transformation has required the creation of new methods and approaches, especially for applied courses. In this context, this article focuses on a remote architectural design studio experience and explores this experience's problems and potential. This research is in the framework of an adapted architectural design studio setup enriched by authors with online environment-specific tools, including components that centralize participatory production (collaborative learning approach) and enable interaction such as workshops and seminars. The studio (201 A) was experienced in the 2020-21 fall semester by remote conducting with 2nd-grade architecture students. In the article, the process is revealed in detail, and the architectural design studio has been discussed extensively with the student survey and the instructors' experiences. As a result, it has been observed that the studio's components, such as interaction, collectivism, multilayeredness, dynamism, making criticism, and juries, can survive in distance education. Although verbal communication difficulties were experienced in the remote studio, visuality/screen sharing supported the communication throughout the process. However, it is obvious that the content, methods, and tools for remote architectural design studio education should be developed with a different and new approach than face-to-face education. In order to develop more effective methods in this scope, research is required to continue, prepare a large number of experience environments supported by these studies and, most importantly, share these experiences.
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Weisen, Marcus. "Researching Non-Conscious Dimensions of Architectural Experience." Dimensions 1, no. 1 (May 1, 2021): 149–58. http://dx.doi.org/10.14361/dak-2021-0119.
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Editorial Summary Entitled »Researching Non-Conscious Dimensions of Architectural Experience«, Marcus Weisen’s contribution explores the investigation of pre-reflexive ways of knowing, sensory thought, and the embodied mind. He introduces the micro-phenomenological interview as a successful methodology to exploit immanent, non-conscious aspects of architectural experience. He emphasizes the relevance of investigating the individual, subjective perspective in architectural research, proposing the first-person description of experience as a starting point from which to derive insights into overarching, essential principles of lived experiences of, and encounters with, architectural spaces. Tracing the elusive, embodied dimensions of architectural experience, he aims for an »embodied rationalism« in architectural research. [Uta Graff]
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Voigt, Katharina, and Virginie Roy. "Seeking Experience in Architecture: Corporeal Attempts at Perception and Conception." Dimensions 1, no. 2 (May 1, 2021): 115–62. http://dx.doi.org/10.14361/dak-2021-0211.
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Abstract This contribution presents the proceedings from a series of transversal university projects, addressing bodily forms of knowledge concerning the perception, inquiry, and conception of architecture. It retraces the phases of different manners of investigation over a threesemester teaching cycle, addressing perceptions and experiences of architectural spaces. The proceedings of, and results from the seminar cycle are documented and framed with an introduction to the applied methods and ways of working as well as their reflection and evaluation. These varying approaches all center around the questions of how to bring body-based and incorporated knowledge concerning architectural space to awareness and how attention to sensual and corporeal ways of perception can be increased. Thus, it investigates how the spectrum of design methods in architecture can be extended in order to actively include bodily forms of knowledge in the anticipation of spatial experience in the design process. The article introduces a concept of »Architecture Imagery« as a way to include bodily ways of knowing and body-based practices in the perception and memory of lived experience and the process of architectural design.
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Tomková, Zuzana. "Creating an architectural experience in terms of spatial and lighting composition." IOP Conference Series: Earth and Environmental Science 1099, no. 1 (November 1, 2022): 012022. http://dx.doi.org/10.1088/1755-1315/1099/1/012022.
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Abstract The light plays crucial role in forming the architectural experience and my interest is to examine how architects create bridges between the poetic and practical potential of light. A critical discussion about this topic is relevant especially in relation to the perceived lighting environment and role of light in today’s architecture. How was the role of light changing in our society during historical periods? What is the role of light in architecture nowadays? Which architectural experience supports this role and what are the tools to capture it? Different ideas about light, linked to the aesthetic sense of successive historical periods lead to differently configured spaces. Understanding the enjoyment of the experience of spaces in history, but also today and determining its aesthetic value requires attention to details. Architecture can shape our daily experiences in material and detail and together with light form the basis of complete perception. I believe that consistent work with daylight in architecture is a catalyst for change and can significantly help us rediscover the relationship with nature. I believe, that by raising awareness about experiential approaches of working with a daylight will help us to find our way back to nature, origins and rise quality of architectural objects.
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Park, Shin-Hwa. "Flesh of Architecture : J. Pallasmaa’s Phenomenology of Architectural Experience." Phenomenology and Contemporary Philosoph 79 (December 31, 2018): 195–223. http://dx.doi.org/10.35851/pcp.2018.12.79.195.
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Suárez, Luis Alfonso de la Fuente. "TOWARDS EXPERIENTIAL REPRESENTATION IN ARCHITECTURE." Journal of Architecture and Urbanism 40, no. 1 (April 6, 2016): 47–58. http://dx.doi.org/10.3846/20297955.2016.1163243.
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Planning and predicting the experiences that buildings will produce is an essential part of architectural design. The importance of representation lies in its ability to communicate experiences before a building is materialized. This article will treat the topic of representation of architecture works without putting aside our direct experience with edifices. By understanding the perceptual, associative and interactive phenomena that arise from the human encounter with buildings, it becomes possible to comprehend the representation of these phenomena through pictorial means. The first objective of this theoretical article is to define the inherent and unavoidable factors that are present in the creation and interpretation of all architectural representations, regardless of the technical means used. Any representation conveys two processes: the representation of experience (a creative process), and the experience of representation (an interpretive process). Furthermore, there exist two layers in any representation: the what (the architectural object) and the how (the representational medium). The second objective is to suggest alternatives to visual realism, in order to create representations that embody the particular phenomena that an architectural work will be able to produce. On the one hand, representations that pretend to copy reality produce in the observers detailed visual experiences; on the other hand, certain representations reflect the experiences themselves after they have been produced; they represent buildings as they are transformed by experience. This article focuses on those representations that are not only the reflection of an object, but also the reflection of our way of experiencing it.
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Asfour, Khaled Sayed. "Healing architecture: a spatial experience praxis." Archnet-IJAR: International Journal of Architectural Research 14, no. 2 (September 10, 2019): 133–47. http://dx.doi.org/10.1108/arch-03-2019-0055.
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Purpose The purpose of this paper is to discuss architecture that produces spatial experience with which children and young adults are able to interact, giving them a great sense of positive energy that translates into actual healing. This type of architecture is few in number but can create a transition toward sustainable healing. Design/methodology/approach Spatial experience was evident in the architectural practice of the ancient world. Back then architects considered what moods should they give to spaces that best suit their functions. In our contemporary world, this trail of thinking is replaced by architecture that do not connect with the user’s psychology. The paper will prove that there are few architects today who are willing to exert an effort in providing the right moods for their buildings with a sustainable vibe. The paper will discuss this point by taking four examples of architecture specialized in healing young adults and children. Findings Through analysis of the case studies, the paper reveals the importance of spatial experience approach in producing meaningful architecture that connects with the user. The paper shows that it is through this approach that important moments of architectural history was made as well as the works of famous architects of our times. Originality/value The research redefines how should we look at architectural history through spatial experience analysis. It also gives us an insight into how architects become famous today through their unique design process that continue to be successful and admired by ordinary users not just specialists. The research is not limited to this paper, but currently expanding to include other case studies of different building types.
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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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Jerković-Babović, Bojana. "Fluid state of architecture." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 501–10. http://dx.doi.org/10.5937/saj1903501j.
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This paper focuses on the changes in architectural aesthetic criteria, from static to dynamic values of both figurative and non-figurative aspects in contemporary architecture and its cultural context. Fluid state of architecture refers to the notions of constant variability occurring in relations between architecture and contemporary cultural context of globalisation. Contemporary context dynamises everyday perceptual experiences, living conditions and terms of spatial appropriations. Accordingly, new networking phenomena appearing on informational, communicational and spatial levels transform the city and architecture into constant process of flows, dematerialising its elements into the new fluid, variable character. Architectural aesthetic qualities simultaneously shift trough events and effects affirmation over static formal whole in transformation from objective to (inter)subjective aesthetic spatial experience. This paper is based on hypothesis that contemporary architecture is characterised by the loss of object singularity in terms of contextual conditions and assimilation of particular characters into the dynamic character of the whole. Therefore, architectural design principles shift through dispersion of disciplinary boundaries and boundaries of inner and outer architectural space, hybridity and typological definition loss. This paper presents how dematerialisation of architectural values transforms contemporary architectural space into the complex dynamic system of infrastructure, flows, events and effects.
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Zhang, Xiao Hui. "A Research on the Innovative Designing Methods in Modern Architecture." Applied Mechanics and Materials 744-746 (March 2015): 2139–42. http://dx.doi.org/10.4028/www.scientific.net/amm.744-746.2139.
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With the continual development of architectural technology, larger and more complex buildings are crying out for innovative designing methods because the traditional designing methods, which are mostly based on the designers’ experience and intuition, can not keep pace with the sustainable development of modern architecture. Therefore, the designer has to adapt himself to the new architectural enviroment by improving his designing methods continuously. So based on his former experience as an architectural designer, the author of this thesis attempts to explore some innovative architectural designing methods in modern times, the basic elements and principles of architectural design, as well as the process of architectural design, hoping to offer some inspirations to future studies of architectural designing methods.
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De Jong, Sigrid. "The Picturesque Prospect of Architecture: Thomas Sandby's Royal Academy Lectures." Architectural History 61 (2018): 73–104. http://dx.doi.org/10.1017/arh.2018.4.
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AbstractThomas Sandby (1721/3–98), who served as the Royal Academy's first professor of architecture from 1768 to 1798, shaped his students’ architectural thought. His lectures represent some of the crucial developments in viewing architecture that occurred during the period. They are vibrant expressions of how a viewer's experience of buildings informs architectural teaching and design, and demonstrate the importance of architectural experience for eighteenth-century architectural thought. This article explores Sandby's thinking, first in his own observations of buildings in his diary of a tour through Yorkshire and Derbyshire, and then in his teachings, which functioned as a kind of manual for future architects. It examines the diary and the lectures for his ideas on the effects of architecture — a building's situation, exterior, interior and decorations — in relation to the picturesque, one of the dominant concepts in his texts and drawings. Sandby's architectural thought is shown to be a relatively early statement of the picturesque applied to architecture and its setting.
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Shershneva, E. G. "Architectural Development of Middle Asia: Experience of “New Ashgabat”." IOP Conference Series: Earth and Environmental Science 988, no. 4 (February 1, 2022): 042073. http://dx.doi.org/10.1088/1755-1315/988/4/042073.
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Abstract The article considers modern creative directions in the architectural landscape of the Turkmen city – Ashgabat. Analysis of features of the most original public buildings, unique symbolic monuments and the residential environment of the city is presented. There is a trend towards the development of stylistic features of monumental architecture, the search for unique images and forms with a deep socio-cultural semantic meaning. Architectural form reflects the history, culture and traditions of Turkmen people. The architectural appearance of Ashgabat is represented by the dominance of white marble as the main building material, the embodiment of national symbols in various objects, unique symbolic monuments and fountains. “New Ashgabat” emphasizes respect for national and life values: love, family, health, well-being and development. The white color of buildings as an urban color concept has a positive effect on the psycho-emotional state and health of citizens. Review of architectural innovations in Ashgabat allows to conclude that some features of sustainable architecture are visible. Noted that in this city there are trappings of a neo-city, expressed in design innovations and increasing the comfort of urban environment. It is actualized, that future development of the city is seen in the context of ecological urbanism and energy effective.
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Dymchenko, M., N. Brykova, and I. Lokonova. "Architectural form as a subject of cultural communication." E3S Web of Conferences 281 (2021): 02003. http://dx.doi.org/10.1051/e3sconf/202128102003.
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The aim of the article is to investigate the architectural form self-representation processes in the spatial experience of culture. Theoretical and methodological prism of the research is the semiotic concept of architecture of W. Eco and the concept of E. Panofsky correlating with it and explaining the nature of the Gothic architectural form evolution. The architectural reality self-definition problem in the context of the historical development of cultural and anthropological experience spatial codes is considered. On the basis of W. Eco’s semiotic concept of architecture we propose the vision of architectural object as a form in which the signifier - the “grammar” of architectural text - is treated as a signifier in the unity of meanings, functions and structures of the work. Architectural form in this capacity is described as a subject of socio-cultural communication, an individual link in the spatial code mediation chain of this or that tradition. On the basis of the comparative analysis, we have demonstrated the similarity of semiotic approach to the essence of architecture and Gothic architectural thinking of E. Panofsky. It shows the relevance of this methodology for modern architecture theory allowing to reveal the processes of architectural reality affirmation. The significance of the results for the theory of architecture consists in the fact that the heuristic significance of Eco’s semiotic conception of architecture was substantiated by E. Panofsky’s conclusions concerning the essence of Gothic form-building. The notion of architectural form as a subject of cultural communication greatly extends the architectural reality affirmative nature notion.
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Batič, Janja. "The Field Trip as Part of Spatial (Architectural) Design Art Classes." Center for Educational Policy Studies Journal 1, no. 2 (January 18, 2018): 73–86. http://dx.doi.org/10.26529/cepsj.429.
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Spatial (architectural) design is one of five fields introduced to pupils as part of art education. In planning architectural design tasks, one should take into consideration the particularities of the architectural design process and enable pupils to experience space and relationships within space through their own movement. Furthermore, pupils should have an opportunity to play the roles of (critical) users as well as co-creators or spatial planners. In this respect, the field trip plays a vital role, as it allows pupils to experience (architectural) space through their own movement, their senses and in a real environment. The architectural experiencethat the pupils gain differs from their everyday experience of moving through space, as the former is based on education and training, and thus helps pupils develop architecture appreciation.
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Vignjevic, Ana. "Architecture as landscape: Kengo Kuma, Jean Nouvel, and the ambivalence of material experience." Facta universitatis - series: Architecture and Civil Engineering 13, no. 3 (2015): 245–56. http://dx.doi.org/10.2298/fuace1503245v.
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This paper examines the contemporary conceptual, perceptive and aesthetic potential of architecture to transform into landscape by means of materialization. Contrary to the former, modernistic principles of transparency, which eliminated the wall between the internal and external space on a literal, visual level, contemporary social and visual context create the prerequisites for establishing a new, ambivalent treatment of (de)materialization of the border between architecture and the landscape. Such transformation was interpreted in the paper as a consequence of the general change related to determination of architectural form, as well as change in the sphere of theory of perception. The ambivalent relation on the line subject-architecture-landscape relies in the paper on the phenomenology of perception of Maurice Merleau-Ponty and Juhani Pallasmaa, whereas the architectural actualization of the given concept was analysed on the example of two different authors? views - Kengo Kuma and Jean Nouvel. The emphasis on architectural experience, rather than on the architectural image, places the material in the domain of the main framework of this concept, whether based on its tactile (Kuma) or imaginary value (Nouvel). Finally, in order to make architectural materiality a part of the natural environment, both design methods paradoxically shift the materials from their natural context (truth to materials), whereby, consequently, except for materiality, the perceptive experience of the place itself is relativized.
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Lestari, Neneng Rika, Kristanti Dewi Paramita, and Paramita Atmodiwirjo. "MONTAGE AS SPATIAL RECONSTRUCTION OPERATION METHOD IN DESIGNING CINEMATIC ARCHITECTURE." MODUL 21, no. 2 (December 30, 2021): 142–54. http://dx.doi.org/10.14710/mdl.21.2.2021.142-154.
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This article investigated montage to understand and arrange cinematic architecture through operations of spatial reconstruction to present a sequence of spatial experiences. Montage is a part of discourses related to cinematic, film, and architecture. This article explored the montage approach as the primary basis in the architectural design process through spatial experience. The discussion is based on the idea that montage is emphasized in three things, i.e., sequence, multiple layers of meaning, and movement. These three aspects were further observed through the montage precedent comprising various cinematic precedents based on montage in architecture, i.e., Manhattan Transcripts and Parc de La Villette from Bernard Tschumi, Villa Savoye from Le Corbusier, and Maison Bordeaux from Rem Koolhaas. The finding of this study is a synthesis of some of these precedents that resulted in an understanding of space reconstruction operations, i.e., dismantlement, disappearance, and reassembly, all three of which exist as strategies that will be part of the production process to develop montage-based cinematic architectural design, creating new spatial sequence that provide alternative spatial experience. This article expands the knowledge regarding montages that cinematics and films can be a development in architectural design.
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Petrushikhina, Svetlana Vladimirovna. "To the question of corporeal experience in Bernard Tschumi’s theory of architecture." Философия и культура, no. 12 (December 2021): 25–32. http://dx.doi.org/10.7256/2454-0757.2021.12.37219.
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The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works – the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.
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Tamariska ; Roni Sugiarto, Livie. "THE DYNAMICS OF SOUNDSCAPE CONNECTION WITH ARCHITECTURAL ELEMENTS ON TERAS CIKAPUNDUNG BANDUNG." Riset Arsitektur (RISA) 2, no. 03 (July 5, 2018): 249–63. http://dx.doi.org/10.26593/risa.v2i03.2945.249-263.
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Abstract- In architecture of public space, the experience of place plays an important role in the making of the good quality of public spaces. The experience of the space is multi-sensory, so architecture should emphasize its attention also on the architectural space approach through auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and Terrace Cikapundung architecture.The research method is qualitative and descriptive analysis. Quantitative measurements are made to complement the qualitative data. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about public space architecture, soundscape, sacred sounds, sense of place, intention of architecture, and perception theory.In Terrace Cikapundung are found quite a lot of natural sounds, which are considered as sounds that improve the quality of the people spatial experience. The natural sounds that are found there are the sound of birds, wind, and water flow. While the dominant voice heard is the sound of motor vehicle, which is considered as disturbing sound for the audiences in particular “man-made zone” (zone that borders the highway). This indicates that there are some architectural elements that have not been able to work optimally, especially the design of bordering element between the site with the main sound source (Jalan Siliwangi). Furthermore, the concave physical topology and the zonation of “man-made zone” and “natural zone” is well designed, based on the variety characterictic of function, location, and order of architectural elements, that will give us the study and example of spatial making and good experience of place.Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: soundscape, architectural element, open public space
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Tamariska ; Roni Sugiarto, Livie. "THE DYNAMICS OF SOUNDSCAPE CONNECTION WITH ARCHITECTURAL ELEMENTS ON TERAS CIKAPUNDUNG BANDUNG." Riset Arsitektur (RISA) 2, no. 03 (July 5, 2018): 248–63. http://dx.doi.org/10.26593/risa.v2i03.2945.248-263.
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Abstract- In architecture of public space, the experience of place plays an important role in the making of the good quality of public spaces. The experience of the space is multi-sensory, so architecture should emphasize its attention also on the architectural space approach through auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and Terrace Cikapundung architecture.The research method is qualitative and descriptive analysis. Quantitative measurements are made to complement the qualitative data. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about public space architecture, soundscape, sacred sounds, sense of place, intention of architecture, and perception theory.In Terrace Cikapundung are found quite a lot of natural sounds, which are considered as sounds that improve the quality of the people spatial experience. The natural sounds that are found there are the sound of birds, wind, and water flow. While the dominant voice heard is the sound of motor vehicle, which is considered as disturbing sound for the audiences in particular “man-made zone” (zone that borders the highway). This indicates that there are some architectural elements that have not been able to work optimally, especially the design of bordering element between the site with the main sound source (Jalan Siliwangi). Furthermore, the concave physical topology and the zonation of “man-made zone” and “natural zone” is well designed, based on the variety characterictic of function, location, and order of architectural elements, that will give us the study and example of spatial making and good experience of place. Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: soundscape, architectural element, open public space
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Voigt, Katharina. "Corporeality of Architecture Experience." Dimensions 1, no. 1 (May 1, 2021): 139–48. http://dx.doi.org/10.14361/dak-2021-0118.
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Editorial Summary In »Corporeality of Architecture Experience« Katharina Voigt examines the embodied knowledge in the perception and the exploration of architectural spaces. She highlights embodiment, experience, and sensation as primary fields of investigation. The interrelation of architecture and the human body is described as dependent on bodily ways of knowing and movement as access to sensory encounters with architecture. Relating to the practice of contemporary dance and particularly the work of Sasha Waltz, she regards the body as an archive, generator, and medium of pre-reflexive knowledge, emphasizing its resonance with the space. She exploits the potential which an investigation of the body-based, sensory experience holds when being explicitly addressed and regarded as an integrated part of both, the perception and the design of architecture. [Uta Graff]
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Clarke, Nicholas, Hielkje Zijlstra, and Wessel De Jonge. "Education for Adaptive reuse – the TU Delft Heritage and Architecture Experience." Education and Reuse, no. 61 (2019): 67–75. http://dx.doi.org/10.52200/61.a.jydu6qaf.
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The Section for Heritage and Architecture of the Faculty of Architecture and the Built Environment at the Delft University of Technology specializes in architectural education for adaptive reuse of heritage buildings, with a specific focus on the built heritage of the 20th century. Our approach combines architectural design and technological knowledge with an approach that places values as central informants. Here we present our approach, explore the past and project a future evolution of our educational methodology. Finally, we reflect on the lasting relevance of the tangible and intangible heritage of the recent past as aim and source of our educational practice.
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Makhmudova, Malika, and Muhayyo Makhmudova. "FORMATION OF THE RESTORATION SCHOOL IN UZBEKISTAN AND ITS ROLE IN PRESERVATION OF ARCHITECTURAL HERITAGE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 459–69. http://dx.doi.org/10.17770/sie2018vol1.3078.
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The article considers the history of the origination of the restoration of the architectural heritage in Uzbekistan, the formation of a scientific methodology for the restoration of architectural monuments.Also, the article is devoted to the formation of the restoration school of Uzbekistan, information about the well-known architects-restorers and scientists who stood at the origins of the restoration work in the republic, such as M.F. Mauer, B.N. Zasypkin and others, as well as examples from their restoration practice is given in the article.The analytical method, generalization methods, systematization and practical experience were used in the article. In particular, the following were studied: (1) literature on the restoration of architecture in Uzbekistan, materials from the Central State Archives of Architecture of Uzbekistan, materials of the personal achieves of restorers; (2) practical experience of architects in the restoration of architectural monuments; (3) object of study: architectural heritage of Uzbekistan: minarets, mausoleums, mosques, madrasahs and other types of architectural objects; (4) subject of research: structures, domes, architectural decor of interiors and facades of monuments of architecture, as well as the activities of renowned architects-restorers and scientists of Uzbekistan.
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Park, Da Yeon, Jungsik Choi, Soyeong Ryu, and Mi Jeong Kim. "A User-Centered Approach to the Application of BIM in Smart Working Environments." Sensors 22, no. 8 (April 8, 2022): 2871. http://dx.doi.org/10.3390/s22082871.
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Considerable research has been performed on smart working environments in the architecture, engineering, and construction industry, with building information modeling considered as a critical element for implementing intelligent working systems. Although much software has been developed, a lack of understanding inhibits a user-centered approach to the application of building information modeling in architectural design offices. This study focuses on usability factors for the development of software and proposes a direction for the adoption of building information modeling in architectural design offices. This study adopts a persona method that focuses on user experience, starting with a survey conducted in two large domestic architectural offices. For developing the persona scenarios, this study provides a conceptual framework of usability, identifies user demands, and characterizes user experience. Four representative personas were developed for the representative types of users in smart working environments. The persona scenarios provide a basis that directly reflects user needs and experiences regarding the use of building information modeling software in architectural design offices. Two implications of the application of building information modeling are proposed based on the scenarios: a user-friendly working environment for smart workflows and a customized training program focusing on user experience for the use of building information modeling software.
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Ro, Brandon Richard. "Blending the Subjective and Objective Realms of Sacred Architecture at the Pantheon: Creating a Comparative Framework for Evaluating Transformative Experiences in Ritual Contexts." Religions 13, no. 1 (January 14, 2022): 75. http://dx.doi.org/10.3390/rel13010075.
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This paper seeks to create a comparative framework for evaluating transformative experiences for different types of ritual contexts found in sacred architecture by bridging the gap between the phenomenology of human experience and architecture’s built conditions. The methodology creates a framework for statistical analysis, whereby evidence of people’s actual (i.e., real, lived) “subjective” experiences can be evaluated against the “objective” architectural conditions. The comparative framework is put to the test by comparing the experiential and environmental conditions found at the Pantheon in Rome. Experiential data for the Pantheon is extracted from Julio Bermudez’s large survey database (N = 2872) of “extraordinary architectural experiences” for this study. This data is compared against “objective” graphical architecture analysis using Lindsay Jones’ “morphology of ritual-architectural priorities” with a specific focus on ritual contexts. The quantitative and qualitative data reveals that the Pantheon produces transformative experiences for visitors that are related to the expected outcomes of specific design features. The percentages from the “objective” and “subjective” analysis both rank the priorities of theatre, contemplation, and sanctuary in the same order. This study concludes that built environments possessing a higher presence and quality of “ritual-architectural priorities” are more likely to be perceived as sacred and produce transformative experiences.
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Doktor Olsen Tvedebrink, Tenna, and Andrea Jelić. "Getting under the(ir) skin: Applying personas and scenarios with body-environment research for improved understanding of users’ perspective in architectural design." Persona Studies 4, no. 2 (November 5, 2018): 5–24. http://dx.doi.org/10.21153/psj2018vol4no2art746.
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The aim of this paper is to move established positions in architectural design by discussing a more refined user perspective. The motivation is threefold. Firstly, fields like environmental psychology and cognitive science for architecture have in recent years brought novel insights on the embodied nature of human spatial experience, and the extensive effects of the built environment on people’s psychosomatic health and behaviour that are not well-captured by existing building standardization systems. Secondly, while the fast growing trends of user-centred and research-based design in architecture have showed that users’ experience is a valuable source of design knowledge, the methods for incorporating this wealth of new insights in the architectural design process are still underdeveloped. Finally, the example of the newly built psychiatric department in Aabenraa, Denmark, whose interior, despite an international architectural award in 2016, had to be re-designed one year after construction due to poor understanding of the users, indicates existing discrepancies in the current approaches to translating research information in user-centred design. To address these issues, we discuss the experiences from a new masters’ course in ‘Architecture, Health, and Well-being’ and propose that user-centred methods like ‘personas’ and ‘scenarios’ used in IT, marketing, and product development also have a potential to develop more in-depth research-informed user perspectives. As well as, to help students envision and strengthen the architectural quality of the programming and building design throughout the architectural design process, by supporting a ‘design empathic’ understanding and immersion in user perspectives.
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Slavina, T. A. "About inhumane architecture and architectural education." Вестник гражданских инженеров 18, no. 2 (2021): 10–25. http://dx.doi.org/10.23968/1999-5571-2021-18-2-10-25.
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Architecture as a profession inherently implies the highest degree of social responsibility, for not only the material component of human life is dependent on the architect`s work, but also, in no less degree, the psychological health of people. Architecture as art satisfies people`s natural existential urge, communicating in its own language the harmony and constancy of the universe, which is reflected in the world's architectural heritage. For centuries, architectural education was based on the inheritance of past experience. In the XX century, the concepts of the Avant-garde became the basis of education, and that was a painful and dangerous deviation, which has led to the crisis of architecture. According to the author, a throwback to the old methods of design based of the cultural heritage principles is needed.
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Shamaeva, T. "SUSTAINABLE DEVELOPMENT OF THE ARCHITECTURAL APPEARANCE OF INDUSTRIAL FACILITIES ON THE EXAMPLE OF FOREIGN EXPERIENCE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 7, no. 12 (December 16, 2022): 46–61. http://dx.doi.org/10.34031/2071-7318-2022-7-12-46-61.
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The industry is at a new qualitative stage of its development. The prerequisites for the transition to a new stage are the following: the development of science, the use of modern technologies, innovations, materials, computerization and programming. The architecture of modern industrial buildings is the object of research. The architectural appearance of "sustainable architecture" for industrial purposes is poorly studied. The characteristic features of architectural solutions are studied. They helped to achieve the belonging of the object to the "sustainable architecture", including in the decisions of the appearance of the industrial facility. Volumes, facades, basic planning ideas affecting the volume and appearance of the object are analyzed. Conclusions are formulated. Attitude towards industry of architecture and towards architecture of industrial buildings are changing. A general trend has been identified – this is the humanization of industrial architecture: a partial departure from the standardization of architectural solutions; multifunctionality; a departure from "closed" production; the appearance of a building with "blurred" typological features of industrial architecture, a shift towards the appearance of a public object. The tendencies to fulfill the criteria of "sustainable development of architecture" are formulated: the use of alternative sources of electricity, innovative technologies and building materials; the active use of scientific developments; computerization and programming. Special attention is paid to safety for the population and working personnel, environmental safety. A set of measures is being taken to achieve safety, including the use of architectural and structural solutions. The originality of facades, volumes, non-standard solutions of an ideological and planning nature also become the hallmark of the "sustainable development of architecture".
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Ceylan, Salih, and Murat Deniz Soygeniş. "A design studio experience: impacts of social sustainability." Archnet-IJAR: International Journal of Architectural Research 13, no. 2 (July 15, 2019): 368–85. http://dx.doi.org/10.1108/arch-02-2019-0034.
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Purpose Sustainability, especially in terms of development and growth, has been in the agenda of the world community for several decades. However, apparently not all the aspects of sustainability are given equal importance. Ecologic and economic components of sustainability have been in the focal point of many theoretical and practical works, as the social aspect has been mostly left out of emphasis. The purpose of this paper is to examine the social aspects of sustainability and its relation to architecture, with respect to the strong connection between the society and the built environment. Design/methodology/approach The core of the paper consists of a case study conducted at a design studio course for third-year architecture students whereas the outcomes of the student works on the design problem are evaluated as examples for design approaches to reflect the effects of the built environment on social sustainability. The case study is supported with a literature review and examination of existing approaches to similar subjects regarding social sustainability. Findings The findings resulted in a better understanding of social sustainability in architectural education which is reflected on the built environment through several architectural strategies. Originality/value This paper contributes to the literature by providing a holistic understanding of sustainability including its social aspects and creating an awareness for the importance of social sustainability in architectural education.
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Santagati, C., G. D'Agostino, R. Garozzo, F. M. La Russa, and M. Galizia. "PARTICIPATORY APPROACH FOR THE ENHANCEMENT OF ARCHITECTURAL ARCHIVES FUNDS: THE EXPERIENCE AT MUSEO DELLA RAPPRESENTAZIONE IN CATANIA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B5-2020 (August 24, 2020): 99–106. http://dx.doi.org/10.5194/isprs-archives-xliii-b5-2020-99-2020.
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Abstract. This paper describes the results of a participatory approach experienced during the training of university and high school students at the MuRa (Museo della Rappresentazione). Mura is a university museum belonging to the Department of Civil Engineering and Architecture at University of Catania. It houses and exhibits the collections of architectural projects of Francesco Fichera and a series of chalcographies including the collection of the renown engraver Giovan Battista Piranesi. The training program has been addressed at the documentation, visualization and communication of the architectures realized by Francesco Fichera and other Sicilian architects in the city centre of Catania in the first half of XXth century, whose projects are hosted by the museum. The methodology adopted has included the experimentation of participatory strategies aimed at the communication and the narration of the architectures built in the early twentieth century in Catania. After a preliminary training phase on digital tools for 3D documentation and enhancement of architectural heritage, the students were invited to participate with their ideas and creative expressions in the dissemination actions of the identified case studies.
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Johnson ; Roni Sugiarto, Javier. "DYNAMICS CONNECTION OF SOUNDSCAPE WITH ARCHITECTURAL ELEMENTS CASE STUDY: THE SEVEN SORROWS OF VIRGIN SAINT MARY CHURCH." Riset Arsitektur (RISA) 3, no. 03 (July 5, 2019): 240–57. http://dx.doi.org/10.26593/risa.v3i03.3334.240-257.
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Abstract- Nowadays, spatial experience still plays important role in the making of the good quality of architectural spaces. The experience of the space is a multi-sensory experience, so architecture should emphasize its attention not only to visual experience but also other experience like auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and The Seven Sorrows of Virgin Saint Mary Church, Pandu Street, Bandung.The research method is qualitative and descriptive analysis. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about church architecture, soundscape, sense of place, intention of architecture, and perception theory.In The Seven Sorrows Of Virgin Saint Mary Church are found quite a lot of source of noise which are considered as sounds that decline the quality of the people spatial experience. The noise sounds that are found there are the sound of airplane, motor vehicle, and many more. Those noises can disturb the praying activity. This indicates that there are some architectural elements that have not been able to work optimally. It can be the material, activity settings, building and site shape or character. Furthermore, relation between activity schedule and noises climax will be analized.Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: Soundscape, Architectural Elements, Church, The Seven Sorrows of Virgin Saint Mary Church
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ChESNOKOVA, D. M. "FOREIGN AND RUSSIAN EARTHEN BUILDING EXPERIENCE." Urban construction and architecture 3, no. 1 (March 15, 2013): 38–44. http://dx.doi.org/10.17673/vestnik.2013.01.7.
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The objects of research are the earth and unfired clay as building materials used for architectural forming. The article shows the research regarding the traditional techniques of foreign and Russian Earthen Architecture, which offers a new development prospective of architecture of different times. The usage of those techniques allowed the construction of energy-efficient houses, which means that in spite of the weather conditions, the living standard in those houses is quite high and at the same time the use of heating and airconditioning systems is minimized. Building technologies and their historical development are viewed.
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Açikgöz, Ece Kumkale. "Uncovering Creativity: Structuring Experience in Architectural Design Studio." Open House International 40, no. 2 (June 1, 2015): 12–21. http://dx.doi.org/10.1108/ohi-02-2015-b0003.
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Structuring the outline for an architectural design studio experience has a significant role in students’ meaningful design experiences. Meaningful experience is related with students’ receptivity and idea generation for the ill-structured problems of architectural design. This identification influences the study, which investigates the application of a model for structuring the design studio experience, organized to occur in two phases; problem reception and problem solving. The model employs a combination of two different techniques with a special focus on reflexivity. It completes the extensions level required for the ICE Approach with the C-Sketch ideation technique by employing their adapted versions for architectural design studio practice. The common features of these techniques are their adaptability to any problem, explication centered and process oriented natures, focus on effective brainstorming and suitability on design teamwork studies. There is a remarkable potential to correlate the results of the two techniques. The model was processed within a vertical design studio at Gazi University, Department of Architecture. It enabled getting use of diverse backgrounds within a design team by structuring the collective design process and optimizing the contribution rates of the team members. The method was employed to guide the design study of the experimental group of two teams with ten members in total. The control group was the randomly selected two teams from other teams that did not apply the model, with eleven members in total. The members of the two groups were applied a semi-structured questionnaire at the end of the semester, with a special focus on the internal consistency within the answers of the members of a single team. The results of the qualitative study indicated that the explication based structuring of the design studio experience has had a positive impact on achieving consistency and coherency in the design processes of the experimental groups.
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Thapa, Rena. "Rhythm in Architecture: an Aesthetic Appeal." Journal of the Institute of Engineering 13, no. 1 (June 22, 2018): 206–14. http://dx.doi.org/10.3126/jie.v13i1.20368.
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It is a discourse that exhibits the presence of rhythm in visual art, especially the architecture that holds strong aesthetic appeal. In this paper, the introduction part focuses on how rhythm generally reinforces aesthetic experiences in human sensory. Rhythm in architecture means recurrence of elements such as lines, shapes, forms or colors resulting on organized movement in space and time. I have taken the best analogy and examples of rhythm present in nature which has been formulated by scientist as Fibonacci number. I have tried to show architectures incorporating rhythm in different epoch of human civilization around the globe that have been popular and remarkable till the date. These architectural monuments have become aesthetic timeless entity, such as pyramids in Egypt, Parthenon in Greece, gothic architecture of medieval Europe, Tajmahal in India, Hindu temples and Buddha stupas in Nepal etc. Similarly modern architecture has been in equal focus in this article despite its unique and functional structures. The paper has been concluded with the strong statement that however the sense of beauty is shaped by cultural experience, rhythm is frequently desired with architectural compositions. These qualities are often universally admired and celebrated irrespective of time and place.Journal of the Institute of Engineering, 2017, 13(1): 206-214
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Thomas, Christopher. "A Historian's Experience of Architectural Collections." American Archivist 59, no. 2 (April 1996): 166–75. http://dx.doi.org/10.17723/aarc.59.2.b18x626645453251.
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Cole, Raymond J. "Architectural experience: the value of diversity." Building Research & Information 33, no. 3 (May 2005): 279–83. http://dx.doi.org/10.1080/09613210500042762.
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Wang, Hongliang. "Discussion on Key Point of Architectural Landscape Design." World Construction 4, no. 3 (September 21, 2015): 27. http://dx.doi.org/10.18686/wcj.v4i3.8.
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<p>With the improvement of people’s quality of life and living environment of the building requirements, architectural landscape design should continue to improve the building use group's satisfaction and increase the intensity of ecological architecture landscape construction, in order to ensure efficiency and utility of architecture landscape planning. This is so that the living personnel can fully experience the beautiful architectural landscape, thereby improving people's satisfaction of the building. Currently, since there is an increasing trend of people’s move towards green ecological direction, and the ecological architecture landscape planning design is becoming important, hence creating the green eco-building environment is the inevitable development direction of architecture landscape in future. Based on work experience, starting from the ecological architecture landscape design principles, this paper will present the key point of current ecological architecture landscape design, in order to provide some ideas for building landscape design development.</p>
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Wang, Hongliang. "Discussion on Key Point of Architectural Landscape Design." World Construction 4, no. 3 (September 21, 2015): 27. http://dx.doi.org/10.18686/wc.v4i3.8.
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<p>With the improvement of people’s quality of life and living environment of the building requirements, architectural landscape design should continue to improve the building use group's satisfaction and increase the intensity of ecological architecture landscape construction, in order to ensure efficiency and utility of architecture landscape planning. This is so that the living personnel can fully experience the beautiful architectural landscape, thereby improving people's satisfaction of the building. Currently, since there is an increasing trend of people’s move towards green ecological direction, and the ecological architecture landscape planning design is becoming important, hence creating the green eco-building environment is the inevitable development direction of architecture landscape in future. Based on work experience, starting from the ecological architecture landscape design principles, this paper will present the key point of current ecological architecture landscape design, in order to provide some ideas for building landscape design development.</p>
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Andjelkovic, Katarina. "Kinesthetic Imagination in Architecture: Design and Representation of Space." Život umjetnosti, no. 106 (November 30, 2020): 22–35. http://dx.doi.org/10.31664/zu.2020.106.02.
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Histories of architecture have long-recognized the vital role of concepts, strategies and principles exchanged between architecture and film, which reconfigured their systems of knowledge and made this relationship rich. Nonetheless, film has been used mainly as an instrument of narration and representation in architecture, only rarely engaged in questioning how it affects the way we understand, think and design space. Some of the most recent architectural design practices have recognized that film, using its specific screen environment, can provide a source of new architectural imagination while contextualizing our kinesthetic experience of space. In this article, I will examine how kinesthetic imagination has informed architectural practice in relation to the established practices of architectural representation.
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Fialho, João Pedro do Carmo. "Railway Station Buildings: An Architect Engineer Experience." Advances in Science and Technology 103 (August 2020): 1–9. http://dx.doi.org/10.4028/www.scientific.net/ast.103.1.
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Innovative Aspects in Design Practice of Railway Stations Buildings Requires to Overcome Difficulties Related, among Others, Permanent Circulation of Trains, Maintenance of Accessibilities, Urban Contextualization, Performance, Economy and Sustainability of Solutions. for this Reason, from the early Stage of Architectural Genesis of a Railway Station Building Design it is Necessary an Understanding of the Essential Problems such as Functional Requirements, Tectonic Elegance and Feasibility of Structures. it is Essential a Broad Understanding of Structural Engineering and Capacity to Appropriate Explanation of the Idealized Solutions to the Structural Partners.In this Context Proposed Paper Intends to Present the Author Experience. Additionally, and Based on the Author's Experience in Teaching Curricular Units within the Scope of Architecture Technologies at the Lisbon School of Architecture, a Reflection is Made about the Importance of the Training Component of Architects in the Area of Structural Systems as an Enhancer of Innovative Architectural Projects.The Projects Presented Correspond to the Author's Activity in Portugal on Railway Passenger Stations Buildings of REFER E.P. Rede Ferroviária Nacional, over the Last 25 Years, as Architect and Structural Engineer Senior Partner in ENARCO, Gabinete De Engenharia e Arquitectura, Lda, in which he Promoted the Study of Projects Establishing a Vision of Synthesis between the Architectural and Structural Concept. these Aspects will Be Discussed through Case Studies of Platform Metallic Sheds Based on the Author Design Experience. the Studies Relate Mainly to Three Levels of Intervention: Rehabilitation of Existing Facilities; Variant Projects; Remodeling of Preexisting Infrastructures. the Design Conditions, the Design Concepts and the Structural Solutions Developed will Be Referred. the Studies are Presented by Chronological Order of Design Conclusion.
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Дудченко, М., M. Dudchenko, А. Попов, and A. Popov. "COLORISTICS AS A FACTOR OF AESTHETIC EXPERIENCE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 4, no. 10 (November 7, 2019): 111–09. http://dx.doi.org/10.34031/article_5db3e5064806a9.03183140.
Full textAbstract:
The article describes the importance of coloristics. Color is an integral part that forms a complete image of the world. It can unite urban ensembles, to bear the emotional and aesthetic burden. Color fills the world with expressiveness. The various functions of light in a person's life help to reveal the concepts of a color phenomenon, which contains a mixture of colors, the theory of color harmonies, manifested in the spiritual and material qualities of being. The color phenomenon is association formed in the consciousness. An important aspect in the formation of architectural space is the color of the object-spatial environment. This is a system that includes the color environment of natural objects and the human made architecture. Creative experience and scientific research in the field of color solutions are used for the successful design of the subject-spatial environment. In architecture, color is manifested in terms of aesthetic and psychological approaches. Any activity to create color solutions of the architectural space aims to meet the aesthetic requirements. In addition, coloristics must consider the function of objects, their design and features of the object concept in order to solve a wide range of issues.