Journal articles on the topic 'Architectural history, theory and criticism'
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1
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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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 146–69. http://dx.doi.org/10.2307/991482.
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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.
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Carpov, Victor V. "Type-Antitype in Architecture." Journal of Interdisciplinary Studies 5, no. 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Carpov, Victor V. "Type-Antitype in Architecture." Journal of Interdisciplinary Studies 5, no. 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Fernie, Eric. "Romanesque Architectural Criticism: A Prehistory. Tina Waldeier Bizzarro." Speculum 69, no. 4 (October 1994): 1120–22. http://dx.doi.org/10.2307/2865615.
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Cellauro, Louis. "IN QUEST OF COMFORT: CARLO LODOLI, THEORIST OF ORGANIC ARCHITECTURE AND FURNITURE DESIGNER." Papers of the British School at Rome 87 (February 26, 2019): 267–307. http://dx.doi.org/10.1017/s0068246218000405.
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Lodoli's subversive doctrine of truth-to-material was the most original and influential aspect of his approach to architecture. His concept of organic architecture, the main focus of this paper, has been less studied and is accordingly less well understood, although it was an important facet of his design theory. Lodoli applied his novel approach most obviously to the design of furnishings, particularly of chairs, but also extended it to architecture in a project for the refurbishment of the pilgrims’ hostel at San Francesco della Vigna, in Venice, the only instance in which he put his architectural ideas into practice. In Lodoli's thinking, great importance was given to the notion of comfort, and in this respect he shared new concerns common among French architects and furniture makers of the Enlightenment. Indeed, his ideas about architecture and design owe much to the influence of the Enlightenment, with its emphasis on reason, truth and universal criticism.
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Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral." Resourceedings 2, no. 3 (November 12, 2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.
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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.
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Kanitpun, Rachadaporn. "Visible & Invisible in Thai Architecture Culture: The Problem of the Reduction & Discourses on Thai Architecture." Journal of Architectural/Planning Research and Studies (JARS) 2 (September 30, 2004): 133–52. http://dx.doi.org/10.56261/jars.v2.168999.
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The Visible and Invisible of Thai Architecture Culture concern with the fundamental problem of theory and concepts developed in contemporary Thai architectural culture. Traditional Thai architecture is characterized as a high gable with elevated terrace, a floor, and a courtyard [1], thus, with this perspective; to be genuine traditional ‘Thai’ architecture is to be constructed within this framework. This notion is, however, needed to be re-thought, and re-defined whether it is enough in the development of contemporary Thai architecture. Since, architecture is a dynamic organization, through built form, which brings together human behavior, sociology, economics, social hierarchical order, etc. [2]. Architecture, therefore, cannot be valued merely at its formal representation. It is, itself, life, unfortunately that along the history of architectural development, architecture is mainly perceived merely as a formal representation and leaves out what have generated those particular built forms. Through this; architecture becomes static which leads to nowhere but a museum where is preserved for spectacles, and separated from everyday life. This phenomena has happened in the development of contemporary Thai architecture in which built form is perceived as passive given seperatecy from social factors which lends its body. Thus, many of contemporary Thai architectures have lost its connection, not with the past but, with its time. This established notion is, also, found in most of the cultural studies in which culture is perceived as static and characterized as a symbol of the state or nation, which could not be changed. It becomes problematic since, as soon as culture is reduced to a merely representation, it looses not only its dynamism, but also its force and power. This paper is mainly concentrated on the construction of ‘Thai’ architecture. Attention is given to: - the social mechanism of the ‘Thais’ – the invisible, - how the invisible effects the construction of architecture, and its organization – the visible, and finally, - how architecture, and its organization, both the intangible (space, volume, proportion, scale etc.), and the tangible (form, wall, roof, floor, ornaments, material, etc.) functions in the construction of ‘Thainess.’ This paper is, however, not intended to criticize, nor to put the question of (Thai) Architecture to the conclusion, but rather it is intended to re-think, re-question, and re-define how architectural functions might be, by deferring a thought to the other fields of knowledge to which it might introduce different notions to the development of theory and concept in contemporary Thai architecture. Although the concentration is on the context of Thai, it is hoped to extend the discussion across the divided line between states and nations to the more broader sense which is what might be the development of theory and concept in architecture also, what architecture can do, to what extent do architectural academic and practices could bring about the value of its creation.
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Benelli, Francesco. "Antonio da Sangallo the Younger's Reactions to the Pantheon:." Journal of the Society of Architectural Historians 78, no. 3 (September 1, 2019): 276–91. http://dx.doi.org/10.1525/jsah.2019.78.3.276.
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In Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism, Francesco Benelli looks at three annotated drawings by Antonio in which he analyzed features of the Roman Pantheon. The architect's analysis of this ancient monument drew on both his close, methodical, and pragmatic investigations of the building and his deep knowledge of Vitruvian theory. Together, the drawings and text represent an unprecedented critique of a building then almost universally admired. Yet Antonio's dependence on Vitruvius, who belonged to a different period of Roman history than did the Pantheon, led to certain discrepancies within his conclusions. Nonetheless, Antonio's study marks a new level of professional confidence, objectivity, and critical detachment among Renaissance architects, as ancient monuments were no longer seen as perfect and unquestionable, but as sources to be praised, criticized, utilized, adapted, or ignored according to the specific needs of modern architectural practice.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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Figueira, Jorge. "Out of the box: Southwards and Eastwards notes on a new geography of criticism." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 184–99. http://dx.doi.org/10.5937/saj1103184f.
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Viewed from the 'Southern Europe', the theoretical/critical debate in the Anglo-Saxon world, in particular the ongoing debate at the American universities is perplexing. It is a world of opulence and loftiness, not in this case on the level of material wealth, but intellectual wealth. If we understand that the omnipresence of 'critical theory' has an inhibitive effect on a sensory relationship with architecture, and that dichotomies such as critical/projective are schematic, the truth is that we need to leave behind atavisms that diminish the approach in 'Southern Europe': the local against the global; the space against the images; the young against the old. Theory and criticism have much to gain from allowing themselves to be provoked by the unknown. I would like to concretize these ideas by revisiting two recent experiences: to the South, Cape Verde, and to the East, Macau. They are border situations of wealth and material prosperity in Macau; and of poverty and obstruction in Cape Verde. How are these territories read and criticized? The architecture we find there is outside the history based on the MoMA. In China one hears the echo of echoes, increasingly. In Africa, one can hear the distant resonance of those echoes. Where are we beyond 'post-criticism'.
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Willis, Alfred. "Review: Frantz Jourdain and the Samaritaine: Art Nouveau Theory and Criticism by Meredith L. Clausen." Journal of the Society of Architectural Historians 48, no. 1 (March 1, 1989): 86–88. http://dx.doi.org/10.2307/990413.
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Cadieu, Morgane. "Afterword: The Littoral Museum of the Twenty-First Century." Comparative Literature 73, no. 2 (June 1, 2021): 237–54. http://dx.doi.org/10.1215/00104124-8874117.
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Abstract The museum, the mausoleum, and the memorial are key concepts for theorizing beaches and ports in twenty-first-century literature and cinema. On the littoral, these constructions suggest the very opposite of a sealed off monumentality to become living museums of women’s labor in modern and contemporary France (Sciamma, Varda), bodily mausolea of migration on the Senegalese shoreline (Diop), and shapeshifting war memorials in Atlantic and Pacific tidelands (Darrieussecq, Rolin, Virilio). Examples of anamorphic seascapes, especially in photography, underscore the reversibility of sand and cement in Japan (Narahashi, Ono), as well as the dereliction of Cuban beach architecture and American industrial harbors (Morales, Sekula). In art as in criticism, the waterfront stages gender and class crossings (Dumont) and tangles fields. The afterword thereby weaves the major threads of the special issue: textures, labor, and ruins; social mobility and migration; marine life, geological time, and the history of sensation.
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Helfer, Rebeca. "“The Death of the ‘New Poete’: Virgilian Ruin and Ciceronian Recollection in Spenser’s The Shepheardes Calender”." Renaissance Quarterly 56, no. 3 (2003): 723–56. http://dx.doi.org/10.2307/1261612.
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AbstractThis essay explores Virgil's influence in Renaissance poetry through the literature's most common trope, that of ruin; specifically, it examines the complexity of Virgilian imitation in Spenser's The Shepheardes Calender through an exploration of its introduction by his anonymous first critic, E.K. Through the topos of ruin, this essay reconsiders Virgil's legacy in the Calender, suggesting that critics have underestimated Spenser's criticism of Virgil's authorial pattern. Rather than reconstructing Virgil's model of cultural transmission — that of ruin and repair—Spenser presents the Ciceronian art of memory as a competing model for the architecture of immortality, for building upon the ruins of the past.
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Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.
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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.
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Myhr, Mity. "Identity, Architecture, and Spirituality: The Ursulines of Bordeaux Decorate a Chapel." Renaissance and Reformation 42, no. 2 (October 24, 2019): 7–50. http://dx.doi.org/10.7202/1065124ar.
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This article examines the Ursuline community in Bordeaux, France between 1606 and 1625. It integrates the community’s social and institutional history with an analysis of their convent’s architecture and devotional practices, an approach that has not until now been taken for women’s teaching orders in France. In 1608 the Ursulines shifted from a secular congregation to a formal religious order. They changed in reaction to community criticism as well as in response to the need for a quiet space in which to practise their religious devotions. After receiving official papal approval in 1618, they decorated their chapel and wrote devotional guides. An examination of their chapel as a public representation of the community’s identity, and of their guides, illustrates the adjustments the Ursulines underwent and the institutionalization of their devotional practices. These transformations enabled the Ursulines to flourish and to play a central role in Catholic reform in Bordeaux and its surrounding regions.
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et al., Ibrahim. "Architectural theory as a tool for architectural criticism necessarily employed for the betterment of architectural education." International Journal of ADVANCED AND APPLIED SCIENCES 9, no. 1 (January 2022): 71–83. http://dx.doi.org/10.21833/ijaas.2022.01.009.
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Criticism, or "to criticize" derives from the Greek krinein meant to distinguish, which is to separate, to silt, to make a distinction. The word "theory" comes from the philosophical Latin term "theoria" meaning spectator, while in modern days means the attempt to decide architectural right and wrong on a purely intellectual base. Pedagogically architecture students participating in a review learn from whoever provides useful criticism benefiting from critiques or reviews. This research in comparison to the ones that went through focuses on Architectural Criticism and Architectural Theory and which one stems from the other, their significance in architectural education in form of crit or review and shows a road map of how reviews are to take place by their different constituents. The purpose of the paper is to see whether the architectural theory is stemming from architectural criticism and whether it’s employed in architectural education. The methodology of this paper depends on both theoretical and analytical studies through three major fields; architectural criticism, architectural theory, and the analytical study of architectural education in form of critique or review. Finally, the paper concludes by linking architectural education mostly in its architectural design projects critique or review form with architectural theory and its dependence upon architectural criticism.
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Baryshnikov, Pavel N. "Mind as Machine: The Influence of Mechanism on the Conceptual Foundations of the Computer Metaphor." RUDN Journal of Philosophy 26, no. 4 (December 15, 2022): 755–69. http://dx.doi.org/10.22363/2313-2302-2022-26-4-755-769.
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This article will focus on the mechanistic origins of the computer metaphor, which forms the conceptual framework for the methodology of the cognitive sciences, some areas of artificial intelligence and the philosophy of mind. The connection between the history of computing technology, epistemology and the philosophy of mind is expressed through the metaphorical dictionaries of the philosophical discourse of a particular era. The conceptual clarification of this connection and the substantiation of the mechanistic components of the computer metaphor is the main goal of this article. The statement is substantiated that the invention of mechanical computing devices, having a long history in the European engineering tradition, formed the prerequisites for the emergence of machine functionalism in the modern philosophy of mind. The idea of multiple implementation stems from the principle that a formal symbol system prescribes rules for the use of rational abstractions through the physical architecture of a computational engine. The article considers the reasons for the conceptual shift and reveals the semantic foundations for the metaphorical transfer of the properties of abstract objects from the theory of automata to the field of modern philosophy of mind. The criticism and ways of protecting the philosophical program of machine functionalism are analyzed by changing the content of the metaphor “Mind as machine”. The reasons for the stability of the information-computer approach in cognitive sciences are also disclosed and explained.
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Holly, Michael Ann, and Tina Waldeier Bizzarro. "Romanesque Architectural Criticism: A Prehistory." American Historical Review 99, no. 3 (June 1994): 889. http://dx.doi.org/10.2307/2167811.
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Prasandya, Km Deddy Endra, and Made Wina Satria. "The Third Typology: The Development of Catuspatha of Denpasar City." Architectural Research Journal (ARJ) 1, no. 1 (May 12, 2021): 8–14. http://dx.doi.org/10.22225/arj.1.1.3298.8-14.
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In Bali, crossroad or pempatan agung is not only seen as a channel of movement. Crossroad or better known as catuspatha in Balinese architecture has sacred meaning and values. In the days of the kingdoms, associated with its status as the center of the royal capital, catuspatha was functioned as the natah of the city. It was the center of citizen activities. Along with the development of times, technology, and the influence of economic, social and cultural factors, the catuspatha was increasingly experiencing development and changes. This study seeks to identify the development and changes of the catuspatha of Denpasar City based on the theory of The Third Typology by Anthony Vidler. The research method used is typical normative criticism which has the belief that buildings and urban areas are always built through a model based on the types of structural, functional, and shape. The results show that The Third Typology also applies to the catuspatha of Denpasar City, where its development and changes can be seen from three typologies, including the first typology which emphasizes natural philosophy, the second typology which is more modernist ideology, and the third typology neo rationalist which emphasizes on continuity of form and history.
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Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 11, no. 2 (December 12, 2021): 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.
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The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.
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Baker, William. "The Education of a Structural Designer." Academia XXII 9, no. 18 (December 18, 2018): 7. http://dx.doi.org/10.22201/fa.2007252xp.2018.18.67937.
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<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>A structural designer needs to be able to create something new. What is the source of these new ideas? They can come from an understanding of technology, a knowledge of history, research and educated inspiration. </span></p><p><span>Not all structural engineers are structural designers, who create work that has structural engineering principles as a central aspect. What does a structural engineer need to learn to be a good structural designer? Structural designers need to understand structural theory, the behavior of materials, mathematics (including a deep understanding of geometry) and the difference between analysis and design. It is import- ant to understand structural failures and learn from what hasn’t worked in the past. They need to learn and understand the history of design and designers and have the ability to make freehand sketches. They need to lose their fear of criticism and learn how to free themselves to create. A knowledge of the history of art and architecture will help spark ideas and provide another basis for communication with collaborators. One challenge for structural designers is to go into unknown territory instead of continuing down the same path, but also to not be afraid of utilizing a known solution and adapting it to the situation at hand. A designer </span><span>needs to learn how to nd or create knowledge through research. </span></p><p><span>The fundamental question is: how can we design the education of engineers to create structural designers? </span></p></div></div></div></div>
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Tavernor, Robert. "Architectural history and computing." Architectural Research Quarterly 1, no. 1 (1995): 56–61. http://dx.doi.org/10.1017/s1359135500000105.
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This paper is based largely on a document presented at a conference celebrating the 25th anniversary of the Martin Centre, held at the University of Cambridge in October 1992. It takes as its point of departure Sir Leslie Martin's essay, ‘Architects’ approach to architecture' (Martin, 1967). Commencing with his argument that ‘intentions and processes’ in architecture are more fundamental than form, this paper questions past attempts at relating history to architectural process, and outlines the potential offered by more recent advances in technology – especially, photogrammetry and the computer – for achieving a more objective and broader base for architectural criticism and consensus.
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Lah, Nataša. "Prilog širenju teorijske domene u povijesnom prostoru povijesti umjetnosti." Ars Adriatica, no. 3 (January 1, 2013): 243. http://dx.doi.org/10.15291/ars.472.
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In the European cultural tradition of the second half of the nineteenth century, the framework of the discipline of art history was outlined through a clearly defined set of boundaries of its research into objects, space and time. By identifying itself as a history of European architecture, painting, sculpture and the applied arts, art history excluded the art of the primitive, Oriental, American and Asian, both early and moredeveloped civilizations from the remit of its research and study (Dilly). However, a scholarly paradigm which was postulated like this could not be applied to the study and assessment of numerous twentieth-centuryartistic practices which were based on the exploration of cultures as systems of discourse and ideology. In other words, a shattering shift within the discipline was caused by the epochal change of what a paradigm is: as suggested by T. S. Kuhn, it is understood as thenormative content of the topic under discussion. Such an understanding of a paradigm indirectly influences scholarly processes because it dictates what is to be researched, which questions are to be asked and how they are to be formulated, and how research findings are to be interpreted. Scholarly interest has turned from a chronological study of the development of artistic styles, schools and movements in the history ofEuropean art towards contextual research into the same topics which are set within a spatial and chronological framework of a series of discontinued revolutions in world views. The difficulty of applying a traditional scholarly apparatus to new models was also transferred in the field of aesthetics, which resulted in a complete rejection of the evaluation of art as judgement of taste, as it was specifically perceived in this philosophical (sub) discipline from Baumgarten (1750) onwards. To some degree, aesthetics was replaced by an interdisciplinaryunderstanding of art theory which developed from various autonomous disciplines which are nonetheless mutually interconnected through their research processes, that is, the social sciences and humanities such as history of art, art criticism, sociology of art, psychology of art, semiotics and semiology of art, philosophy of art and aesthetics. In such a context,our interest is directed towards the understanding of a theoretical field which has been defined as the history of art history, since it outlines the journey of a discipline, in Udo Kultermann’s book of the same name which is on the reading list for the course in art theory in Croatian academic art-historical circles. The study of that section of the book which describes the history of art history in the classical period, has demonstrated that the explanations and conclusions contained in it are in contrast to the explanations and conclusions of prominent art theorians, especially those who studied the history of aesthetics and classical philology. We can note the differences on two levels. The first is the methodology of scholarly research, while the second is based on a different perception of the boundaries of the domain of art-historical theory. Kultermann relies on a strict division with regard to content and methodology between art istory,philosophy (aesthetics) and historiography, and so, following from this, it appears that classical art history almost did not even exist. On the other hand, the theory of art takes into consideration the nature of classical historiographic standards, the aim of which was to provide examples of the normative content of philosophy, that is, the testimonies of its credibility and manifestation. Such an approach takes into account thecontent norms of the preserved classical sources about art, and through it, our perception of the position of art in that period focuses on the theoretical insights which are more encompassing than those encountered in the aforementioned section of Kultermann’s book. Based on this, we suggest that the evaluation of material should follow the methodological standards of art theory in such a way that individual artistic eras are understood and interpreted as historical periods which were unifiedthrough invariable paradigms which were always new and which integrated a large number of artistic concepts and ideas but which, nonetheless, possessed a general value in a specific period. According to Bihalji-Merin, we act like this out of gratitude towards an academicdiscipline which creates an orderly knowledge since the “images which lead us, constructed from a mythical tradition, disperse slowly and instead of them, a critical, human system of thought is formed.” Such aprocess focuses primarily on the revision of a number of hitherto unrevised prejudices towards theory.However, this is not done on the ruins of the historical legacy of art history but on its foundations.
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Williams, Joyce. "Design discourse: History/theory/criticism." Journal of Social and Evolutionary Systems 15, no. 3 (January 1992): 327–31. http://dx.doi.org/10.1016/1061-7361(92)90014-5.
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Ignatova, Irina, and Elena Zubarkina. "Media Criticism in Germany: History and Theory." Theoretical and Practical Issues of Journalism 8, no. 3 (July 16, 2019): 512–23. http://dx.doi.org/10.17150/2308-6203.2019.8(3).512-523.
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The article is dedicated to the study of the history and theory of media criticism in Germany and the importance of the phenomenon of media criticism for the development and successful functioning of the mass media in German-speaking countries. The theoretical preconditions for the development of media criticism in Germany and its historical stages play an important role in understanding the modern institution of media criticism and the mechanisms of its impact on the recipient. Media criticism has existed since the media themselves appeared, and the existence and emergence of new media is always accompanied by positive or negative feedback on them. The development of the media inevitably leads to their criticism. The article considers media criticism as a global criticism of the media and as a study of individual specific phenomena in the media environment. The estimated role of media criticism is recognized by German-speaking researchers as one of the main functions. And it must be understood that media criticism provides an opportunity for a reasoned discussion about the media, without which neither the existence of the media, nor indeed the society as a whole is possible. Media criticism generates an open discussion and thereby contributes to the enlightenment of society. To some extent, setting norms and standards for the quality of journalism, it forms ethical boundaries of communication, both for journalists and for the audience. The stages of development of media criticism in Germany, described in the article, cover the period from the late 1980s to the present. The main subsystems of mass media are considered: television media criticism, media criticism on the radio, in print media, media criticism in the Internet space. Thanks to this, we get a full picture of the formation and development of media criticism in Germany.
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McH., B., and Dominick LaCapra. "History and Criticism." Poetics Today 7, no. 3 (1986): 594. http://dx.doi.org/10.2307/1772526.
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Topolovská, Tereza. "Reading buildings: The textual turn of architecture as a parallel to the spatial turn in literary studiesi." Ars Aeterna 14, no. 1 (June 1, 2022): 58–70. http://dx.doi.org/10.2478/aa-2022-0006.
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Abstract This article seeks to explore the parallels between the spatial turn embraced by contemporary literary theory and the so-called textual turn in architecture. More specifically, links between the contemporary developments of architectural theory and practice and literary criticism are established. In order to highlight the nature and origin of the connection between these two contemporary tendencies, this paper draws on a number of authoritative texts of both literary criticism as well as architectural theory, predominantly within the Anglo-American context. Architecture is presented from the viewpoint of the 20th and 21st centuries, which accentuates its liberation from a purely formal understanding by emphasizing the human involvement in its interpretation. The conception and structuring of physical spaces are therefore regarded as conditioned by processes similar to those involved in the construction of meaning in language and literature. Thus, while literary studies benefits from the extension of its field of study through the inclusion (and contemporary primacy) of the spatial point of view, architectural criticism invites active participation in the construction of its meaning, in other words, its reading. The processes of the mutual influencing and enrichment of both the textual turn in architecture and the spatial turn in literary studies is exemplified by means of contemporary architectural works that embody the synergic relationship of the two traditionally separate fields – (literary) text and architecture.
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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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Stevanović, Vladimir. "Implications of Vattimo's 'Verwindung' of modernism in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 157–72. http://dx.doi.org/10.5937/saj1502157s.
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In the postmodern era, besides new approaches to architectural practice, substantial changes happen in architectural textual production owed to the inflow of the postmodern transdisciplinary theory in architectural discourse. Theorists, critics and historians of architecture gladly use the contribution from philosophy, political sciences, sociology, art theory and literary criticism to categorize and explain postmodern architectural styles or tendencies, no longer unifying them exclusively by means of formalistic aspects dating from the same period. Now, topics and paradigms from various postmodern theories are being implemented and thus created the phenomenon of the translation of a theory into an instrument of architectural purpose. In most cases, theoretical outlooks serve as a cover which the theorists of architecture use to formulate the poetics of architects, proclaim desirable models of reception, and develop the stance on the disciplinary and socio-historical contexts. However, it becomes interesting when the same architectural works of a single or several architects are differently interpreted by different theorists of architecture. The paper examines these premises on a specific example, which is: 1) demonstrated in practice by Catalan architecture of the 1980s; 2) the point of convergence between de Solà-Morales, Rossi and Frampton; 3) underlain by Vattimo's philosophical concept of Verwindung of modernism.
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McParland, Edward. "A bibliography of Irish architectural history." Irish Historical Studies 26, no. 102 (November 1988): 161–212. http://dx.doi.org/10.1017/s0021121400009640.
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What follows is a list — covering items published between 1900 and 1986 — of serious accounts of the history of important architectural projects undertaken in Ireland between the late seventeenth and early twentieth centuries. It is intended to be comprehensive in respect of monographs, collective works and articles in non-Irish periodicals, but in respect of Irish periodicals it is a supplement to Richard J. Hayes, Sources for the history of Irish civilisation: articles in Irish periodicals (9 vols, Boston, 1970). None of the above definitions is rigidly adhered to: much is included which falls outside their limits, but an attempt has been made to include everything that falls within them. The following have not been comprehensively included: (1) Monographs on non-resident architects whose careers, notwithstanding Irish commissions, were mainly abroad, e.g. Robert Adam, G.E. Street, Edwin Lutyens. This is partly because such architects are so numerous (there is evidence of over a hundred British architects having professional contacts with Ireland between 1750 and 1850) and partly because they are already well served bibliographically, e.g. by Howard Colvin, A biographical dictionary of British architects, 1600–1840 (London, 1978); (2) studies of the foreign careers of Irish architects, e.g. James Hoban, Eileen Gray; (3) studies of vernacular architecture (but see entry under this heading in the index); (4) contemporary reviews or criticism of buildings; (5) reviews of books; (6) printed primary sources, such as J.T. Gilbert, Calendar of ancient records of Dublin… (19 vols, Dublin, 1889–1944).
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Petrulis, Vaidas. "Architectural Criticism in Lithuanian Interwar Press: Preconditions of the Phenomenon." Art History & Criticism 17, no. 1 (November 15, 2021): 59–70. http://dx.doi.org/10.2478/mik-2021-0005.
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Summary The main goal of the article is to find out whether a specific genre of architectural criticism was formed in the public discourse of interwar Lithuania (1918–1940), and if so, to define the main tendencies of this phenomenon. After defining the critique of architecture as a public discourse in which, based on theoretical knowledge, reflections on the essence of architecture or evaluations of ongoing urban development and buildings are popularly presented, the article discusses such texts in interwar Lithuania. The publication will acquaint readers with the most creative reviewers of architecture and the thematic variety of publications attributed to architectural critics. The article will also reveal personalised, unexpected assessments of buildings that have already become objects of heritage.
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Brant, Isabel Caldeira, and Maria Lúcia Malard. "The Construction of Architectural Ideas." PosFAUUSP 29, no. 54 (June 10, 2022): e184795. http://dx.doi.org/10.11606/issn.2317-2762.posfauusp.2022.184795.
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This work discusses how ideas are constructed in the design process of architecture projects, identifying what enables their emergence, development, selection and elimination. A qualitative and exploratory research method was used. The basic assumption is that ideas are mainly the result of knowledge, although influenced by subjective factors of the designer: criticism acts as a filter of ideation, thus governing the process of selection and disposal of ideas. Theories, assumptions and arguments of other researchers on the subject of creativity were confronted with the findings presented. This revealed a pattern in the construction of ideas during architectural design processes that puts into question the theory in which ideas arise from the interaction between designers and their sketches.
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Lootsma, Bart. "From pluralism to populism: Architectural criticism in times of the Internet." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 254–69. http://dx.doi.org/10.5937/saj1103254l.
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Architecture has changed from a discipline in service of the larger part of the population through public housing, public buildings, public spaces, urban planning and design to a particular and already in itself disparate niche market of the real estate business that has more to do with the media industry than with public tasks. Architectural criticism has become part of this media industry as well. Thus, Postmodern architecture could flourish as the bastard child of political and cultural populist strategies. Today, architectural criticism finds itself in a deep crisis due to new developments in publishing and it's financing. This also affects Critical Theory. With its background of ideas rooted in Marxism and Enlightenment, Critical Theory seems to have great difficulty with not only the speed of new developments and the unpredictability of their directions, but also with the increasingly dominant irrational but powerful aspects of marketing and propaganda in which it's voice seems no longer heard beyond the walls of the academic ghetto.
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Williams, Carolyn D., and Heidi Hutner. "Rereading Aphra Behn: History, Theory, and Criticism." Modern Language Review 90, no. 1 (January 1995): 147. http://dx.doi.org/10.2307/3733277.
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Cole, Shaun. "Fashion Writing and Criticism: History, Theory, Practice." Costume 50, no. 1 (January 1, 2016): 146–47. http://dx.doi.org/10.1080/05908876.2016.1134896.
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Greer, Germaine, and Heidi Hutner. "Rereading Aphra Behn: History, Theory, and Criticism." William and Mary Quarterly 51, no. 4 (October 1994): 794. http://dx.doi.org/10.2307/2946948.
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Allen, Barbara L. "Rethinking Architectural Technology: History, Theory, and Practice." Journal of Architectural Education 51, no. 1 (September 1997): 3–4. http://dx.doi.org/10.1080/10464883.1997.10734740.
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Budi Santosa, Revianto, Josef Prijotomo, and Murni Rachmawati. "Considering Ephemeral Monuments: Towards a Greener Architectural Theory." Applied Mechanics and Materials 747 (March 2015): 192–97. http://dx.doi.org/10.4028/www.scientific.net/amm.747.192.
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The existence of buildings employing perishable material, however, is often marginalized partly because architecture is primarily understood as permanent structure built to last forever. This notion is heavily supported in Western architectural theory considering “permanence” (or “firmitas” in Vitruvian term) as one of the fundamental characteristics of architecture, especially monumental architecture which is intended to be “eternal”. To construct a permanent architecture, in general, requires greater amount of resources compared to the ephemeral. The marginalization of ephemeral architecture causes the depletion of resources due to the effort to make most of the buildings permanent since only those which withstand the ravage of time are deemed valuable as architecture This paper explores some meaningful pieces of architecture having values of monuments in Java yet they are constructed as ephemeral architecture requiring periodical renewal. The discussion on these ephemeral monuments will focus on the way perishable material is composed, the way renewal actions are conducted and the meaning of the monuments for their people are enhanced by these actions. In the conclusion, some criticism towards mainstream architectural theory is addressed by including ephemerality in the notion of [monumental] architecture so that we may proceed towards greener architectural theory in which the ephemeral has respectable roles.
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Adiyanto, Johannes. "Archi-text-ture: Architecting Through Writing." Architectural Research Journal (ARJ) 1, no. 1 (May 12, 2021): 1–7. http://dx.doi.org/10.22225/arj.1.1.3296.1-7.
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Architecture is often understood as a real and tangible science, in the form of space and form. This understanding is associated with the origin of the word ‘techne’ which refers to the engineering in the construction process of a building, an architectural work. Writing on new architecture developed around 1968, at a time when architectural criticism by Louis Huxtable became known although the form of writing, identification both in pictures and description, had been done since the time of the Roman Empire by Vitruvius and later interpreted by Leon Battista in the Renaissance. This paper describes descriptively several examples and categories of writing about architecture, especially in Indonesia. The study uses an exploratory study approach with reference to the theory of architectural criticism from Attoe’s understanding. The descriptive exploration of this paper shows there are at least four categories of architectural writing in Indonesia, from those aimed at creating architectural narratives to making architectural texts which are then called archi-text-ture in the paper. The paper is not a final paper, because it is the start of a long textual journey, so it is made as an archi-text-ture construction process and to open up opportunities for further interpretation and development
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Zakharyna, Yu Y. "Architectural images of history and culture: contemporary interpretation." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 1 (February 25, 2021): 87–96. http://dx.doi.org/10.29235/2524-2369-2021-66-1-87-96.
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The problem of recreating historical and cultural events and phenomena in architectural images is raised for the first time in Belarusian art criticism. The work is devoted to the scientific understanding of images of modern architectural objects that reflect the theme of history and culture in the context of the simulated environment of society. Images of modern architecture are interpreted from the point of view of reflecting the world picture in their content and visualizing the memory of peoples about the historical past and cultural assets of human civilization. The research is based on an artistic and imaginative concept that allows us to interpret objects of modern architecture in the unity of three principles – as a cultural phenomenon of the digital age, as a cultural and historical phenomenon, as well as a way, form and product of mastering and reflecting reality. The article reveals the peculiarities of interpretation of historical and cultural themes in the imagery of modern buildings. The research focuses on the technological aspect of building modeling in the context of figurative architecture of the digital age. Through the deciphering of parables, the ideas of a person and society about spiritual values are revealed.
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Roth, Michael S. "Cultural Criticism and Political Theory." Political Theory 16, no. 4 (November 1988): 636–46. http://dx.doi.org/10.1177/0090591788016004007.
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Jász, Borbála. "MENTAL MAP OF THE CITY: ELEMENTS OF VISUAL ARGUMENTATION AND CREATIVITY IN MODERN CITY PLANNING." Creativity Studies 11, no. 2 (December 5, 2018): 284–93. http://dx.doi.org/10.3846/cs.2018.6901.
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Lewis Mumford in The City in History (first edition in 1961) emphasises that the structure of modern cities is partially responsible for many social problems seen in Western society. Urban planning should concentrate on an organic relationship between people and their living spaces. The city is a product of Earth, a fact of nature, man’s method of expression, Mumford writes in his The Culture of Cities (first edition in 1938). This also means that both the designer and the user must have a high degree of creativity in order to design and utilise the built environment. By analysing the definition of the city Mumford examines its changes during history from ancient times to recent planning method. He criticises the most dominant design processes of the 20th century: the functionalist and mechanical urban design. He is an advocate of the organic method in planning and understanding cities. The organic approach requires an active and creative approach as opposed to mere passive reception.This organic approach by Mumford to understanding cities is based on the theory of Kevin A. Lynch. We may distinguish 3 normative ways of city planning theory: (1) the cosmic, (2) the mechanic and (3) the organic model.In my paper I will first apply the onion model of culture developed by Geert Hofstede for the city and its analysis, and also for the appearance of creativity in them. After that I am going to examine the city with a special, architectural based mind map theory: the five elements by Lynch. Lynch suggests that these five elements (paths, edges, districts, nodes, landmarks) create the mental map for readability. Finally, I will investigate a usage of mental map in modern city planning (Le Corbusier) and works on the process of “debabelisation” (Otto Neurath). Santrauka Lewisas Mumfordas Mieste istorijoje (pirmasis leidimas – 1961 m.) pabrėžia, kad šiuolaikinių miestų struktūrai tenka dalis atsakomybės dėl daugelio socialinių problemų, regimų Vakarų visuomenėje. Miesto planavimas turėtų būti koncentruojamas į organišką ryšį tarp žmonių ir jų gyvenamųjų erdvių. Miestų kultūroje (pirmasis leidimas – 1938) Mumfordas rašo, kad miestas – tai Žemės produktas, gamtos įvykis, žmogiškosios išraiškos metodas. Tai taip pat reiškia, kad tiek projektuotojas, tiek vartotojas turi būti itin kūrybiškas, idant suprojektuotų ir panaudotų sukurtą aplinką. Analizuodamas miesto apibrėžimą, Mumfordas nagrinėja jo kaitą istorijoje nuo antikos laikų iki dabartinio planavimo metodo. Jis kritikuoja XX a. labiausiai įsivyravusius projektavimo procesus: funkcionalistinį ir mechaninį miesto projektavimą. Jis yra organinio metodo, taikomo miestams planuoti ir suprasti, šalininkas. Organiškas požiūris reikalauja aktyvaus ir kūrybiško požiūrio, priešpriešinamo grynai pasyviam suvokimui.Šis organiškas Mumfordo požiūris, suprantant miestus, grindžiamas Kevino A. Lyncho teorija. Galime išskirti tris normatyvinius miesto planavimo teorijos būdus: 1) kosminį; 2) mechaninį; 3) organinį modelį.Straipsnyje pirmiausia taikomas svogūninis kultūros modelis, kurį miestui ir jo analizei, taip pat jų kūrybiškumo pasireiškimui sukūrė Geertas Hofstede. Paskui nagrinėjamas miestas, pasitelkiant ypatingą, architektūra grindžiamą proto žemėlapio teoriją – penkis Lyncho elementus. Lynchas teigia, kad šie penki elementai (takai, pakraščiai, rajonai, susikirtimo taškai, peizažai) kuria mentalinį reglamentavimo žemėlapį. Galiausiai tyrinėjama, kaip proto žemėlapis naudojamas šiuolaikiniam miestui planuoti (Le Corbusier) ir kokią įtaką daro „debabilizacijos“ procesui (Otto Neurathas).
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Denisov, Nicholas G., and Valery B. Khramov. "INTERNATIONAL TCHAIKOVSKY COMPETITION AS A PHENOMENON OF WEBCAST." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 174–80. http://dx.doi.org/10.17223/22220836/42/14.
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The International Tchaikovsky Competition has been held for sixty years and has become a tradition with an intention to renew itself. An essential aspect of this is the webcast, which, being performed at the highest level, not only develops the established democratic orientation of this competition, but makes the competition a relatively independent artistic event. The empirical base of the research is Internet broadcasting of XV and XVI competitions. Method – a comparative analysis, performed in the context of cultural knowledge. The article analyzes the features of the modern Internet broadcast of the competition, which distinguish it from previous TV and Internet broadcasts. The specific difficulties of shooting musical events related to their duration and the static of what is happening, as well as the resources that were used by the director and operators of "Medici.tv" in the creative solution of these problems, were understood. It is shown that the perception of the online broadcast of the competition is not inferior in terms of artistic criteria to the impression that the listener who attends the concert receives, but this is a different impression, not canceling, but supplementing the traditional one. On this basis, the conclusion is formed that the Internet broadcasting enriches the artistic culture. It provides the audience with new opportunities for creative perception of an artistic work. In addition, the webcast allows the art critic to carry out research on the phenomena of the performing arts at a fundamentally different level, to increase the degree of reliability of the knowledge gained. Previously, the theory of performing arts relied on an unreliable empirical research base: a single viewing and listening to a concert version of a work and memories of it. Webcasting allows multiple viewing and listening, verification of the findings, including through the use of computer programs, which allows one to overcome the degree of subjectivity that is unacceptable for science, which is inevitably present in art criticism, based on the empirical experience of a researcher attending a concert, protects against the accidents of perception that lie in wait for the listener in the concert hall. And the theory of performance objectively becomes on a par with other branches of art history - the theory of painting, architecture, musicology, studying musical notation, etc. The webcast changed the status of the Tchaikovsky Competition. Initially, in 1958, it was conceived and implemented as, first of all, a socio-political event, marking the beginning of the period of the "policy of openness" pursued by the leadership of our country. Thanks to the webcast, the competition has become a completely self-sufficient event - it exists as a “piece of art”, which you can which can be enjoyed again and again, just as we re-read works of classical literature over and over again.
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Birer, Emel. "Critical Reading in Architectural Education." Journal of Design Studio 4, no. 1 (July 10, 2022): 21–37. http://dx.doi.org/10.46474/jds.1060665.
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Architectural production is a text. Texts; while producing the new based on the other, architecture needs, production social life, technology, the geography where it is produced, etc. It is formatted by references before it, as well as elements. Blending this production into architectural education must be carried out adding readings on architectural design conception and teaching the articulated power of the theoretical structure of design. The need to rebuild, reinterpret and reproduce knowledge in the mind of each individual in their own way necessitates the questioning of the need to surpass the centred position that teaches the teaching method of the studio. The aim of this study is to prove the possibility of a method that by incorporating architectural texts and theory books into undergraduate education makes these texts more comprehensible, by demonstrating the contributions of these courses in architectural design studio. In accordance with this purpose a methodology suggestion has been tried to read and understand texts as part of production in architectural education. This methodology is formed by superposing steps towards understanding architectural theory texts through critical reading with learning steps towards transforming the text from conceptual maps to images. This way architectural education is rendered a whole with design and theory altogether and as a result, subjective construction of knowledge defines the key concepts of design studio as criticism and reconstruction.
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White, Linda. "Basque literary criticism: Overcoming theory lag." Journal of Spanish Cultural Studies 1, no. 2 (September 2000): 205–14. http://dx.doi.org/10.1080/713683440.
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Deyong, Sarah. "An Architectural Theory of Relations." Journal of the Society of Architectural Historians 73, no. 2 (June 1, 2014): 226–47. http://dx.doi.org/10.1525/jsah.2014.73.2.226.
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In An Architectural Theory of Relations: Sigfried Giedion and Team X, Sarah Deyong uncovers an important aspect of the theoretical framework underpinning Team X’s work: Sigfried Giedion’s philosophical orientation and aesthetic theories in the late 1940s and early 1950s. Because Giedion is often seen as an old-guard CIAM (Congrès Internationaux d’Architecture Moderne) member that Team X opposed, his contribution to Team X’s design method has been grossly underestimated. Deyong rectifies the link between Giedion and Team X to accomplish two goals. She casts new light on Giedion’s unique contribution to the reinvention of modern architecture at midcentury, and she offers a new interpretation of Team X’s legacy, constructed around missing pieces of the group’s intellectual history. Deyong’s evidence for this argument derives from two archival sources in particular: Giedion’s papers in the Archives of the Institute for the History and Theory of Architecture (gta Archives) in Zurich, and the unpublished transcripts of Team X meetings, housed in the Collection Het Nieuwe Instituut in Rotterdam.
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Bachman, Gregg. "A Review of “Film Moments: Criticism, History, Theory”." Quarterly Review of Film and Video 29, no. 4 (July 2012): 377–79. http://dx.doi.org/10.1080/10509208.2011.646106.
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Radice, Mark A. "Reader's Guide to Music: History, Theory, Criticism (review)." Notes 58, no. 1 (2001): 66. http://dx.doi.org/10.1353/not.2001.0165.
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Dean, Paul. "Current Literature 2000: Literary Theory, History and Criticism." English Studies 83, no. 1 (February 1, 2002): 9–39. http://dx.doi.org/10.1076/enst.83.1.9.9567.
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