Journal articles on the topic 'Architectural representation'
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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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Nayeb, Aslan, and İzzettin Kutlu. "Increasing visual perception in architecture education: An architectural representation study." Visual Inquiry 10, no. 3 (December 1, 2021): 329–43. http://dx.doi.org/10.1386/vi_00058_1.
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Representation is a tool that facilitates the transfer of an idea. Architectural representations not only help differentiate the thoughts that the designer has in his mind, but also create a space where he can simplify what he has in mind when uploading it. This article makes a study on developing visual perception ability by including architecture students in the education process. Representation has become a necessary tool, especially in conveying thoughts. In this study, representation was analysed by architecture students through the five structures designed by Louis Kahn, one of the famous architects of the twentieth century. Students were asked to discover the remarkable features of buildings and produced 15 × 15 cm2 architectural representations. As a result, the student’s perception of these buildings increased significantly and provided lesson hours to be more productive while creating architectural representations.
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Kaufman, Edward N. "Architectural Representation in Victorian England." Journal of the Society of Architectural Historians 46, no. 1 (March 1, 1987): 30–38. http://dx.doi.org/10.2307/990143.
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Victorian architectural theorists believed that buildings were capable of conveying meanings in a direct and precise way, rather like books, paintings, or even orators. These meanings were understood to refer to things outside the building: architecture was thus conceived to be a representational form of art. This essay explores some of the consequences of this view. What subjects did Victorian buildings represent, and how did they do so? What criteria determined a building's adequacy as a representation? How, finally, did the demand for representational content shape the central Victorian concept of architectural truth?
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Baraona, Phillip, and Perry Alexander. "Abstract Architecture Representation Using VSPEC." VLSI Design 9, no. 2 (January 1, 1999): 181–201. http://dx.doi.org/10.1155/1999/95465.
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Complex digital systems are often decomposed into architectures very early in the design process. Unfortunately, traditional simulation based languages such as VHDL do not allow the impact of these architectural decisions to be evaluated until a complete, simulatable design of the system is available. After a complete design is available, architectural errors are time-consuming and expensive to correct. However, there is an alternative to simulation based techniques: formal analysis of abstract architectures at the requirements level. This paper describes VSBEC'S approach for defining and analyzing abstract architectures. VSBEC is a Larch interface language for VHDL that allows a designer to specify the requirements of a VHDL entity using the canonical Larch approach. VHDL structural architectures that instantiate VSPEC entities define abstract architectures. These abstract architectures can be evaluated at the requirements level to determine the impact of architectural decisions. This paper briefly introduces VSPEC provides a formal definition of VSPEC abstract architectures and presents two examples that illustrate the architectural definition capabilities of the language.
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Wang, Xue Yong, Bo Zhou, Wen Dong, and Jing Wei Gong. "Modern Representation of Traditional Architectural Style." Applied Mechanics and Materials 584-586 (July 2014): 272–75. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.272.
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Based on the architectural design practice of Peach Blossom Valley Traffic Control and Training Center, this paper probes into several key points of modern architecture creation from the aspects of local cultural context, adaptation to local conditions, traditional signs and architectural style, etc., emphasizing that traditional local architectural culture should be inherited and developed in the modern architecture design.
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Luo, Jin Ge, and Fei Hu Chen. "Symbolic Representation of Indigenous Architectures in Meishan Region." Applied Mechanics and Materials 357-360 (August 2013): 168–71. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.168.
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The regional expression of architecture is a hot topic in the field of architectural research. The symbolic representation of architectures is the key technique of expression of regional architectures and indigenous culture. Based on a case study of Meishan Cultural Park, this paper discussed the features of symbolic representation and its function in the protection and transition of regional culture and architectures.
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Rahman Wahid, Arif, and Paramita Atmodiwirjo. "Storyboard as a Representation of Urban Architectural Settings." SHS Web of Conferences 41 (2018): 07004. http://dx.doi.org/10.1051/shsconf/20184107004.
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Narrative, as one of the closest aspect to human experience, is sometimes overlooked because of its subtlety with everyday life. The study of its representation, narratology, discusses the manner of selling space and time as a series of interconnected events instead of independent occurrences. It offers an interesting view in rethinking architecture, in particular, its representations. In architectural education, dialogue between the two fields will change the way the next generation architecture graduates tell their ideas. Current architecture schools should not be looked as factories that produce only future architects. It is proven by the fact that some, if not most, graduates will have jobs other than professional architects. They may work as set designers, filmmakers, artists, or invent their own field. Architecture schools, at their best, are more about how to ensure the students can perform spatial thinking and expressing their ideas through representation. All of these circumstances lead to the importance of multidisciplinary discourse in architecture education. This paper aims to explore the potential of storyboarding practice in Basic Design 2 studio as part of architectural education at University of Indonesia. Adopting a narrative element, storyboard in this studio is used to read urban architectural settings and retell everyday life events; scene by scene, unfold in space and time, through different kinds of creative representations. By doing this exercise, the students ‘sense of spatial arrangement is developed by their understanding of position and orientation of objects settings. They also learned about how the time works; both in compressed or expanded ways. Decision-making in choosing the key events within the storyboard plays a role in making engaging visuals. In conclusion, storyboarding exercise to represent urban architectural settings will enhance the students ‘sensitivity of space, time, and how their ideas are being told by making a rich, multi-layers of narrative.
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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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Perez-Gomez, Alberto, and Louise Pelletier. "Architectural Representation beyond Perspectivism." Perspecta 27 (1992): 20. http://dx.doi.org/10.2307/1567174.
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Vroman, Liselotte, and Corneel Cannaerts. "Other Perspectives: Extending the Architectural Representation." Research in Arts and Education 2022, no. 2 (December 22, 2022): 12–24. http://dx.doi.org/10.54916/rae.122983.
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This paper discusses how the tension between arts and science inherent in the discipline of architecture, can be traced in architectural representations, which are not neutral but actively contribute to the design process, ranging from highly poetic, subjective, and artistic to more exact and objective. Within this paper, we reflect on how to overcome this restrictive perspective implicit in conventional design media by comparing two elective courses that aim to broaden the traditional architectural perspective. In doing so, we take a position in the broader debate on the role of artistic practices within an academic learning environment.
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GOIKOETXEA, AMBROSE. "A MATHEMATICAL FRAMEWORK FOR ENTERPRISE ARCHITECTURE REPRESENTATION AND DESIGN." International Journal of Information Technology & Decision Making 03, no. 01 (March 2004): 5–32. http://dx.doi.org/10.1142/s0219622004000623.
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This paper presents a new mathematical framework for the representation and design of enterprise information architectures (EIA), also known as simply enterprise architectures (EA). Set theory is used to represent an EA as an 8-tuple consisting of a set of requirements, a set of business processes, a set of business systems, a set of data elements, a set of applications, a set of technologies, a set of constraints and business rules, and a set of architectural metrics and their values. These sets are then used to represent their respective architectural views, i.e. the Business Process Architectural View, the Business Systems Architectural View, etc. Next, it is shown that these multiple architectural views are all subsets of the same design point in the resource space. Design considerations leading to a Pareto efficient design point are discussed. Finally, the concept of Pareto design optimality is illustrated with one example in aircraft design and one example in database 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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Maller, Alexander. "Towards a critical architectural representation." Design Studies 12, no. 2 (April 1991): 67–72. http://dx.doi.org/10.1016/0142-694x(91)90047-z.
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Kavas, Kemal Reha. "Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture." Journal of Human Sciences 14, no. 4 (November 13, 2017): 3472. http://dx.doi.org/10.14687/jhs.v14i4.4758.
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Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive. While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.
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Di Mascio, Danilo, and Yvette Putra. "Traditional and Digital Representations of Atmosphere in Architecture. A first systematisation." SHS Web of Conferences 64 (2019): 01004. http://dx.doi.org/10.1051/shsconf/20196401004.
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In architecture, atmosphere and its many implications have, in recent years, received increased attention. This paper considers atmosphere in architectural representation, and begins with an exploration of different definitions of these atmospheric representations. This paper then identifies and summarises representations of atmosphere in architecture and their key aspects, and proposes, in the form of a timeline, a preliminary systematisation of these aspects. This paper considers both traditional and digital representations of atmosphere in architecture, and focuses on aesthetic and emotional qualities of atmosphere. Thus, this paper is not limited to realistic and scientific approaches of atmosphere as meteorological conditions, but extends to atmosphere as emotions and mood. This paper also suggests cross-fertilisation, in the representation of atmosphere, between architecture and other fields. Therefore, while this paper explores atmospheric representations in architecture, it establishes its discussions by crossing disciplinary boundaries. It is anticipated that this paper will encourage further research, including recommendations for negotiating the apparent incompatibility of traditional and digital representations, to maintain qualities characterising well-known examples from the past.
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Dragisic, Maja, and Andjelka Bnin-Bninski. "The application models of the topological principle of continuous deformation in the architectural design process." Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 453–64. http://dx.doi.org/10.2298/fuace161115035d.
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Architecture and geometry share a mutual history, and their relationship precedes the introduction of digital and computer technologies in architectural theory and design. Geometry has always been directly related to the modalities of thinking in architecture through the problems of conceptualisation, representation, building, technology. Through the historical overview of these two disciplines, it is possible to perceive direct influences of geometry on the architectural creative concepts, formal characteristics of architectural works, structural aspects, and building methods in architecture. However, the focus of this paper is not on the representation of historical intertwining of these two disciplines, which is indisputable, it is on the attempt to represent one specific bond between topology and architecture, firstly through the explanation of the principle of continuous deformability, and secondly through the representation of the models through which the principle occurs in the architectural design process, as well. The first part of this work will introduce and analyse the transition of concepts of continuity and deformability, from mathematical topology through philosophy to architecture, while the second part of the work will explain two models in detail, formal and systematic, through which the principle of continuous deformation is applied in certain architectural design practices. Overall, this work deals with the interpretation of the principle of continuous deformation in architecture and it shows in which way the architectural discourse changes the meaning of a mathematical-philosophical notion and turns it into a design methodology of its own. The subtlety of the question Bernard Tschumi asks about space illustrates the need to thoroughly investigate interdisciplinary relation between architecture, philosophy, and mathematics: ?Is topology a mental construction toward a theory of space?? (Tschumi, 2004, p.49)
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Colonnese, Fabio. "Figuration as Participation. Notes on Álvaro Siza’s Architecture as Representation." Enquiry A Journal for Architectural Research 15, no. 1 (September 4, 2018): 1–24. http://dx.doi.org/10.17831/enq:arcc.v15i1.443.
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Although in the wake of the Modern Movement tradition, Álvaro Siza Vieira’s architectural research moves along the thin red line between abstraction and representation. The apparent arbitrariness of some of his compositions, widely analyzed in typological and social key, is primarily an expression of his attention to the moving subject that never translates into illusory devices. Yet, in the last two decades of the 20th century, anthropomorphic and zoomorphic presences began to haunt his architectures, addressing to new meanings. The keys to understanding this phase of Siza’s creative trajectory reside in his hypertrophic graphic activity, in his production as a designer and, most of all, as a sculptor. On one hand, his sketches reveal the tension and negotiation between architecture body and human body, which to some extent constitute the extremes of his formal investigation. On the other hand, his objects and sculptures result as intermediate moments of experimentation and clarification by responding the ergonomic demands through the semantic economy of objet trouvée. Through them, Siza’s architectural anthropomorphism can be interpreted as a moment of transition towards an architecture parlant, which relies on the connotative participation of people to put in scene no longer figures or characters but interactions and feelings: the opportunity of a meeting.
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Kostić, Miloš. "Post-tectonic translations: Decoding poetics of architectural detail." SAJ - Serbian Architectural Journal 12, no. 3 (2020): 85–101. http://dx.doi.org/10.5937/saj2002085k.
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The research discusses the phenomenology of drawing details in architecture, approaching the drawings as a medium that carries poetic and technical aspects of architectural design and building. With digital technology advancements, a whole new set of terms and practices appeared that can be related to the changed notion of detailing in architecture. Addressing the problem of translation of architectural concepts into material practice, the research proposes a method for decoding the aspects of poetics of construction by overcoming the conventional representation techniques related to construction drawing, and introduces the combination of methods of interpretative 3D modelling and digital assemblage. By using tectonic theory as a theoretical framework, the research aims to define a new post-tectonic standpoint that can offer a unique perspective on the relation between design process, production and representation in architecture in the current moment. The new perspective outlines the poetical protocols in individual conceptual narratives of the selected authors, approaching the details in their work as a form of representational discursive images that could be interpreted as a microscale of macro ideas in the field of architectural design. The method of research is interpretative modelling that combines the analogue and digital techniques, and analytical drawings of the examples related to the discussed topic. By combining the digital and analogue approach, the aim is to offer a new perspective in the form of the dialectical model for interpretation of architectural detail that could offer new insights into contemporary tectonic discourse through which variant states of the poetical and technical design thinking could be decoded.
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Tepavčević, Bojan. "Design thinking models for architectural education." Journal of Public Space 2, no. 3 (December 9, 2017): 67. http://dx.doi.org/10.5204/jps.v2i3.115.
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<p>Technology advancements have profound impact on design thinking in architecture, professional practice and architectural education. New models of representation, along with computational design thinking and innovative approaches in digital fabrication bring new demands for the rethinking of educational pedagogy for the new generation of architects in the digital age. While learning by making has been deeply rooted in the process of architectural education, digital modes of design, representation and manufacturing reconcile the dual nature of design process that has traditionally oscillated between drawing and making, visual and material. In this paper, the relationship between making process in design-led research and other aspects that challenge architectural education are analyzed and described. Along with emerging trends in this topic, current design-led research position and strategies at some Australasia schools of architecture are presented.</p>
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Kostić, Miloš. "Semiotics of architectural: Detail between rationalisation and representation." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 59–70. http://dx.doi.org/10.5937/saj1801059k.
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The aim of this paper is to discuss the realm of values upon which thoughts on architecture have been conceived, through the drawings of architectural detail. Although modernism, which opposes technical detail and ornament, is still regarded as influential theoretical position, it neglects to address a broader meaning of a detail in architecture. The research disputes the opposition between an ornament and a technical detail, claiming that a detail in architecture is the more abstract term, which represents a certain level of design thought besides utility and embellishment. It is argued that both modern and traditional values from different aspects of societal and cultural activities, as for their changes were being referenced to the micro level of architecture, transforming the way of their presence through different visual representations of detail along the history and theory of profession. In this paper, the small-scale drawings are used as a medium a medium which reflects transdisciplinarity of the profession and its entanglement with the knowledge and dynamics of other fields of human activity such as philosophy, economy, religion, engineering, and arts.
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ASAR, Hande, and Pelin Dursun ÇEBİ. "PERSONAL NARRATIVES IN ARCHITECTURAL REPRESENTATION: MIXED STRUCTURED REPRESENTATIONS AND THEIR DISCOURSES." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 14 (2018): 0. http://dx.doi.org/10.17365/tmd.2018.2.4.
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Kovac, Vladimir. "Architectural drawing in the process of visual research: The new school concept of the representation of space." Spatium, no. 35 (2016): 54–62. http://dx.doi.org/10.2298/spat1635054k.
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The viewpoint of architect Djordje Petrovic on drawing as a research process, driven by his work at the Faculty of Architecture, University of Belgrade within the field of architectural drawing, is to be taken as a starting point for the analysis of the process of visual representation of architectural space in this paper. The analysis is primarily focused on the relevant period from the beginning of the seventies, when the concept of the New School was formed, and Petrovic introduced the concepts of visual research and visual communications to the curriculum, in his reassessment of the role of architectural drawings as a purely technical and information resource. The basic methodological question concerns the interpretation of the concept of visual research, conducted within the reformed curriculum, as well as its position in the then socio-cultural context and in relation to the actual practice of the time and the period that preceded it. Looking at the drawing as a powerful means of representations of space, the paper discusses architectural discourse determined by architectural drawing as the product of social and theoretical practice, similar to the hypothesis of Henri Lefebvre, presented in his work The Production of Space.
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Manes, Sergio. "Architectural Representation Software: A Design Tool." International Journal of Architectural Computing 2, no. 3 (September 2004): 403–21. http://dx.doi.org/10.1260/1478077043505432.
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Riahi, Pari. "Expanding the boundaries of architectural representation." Journal of Architecture 22, no. 5 (July 4, 2017): 815–24. http://dx.doi.org/10.1080/13602365.2017.1351671.
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Flemming, Ulrich, and Zeyno Aygen. "A hybrid representation of architectural precedents." Automation in Construction 10, no. 6 (August 2001): 687–99. http://dx.doi.org/10.1016/s0926-5805(00)00086-8.
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Markovic, Cedomila. "Founder’s model: Representation of a maquette or the church?" Zbornik radova Vizantoloskog instituta, no. 44 (2007): 145–53. http://dx.doi.org/10.2298/zrvi0744145m.
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The text deals with some terminological problems concerning the so-called founder?s model. Although it is commonly used to designate the depicted architecture in the hand of the church founder, the expression 'founder?s (ktetor?s) model' is often confusing and misleading. The main question is whether the Byzantine architects used actual model/maquettes for constructing their churches and if so, could these models/ maquettes have been used for the architecture depicted in founders? portraits? In other worlds is the representation in the donor?s hand the image of a built church or its maquette, produced as a project model? The different aspects of the problem we analyzed - the legal, technical and symbolic functions of these representations support our assumption that the architectural design model/maquette did not serve as a specimen for representations of architecture on founder?s portraits. This specific type of architecture depicted was created after the building itself was completed.
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Asar, Hande, and Pelin Dursun Çebi. "Layering in representation: Rethinking architectural representation through Perry Kulper’s works." A/Z : ITU journal of Faculty of Architecture 17, no. 3 (2020): 141–53. http://dx.doi.org/10.5505/itujfa.2020.27879.
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Kouzeleas, Stelios. "SCIENTIFIC IMPACT OF ARCHITECTURAL INDOOR AUGMENTED REALITY 3D DIGITAL REPRESENTATIONS." International Journal of Advanced Research 10, no. 02 (February 28, 2022): 425–32. http://dx.doi.org/10.21474/ijar01/14219.
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This paper focuses on the scientific impact of 3D digital spatial representations in indoor architectural buildings via Augmented Reality (AR) techniques. These 3D spatial representations refer to both changes of proposed structures, design and collaboration process, guiding visitors experiences, simulations of interdisciplinary information, as well as architectural design, building geometry and modeling process in AR environment. It analyses only the scientific impact of these 3D representations aspects, highlights the innovative representation aspects and quotes main limitations and perspectives.
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Prince, Nandi. "Women of Colour and Black Women Leaders are Underrepresented in Architectural Firms Featured in Key Trade Publications." Evidence Based Library and Information Practice 17, no. 3 (September 19, 2022): 138–40. http://dx.doi.org/10.18438/eblip30180.
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A Review of: Mathews, E. (2021). Representational belonging in collections: A comparative study of leading trade publications in architecture. Library Resources & Technical Services, 65(3). https://journals.ala.org/index.php/lrts/article/view/7486 Abstract Objective – To measure how well women are reflected, specifically women of colour, in architectural trade publications. Design – Quantitative diversity audit. Setting – Architecture field. Subjects – Architectural firms whose work appeared in four trade publications (Architectural Record, Architectural Review, l’Architecture d’Aujourd’hui, and Detail) in 2019. Methods – A diversity audit was selected to analyze the representation of various subsets of women within the architecture core collections. The Avery index was used to identify architectural firms featured in four trade publications. The quantitative study collected demographic data from 354 firms, featuring 726 women. Within these firms, the author sought to identify women leaders and how many of those were women of colour. The author then used four guiding questions to analyze the journals: (1) individual journals’ coverage; (2) size of the firm; (3) type of firm, and (4) firms which issued a statement in support of the Black Lives Matter Movement and the likelihood of a woman of colour being in a leadership role. Main Results – The key results for the studies guiding questions were: (1) the overall average of women leaders in the firms covered in the journals was 24% and for women of colour 6%. Architectural Record featured the highest proportion of firms with women in leadership roles (28%) and those with women of colour as leaders (9%); (2) women leadership was higher in smaller firms (large 24%; medium 20%; small 31%) as was women of colour in leadership (large 3%; medium 6%; small 9%); (3) insufficient data was found for meaningful analysis of the representation of women according to specialization within the architectural field; and (4) the firms that issued clear BLM statements were highest in the US (15%) overall. Architectural Record, a US publication, featured the highest percentage of firms that made clear BLM statements (27%). Conclusion – The study concluded that there was an underrepresentation of women, women of colour, and Black women in architectural trade publications. The author’s position is that collection development practices should adequately reflect the library users they serve with acquisition actions that increase a more equitable representation. The author stated that the practical implications for this study fall under the rubric of remediation in the following areas: (1) balance inequities in architectural programs by increasing enrollment of women; (2) identify collections which lack inclusivity, balance them with curated electronic resources; and (3) collection policies should reflect readership and encourage a sense of professional belonging. In future studies, the author acknowledges that a qualitative study based on responses from architects would complement the current study.
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Mirza, M., Y. Harahap, Yandi Andri Yatmo, and Paramita Atmodiwirjo. "Reading Architecture: Explorative Text-ual Reception for Architectural Education." SHS Web of Conferences 41 (2018): 04010. http://dx.doi.org/10.1051/shsconf/20184104010.
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This paper discusses how reading is central to the architectural practice and how it carries an immense potential for design method, it is further argued that an act of reading is important to be introduced and learned in the architectural education institution within which students learn and develop various design methods. Accordingly, to this importance, this paper proposes a discussion toward various examinations of reading of various types of text. Stressing the discussion toward the conception of reception, interpretation, and representation, this paper aims to disclose the potential of the textual reading for design development by dismantling a range of exploratory reading acts, from literal act of reading to a developed act of reading, each of which positioned text as an event rather than an object. Each of the acts of reading ex Amined in the study takes a role as a process of creative analysis and interpretation which results in a representation of received knowledge.
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Koca, Duygu. "The Dilemma of Representation Through Facades." Open House International 41, no. 1 (March 1, 2016): 6–13. http://dx.doi.org/10.1108/ohi-01-2016-b0002.
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The exterior surface of a building -façade- as a communicative ground reflects the burdened meaning of its structure. Besides communicative capacity of façade, its independency, individuality and image dominancy can define exterior surface as an autonomous architectural element in terms of both physical and moral freedom. However, in the twenty-first century, this autonomy has undermined by globalization, technology and communication tools which are among the rapidly increasing activities of the century. Location of architecture in economic transactions and financial market has caused a loss in its internal dynamics and value system. The endeavor of providing the visual appeal only through the façade formation has caused the transformation in the dependency of exterior surface being devoid of content and context. The surfaces have been treated as changeable and renewable advertisement grounds concentrating on the visual appeal of the product, whether the aim is marketing, advertising or commercializing. Thus, the link between architecture and social structures has weakened through the commodification of the end product. In this framework, aim of this paper is (a) to make the description of façade, (b) to define the autonomy of façade through its physical and moral independency by examining cases and (c) to put forward a logical argument on the aspects which make façade an element pursuing only the visual pleasure by oversimplifying its significance in the generation of architectural idea.
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Cassen, Serge, Laurent Lescop, Valentin Grimaud, Guirec Querré, and Bruno Suner. "In search of a representation of the Gavrinis megalithic tomb (Morbihan, France)." Virtual Archaeology Review 4, no. 8 (November 20, 2015): 61. http://dx.doi.org/10.4995/var.2013.4319.
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<p>Gavrinis, on the estuary of the river Vannes (Brittany, France), is known for the extraordinary abundance of engravings preserved on the monolithic wall pillars and capstone. Our objective is to re-qualify these representations using a new frame of reference, based on a new corpus of engraved signs, including their architectural context and position in the volume of the rock. Recording of the topographical, archaeological, petrographic and acoustic data of the cairn and the passage grave provides a representation of both architecture and engraved and painted signs</p>
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Hosseini, Seyed Vahab, Usman R. Alim, Lora Oehlberg, and Joshua M. Taron. "Optically illusive architecture (OIA): Introduction and evaluation using virtual reality." International Journal of Architectural Computing 19, no. 3 (May 21, 2021): 291–314. http://dx.doi.org/10.1177/14780771211016600.
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Architects and designers communicate their ideas within a range of representational methods. No single instance of these methods, either in the form of orthographic projections or perspectival representation, can address all questions regarding the design, but as a whole, they demonstrate a comprehensive range of information about the building or object they intend to represent. This explicates an inevitable degree of deficiency in representation, regardless of its type. In addition, perspective-based optical illusions manipulate our spatial perception by deliberately misrepresenting the reality. In this regard, they are not new concepts to architectural representation. As a consequence, Optically Illusive Architecture (OIA) is proposed, not as a solution to fill the gap between the representing and represented spaces, but as a design paradigm whose concept derives from and accounts for this gap. By OIA we aim to cast light to an undeniable role of viewpoints in designing architectural spaces. The idea is to establish a methodology in a way that the deficiency of current representational techniques—manifested as specific thread of optical illusions—flourishes into thoughtful results embodied as actual architectural spaces. Within our design paradigm, we define a framework to be able to effectively analyze its precedents, generate new space, and evaluate their efficiencies. Moreover, the framework raises a hierarchical set of questions to differentiate OIA from a visual gimmick. Furthermore, we study two OIA-driven environments, by conducting empirical studies using Virtual Reality (VR). These studies bear essential information, in terms of design performance, and the public’s ability to engage and interact with an OIA space, prior to the actual fabrication of the structures.
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Piantá, Cláudia, and Costa Cabral. "Zoom-In, Zoom-Out: Architectural Scale and Digital Technology." International Journal of Architectural Computing 5, no. 3 (September 2007): 523–34. http://dx.doi.org/10.1260/147807707782581819.
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This paper aims at contributing to the study of the relationship between technology, knowledge and representation. It is based on previous studies on architecture, art and technology in modernity and its development, as well as on studies about scale in architectural design. In despite of the fact that scale can be technically considered indifferent for computer-aided design, I intend to discuss how digital tools intercede in the process of clipping that selecting a specific scale eventually implies sustaining that, for architectural design, the concept of scale has to do both with representation and with knowledge of reality.
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Wen, Yi Feng. "Architectural Model of Universal Structure: Light, Material and Natural Elements in Architectural Symbol and Aesthetics." Applied Mechanics and Materials 174-177 (May 2012): 1804–11. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1804.
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This paper discusses abstract and empathy roles of physical elements in architecture. The earliest palace was constructed as representation of "universal structure", and architecture was the first model of universe. Therefore, light, material and natural elements in architecture have fundamental significance and aesthetic importance as symbol of universal structure. This paper discusses the thought of natural elements in both eastern and western culture, and summarized basic metaphorical meanings of light, material and natural elements as architectural symbols and aesthetic images. The conclusion is that architectural thinking about the material is values reason and ontology which is different from that of engineering mechanics concerning tool reason. The light, material and natural elements in architecture have archetype significance beyond cultural differences.
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Ahmed, Ehab Nasr Elden Mohamed. "ISLAMIC ARCHITECTURAL CHARACTER (BETWEEN LEGITIMACY AND DISPARITY)." Journal of Islamic Architecture 3, no. 1 (September 2, 2014): 25. http://dx.doi.org/10.18860/jia.v3i1.2537.
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Despite the cultural background similarity of Arab Islamic architects’ seniors and pioneers, and the existence of<br />constants representing legitimacy, the final architectural product varies depending on the individual creativity<br />in relating the architectural elements, either elements that pertain to the identity representation of the<br />inherited architecture or elements pertain to the identity representation of the Arab Islamic contemporary<br />architecture product. That created a specific style for each architect according to the degree of their<br />conclusions, investigation’s strategy of traditional roots in their products and works, which are often<br />associated with certain values and the ambit of their interest to represent the identity of contemporary Arab<br />Islamic architecture. In addition to the existence of two main strong motives, the need for affiliation and the<br />need for distinguishing oneself and diversity, in parallel with the presence of the methodological pluralism for<br />every Muslim architect.
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WATANABE, Shun, and Hitoshi WATANABE. "KNOWLEDGE REPRESENTATION MODEL FOR ARCHITECTURAL DESIGN SYNTHESIS." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 443 (1993): 71–78. http://dx.doi.org/10.3130/aijax.443.0_71.
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de la Fuente Suárez, Luis Alfonso. "The Immaterial and Atmospheric in Architectural Representation." International Journal of Visual Design 10, no. 4 (2016): 1–15. http://dx.doi.org/10.18848/2325-1581/cgp/v10i04/1-15.
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Anderson, Alex T. "On the Human Figure in Architectural Representation." Journal of Architectural Education 55, no. 4 (May 2002): 238–46. http://dx.doi.org/10.1162/104648802753657941.
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Núñez Andrés, Mª Amparo, and Felipe Buill Pozuelo. "Evolution of the architectural and heritage representation." Landscape and Urban Planning 91, no. 2 (June 2009): 105–12. http://dx.doi.org/10.1016/j.landurbplan.2008.12.006.
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Akin, Omer, and Hoda Moustapha. "Strategic use of representation in architectural massing." Design Studies 25, no. 1 (January 2004): 31–50. http://dx.doi.org/10.1016/s0142-694x(03)00034-6.
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Kühn, Christian, and Marcus Herzog. "Modelling the representation of architectural design cases." Automation in Construction 2, no. 1 (June 1993): 1–10. http://dx.doi.org/10.1016/0926-5805(93)90030-2.
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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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Preišegalavičienė, Lina. "NATIONAL REPRESENTATION IN THE CONSTITUENT SEIMAS (PARLIAMENT) INTERIOR BY VLADIMIR DUBENECKY (1924) / TAUTINĖ REPREZENTACIJA VLADIMIRO DUBENECKIO STEIGIAMOJO SEIMO INTERJERE (1924 M.)." Mokslas - Lietuvos ateitis 3, no. 3 (June 7, 2011): 115–23. http://dx.doi.org/10.3846/mla.2011.060.
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Russian-born painter and architect Vladimir Dubenecky (1888–1932) is well known in Lithuania because of valuable architectural legacy created during his living and working in Kaunas in 1919–1932. The aim of the discussion is to open less known side of V. Dubenecky creative work – public interior design. Until now it is little examined theme, so this article will extend the approach to well-known artist’s architectural works, thereby creating additional material for the history of Lithuanian interiors. Only one part of representativeness aspect is discussed in this article, that is the national representation. The representative interior project of the Constituent Seimas, Parliament, (1924) is chosen for the study because of that. The Parliament’s interior project was focused on the conference room equipment and furniture design. Meanwhile the discussion of the design project is studied how the past architectural styles and folk art had been creatively remade in order to create the new style, which was named as National Style during the interwar period. The creative origin of the National style is discussed as well and it is supposed that the National Style started as a continuation of Art Nouveau and a little later it became the part of Art Deco. The National Style worked in order to fulfill one of the main tasks of the interior desig – national representativeness. Inspite of the National Style was widely promoted during the interwar period, other different kinds of representation existed as well: political representation, representation of modernity, representation of power. Several other inter-war Lithuanian representative interiors are mentioned in the article as examples for comparison the different types of representation. They are the Cabinet of Minister’s and the Museum of Vytautas the Great.
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De Masi, A. "STRATEGIES OF DIGITAL KNOWLEDGE’S REPRESENTATION: FROM DE-MORPHOGENESIS AT MSH-BIM. OPTICAL, THEATRICAL ILLUSION AND PERSPECTIVE IN THE NEAPOLITAN SCHOOL’S ARCHITECTURE DRAWING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-4/W18 (October 18, 2019): 305–14. http://dx.doi.org/10.5194/isprs-archives-xlii-4-w18-305-2019.
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Abstract. The study illustrates the architectural-scenographic construction and drawing techniques related to theatrical scenic illusionism of the seventeenth and eighteenth centuries in relationship with some Neapolitan monumental buildings. In addition the develop of methodologies of intervention DSH (De-Morphogenesis, Semantic, Hypermedia Systems) – BIM (Building Information Modelling) in the historical reality as new concept of “Smart Heritage”. Therefore, the objective of the research is the construction of the visual model of documentation defined as “Digital Platform for the Knowledge’s Representation” of classification and comparison data. The methodological operations will be based on the “Morphology of the Form”, the “De-Morphogenesis of the Architecture”, “Semantic Values of the Architecture by On-Morphogenesis and “Hypermedia Systems and Cloud Computing Platforms”. The research highlighted for architectural elements: 1) Lexicon, Syntax and Semantics. 2) Ripercussion on representative categories. 3) Solutions adopted to check the conservation condition. 4) manipulation based on dimensional parameters. 5) 3D parametric digital models with appropriate stylistic features in the same way as reverse engineering solutions.
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Floré, Fredie. "The Open-Air Museum of Bokrijk: Staging Pre-Modern Architecture in the Margins of the 1958 World Fair." Architectural History 53 (2010): 295–315. http://dx.doi.org/10.1017/s0066622x00003956.
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At many late nineteenth- and twentieth-century World Fairs architecture was an important tool in the representation of national identities. Pavilions at these Fairs offered telling ‘scenery’, against which to display old and new objects, machines, art collections, interior designs and social customs. They formed architectural settings that contributed to the staging of the nation’s vision of its own past, present or future. Furthermore, as the architectural historian Edward N. Kaufman has pointed out, the late nineteenth-century World Fairs were important forerunners of the first open-air museums. In these more permanent exhibition settings, architecture also often played a crucial role in the representation of national or regional identities. In many open-air museums buildings were conceived as important exhibits providing visitors, sometimes implicitly, with information about the nation or region’s past: information considered fundamental to its present or future identity.
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Morselli, Elisa. "The affective notes of represented space as motors of emotional and sensorial response." SHS Web of Conferences 64 (2019): 01013. http://dx.doi.org/10.1051/shsconf/20196401013.
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The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space. Keywords: Affective Space, Perception, Representation, Aesthetics, Atmospheres, Design Research, Generators.
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Mailer, Alexander. "An Analytical Visual Representation of Non-Rectangular Deep Space Structures." International Journal of Space Structures 6, no. 4 (December 1991): 315–24. http://dx.doi.org/10.1177/026635119100600409.
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Architecturally speaking, space structures refer to the “deep” totality of the built space not only to its envelope. Designed architectural space is, so far, predominantly structured according to rectangular geometry. The premise of this paper is that a major reason for the popularity of rectangular space structuring is the limited capacity designers have had, until recently, to visualize the high complexity of non-rectangular space structures. The paper describes an experiment designed to compare emerging Computer Aided Design and Drafting (CADD), procedures with traditional procedures applied in an architectural design study using a non-rectangular polyhedral geometry. The findings of the experiment point out that computer-aided visualization can generate a more efficient and more convenient procedure to address, in practical design terms, non-rectangular deep space structures. However, the efficiency of such procedures is conditioned by a close collaboration between architects and computer scientists.
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Xie, Tao, and Chao Ying Liu. "Construction and Decorative Style of Monument Architecture in Huizhou." Applied Mechanics and Materials 638-640 (September 2014): 2200–2203. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2200.
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Monument Architecture is the cultural representation of Huizhou architecture. It is famous for the numerous number and decorative beauty. The characteristics of Monument Architecture decoration are: the location of architectural component determines its distribution; the type of the monument architecture determines the decorative style. It is the specific history and culture of Huizhou that determines such characteristics.
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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.