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Journal articles on the topic 'Art and architecture'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Stenslie, Stahl, and Magne Wiggen. "Preemptive Architecture: Explosive Art and Future Architectures in Cursed Urban Zones." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 29. http://dx.doi.org/10.25038/am.v0i12.165.

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This article describes the art and architectural research project Preemptive Architecture that uses artistic strategies and approaches to create bomb-ready architectural structures that act as instruments for the undoing of violence in war. Increasing environmental usability through destruction represents an inverse strategy that reverses common thinking patterns about warfare, art and architecture. Building structures predestined for a constructive destruction becomes a creative act. One of the main motivations behind this paper is to challenge and expand the material thinking as well as the socio-political conditions related to artistic, architectural and design based practices. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Stenslie, Stahl, and Magne Wiggen. "Preemptive Architecture: Explosive Art and Future Architectures in Cursed Urban Zones." AM Journal of Art and Media Studies 12 (2017): 29-39.

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2

Michel, Nicolas. "Art et architecture / Art and Architecture." Studia Islamica 119, no. 1 (April 3, 2024): 195–98. http://dx.doi.org/10.1163/19585705-12341486.

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3

Krastiņš, Jānis. "Nancy Art Nouveau Architecture." Architecture and Urban Planning 19, no. 1 (January 1, 2023): 66–75. http://dx.doi.org/10.2478/aup-2023-0007.

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Abstract The north-eastern French city of Nancy is one of the centres of Art Nouveau. It has been analysed in detail in many classical reviews Art Nouveau, but mainly in relation to decorative applied art works produced at the Nancy School of Art. The study pays attention also to the Nancy architecture. The architectural and artistic qualities of the iconic Art Nouveau architectural monument Villa L. Majorelle are analysed in detail, and the basic data about works of É. André, H. Gutton, J. Hornecker, L. Weissenburger, and other Nancy architects are systematized, indicating their place both in the cityscape of Nancy and in the historical context of Art Nouveau architecture in general.

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Jarocka, Aleksandra. "Architecture and art." Budownictwo i Architektura 6, no. 1 (June 13, 2010): 043–49. http://dx.doi.org/10.35784/bud-arch.2288.

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This article presents a perception of architecture in the context of an art. Juxtaposing the terms “architecture” and “art,” explaining them and presenting their mutual correlations contributes to deeper comprehension of the subject issue. Thanks to such an operation, the author of this article proves that, in spite of immense discrepancies of opinions published in the Internet, the typically technical discipline of science can also enchant us with its esthetic values. Although a major part of edifices situated in our environment are only hollow and soulless projections, there are still numerous places in the world that can be distinguished only thanks to outstanding premises, namely Sydney Opera. The article provides also a deep insight into various theses proving that both architects and artists look for an inspiration in the surrounding world, especially in the nature itself. In order to corroborate the aforementioned statements, the author of this paper mentions works of such architects as Jean Nouvel, Mies van der Rohe and Diller + Scofidio. However, there are still some designers who claim that architecture cannot be combined with art, since these two disciplines are completely different and have nothing in common with each other.

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Graham, Gordon. "ART AND ARCHITECTURE." British Journal of Aesthetics 29, no. 3 (1989): 248–57. http://dx.doi.org/10.1093/bjaesthetics/29.3.248.

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Michaud, Ginette, and Jérôme Lèbre. "Archive, architecture, art." Rue Descartes 89-90, no. 2 (2016): 118. http://dx.doi.org/10.3917/rdes.089.0118.

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7

Cowburn, Bill, and Michael Pearson. "Art in Architecture." October 136 (May 2011): 15–16. http://dx.doi.org/10.1162/octo_a_00031.

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Sörstedt, Claes. "muf architecture/art." Architectural Design 79, no. 1 (January 2009): 22–23. http://dx.doi.org/10.1002/ad.803.

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BROWN, ALAN W., and JOHN A. McDERMID. "THE ART AND SCIENCE OF SOFTWARE ARCHITECTURE." International Journal of Cooperative Information Systems 16, no. 03n04 (September 2007): 439–66. http://dx.doi.org/10.1142/s0218843007001718.

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Experience in all aspects of software engineering has confirmed the pivotal role of focusing on architectural concerns in the development of complex software-intensive systems. Consequently, the past 20 years has seen significant investments in the theory and practice of software architecture. However, architectural deficiencies are frequently cited as a key factor in the shortcomings and failures that lead to unpredictable delivery of complex operational systems. Here, we consider the art and science of software architecture: we explore the current state of software architecture, identify key architectural trends, and directions in academia and industry, and highlight some of the architectural research challenges which need to be addressed. The paper proposes a detailed agenda of research activities to be carried out by a partnership between academia and industry. While challenges exist in many domains, for this paper we draw examples from one area of particular concern: safety-critical systems.

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Kamen, Ruth. "Viewpoint." Art Libraries Journal 26, no. 2 (2001): 3–4. http://dx.doi.org/10.1017/s0307472200012104.

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Architecture, the focus of this issue, is held to be the ‘mother of the arts’. It is also referred to as the ‘queen of the decorative arts’. But in the family of art libraries and art librarianship, architecture is often a neglected stepchild. So I welcome the invitation extended in this issue of the Art Libraries Journal to the ‘Cinderella of the arts’, and hope that her appearance at the art ball will extend beyond midnight.Over the past quarter of a century or so that I have been an architectural librarian, I have sometimes wondered why architecture libraries are isolated from their sister libraries in the world of art and design, and why architecture libraries and librarians feel the need to separate themselves from their art and design siblings. Is it because the art community is uncomfortable with architecture? If so, is this because architecture is outside the mainstream of art education or art history teaching? Or is it because architecture libraries are generally part of professional institutes, schools of architecture or architectural firms, whose concerns and affiliations may have more in common with the engineering sciences (civil, structural, materials, environmental), the building and construction industries, urban and landscape design, town and country planning, and estate, project and business management, than with the more scholarly and historical focus of art libraries in museums and universities?

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D’Alessandro, Martina. "Oswald Mathias Ungers at Belvederestrasse: Self-portrait in the Studio." Athens Journal of Architecture 8, no. 4 (October 5, 2022): 405–38. http://dx.doi.org/10.30958/aja.8-4-5.

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Planning implies a double register of actions. On the one hand the architect establishes a dialogue with the reality, performing a maieutic action that allows him to arrive to an epiphany concerning the context’s deepest meanings. On the other hand, the obstetrical role of the architect is propaedeutic to the creative act of designing that, in the poietic impetus, pushes the architect towards the definition of a dynamic continuum of renewed principles. In the tension between maieutic and poietic, between autonomy and heteronomy of the architectural discipline, the nature of architecture is rooted. Working with the interdisciplinary dimension of architecture corresponds to the opportunity of drawing a cultural self-portrait, of which it is possible to decrypt the traits through the patient scanning of images, photographs, objects collected in the memorabilia. Individuals like Oswald Mathias Ungers (1926-2007) express, in an extraordinarily clear and fascinating way, the attitude of working within architecture through other disciplines. OMU arrives on the scene of architectural culture not only for his works and his theoretical contributions, but also for the importance of his art and rare books private collection. The collected artworks are matrixes at the basis of his architectures, they reflect his ideas through the free tools of art. Ungers’ studiolo, built in his house in Belvederestrasse in Cologne, assumes the value of a place of retreat in an ideal and inscrutable spot, in which Ungers can study his art collection and reflect on the cultural matrixes of his architecture. The thesis that this essay wants to explore is the relationship between OMU’s architecture and the system of references to the sister arts of architecture, considering the Kubus-Haus as a paradigm of this interdisciplinary interweaving based on suggestions, analogies, similarities, connections and overlaps, that have created a general and complicated system akin to a palimpsest.

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Namazovna, Sultanova Dilshoda. "Harmony Of Art In Architecture Of Uzbekistan." American Journal of Social Science and Education Innovations 03, no. 05 (May 7, 2021): 87–94. http://dx.doi.org/10.37547/tajssei/volume03issue05-16.

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The article describes the artistic features of harmonizing the visual and artistic means of Uzbekistan based on the analysis of theoretical sources and the practice of architecture. Also, the author's position on the definition of creation is outlined as a generalization of innovative tools in architecture, whose development is given taking into account national traditions in synthesis with modern trends.

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Li, Lan. "Study on Art Design and Materials Problems of Chinese Modern Architecture." Applied Mechanics and Materials 174-177 (May 2012): 1899–902. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1899.

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China's modern architecture modeling carries the subtleties of the ancient architectural art, it combines the architectural art of the west developed. However, in general, it is also a bit behind compared with developed countries. There are still many problems in art design and Material performance of buildings. This paper, from the Chinese modern architecture art foundation started talking about, Analysis of the materials performance and building aesthetic, Elaborated on China's modern architectural art in the combination of Chinese and Western problems, as well as in their own institutional occurred problems.

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VOSTRIKOV, V. N. "TYPOLOGY OF CHARACTER IN THE ARCHITECTURE OF ART NOUVEAU IN SAMARA." Urban construction and architecture 2, no. 2 (June 15, 2012): 6–9. http://dx.doi.org/10.17673/vestnik.2012.02.1.

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This article discusses issues related to architecture and semantics as its Crandalls part. One of the most important aspects of the work of architectural Art Nouveau decor, who was the conductor of cultural meanings and, more than any other art form. Samara modern architectural decoration not only analyzes the phenomenon of architecture and fine arts, but also as a specific cultural text - in all its ambiguity and the associative capacity, contradictory and multidimensional cultural and historical context of the era. Russian Samara Art Nouveau architecture in this work is understood not only as a part of the history of architecture, but also as a form of art that is open to dialogue with others of its species.

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Subagyo, Qonitah Hanan, Kusumaningdyah Nurul Handayani, and Maya Andria Nirawati. "Implementasi Arsitektur Semiotik pada Galeri Street Art di Kota Bandung." ARSITEKTURA 21, no. 1 (May 1, 2023): 117. http://dx.doi.org/10.20961/arst.v21i1.71190.

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<p><em>Semiotic architecture is a bridge between architects and users who convey architectural information. The application of semiotic architecture to street art gallery buildings can be used as street art introduction images to users. Unfortunately, there is no research on the relationship between semiotic architecture and street art that can be used as design criteria parameters. Therefore, the urgency of this research is to find out which components of semiotic architecture are most suitable for the identity of street art galleries. The method of this research is studying the characteristics of street art and then analyzing it with three semiotic architectural theories from Yousafi, Uluğ and Huang & Zhou. This research produces the design criteria of a street art gallery, namely the use of polychromatic colors, the use of dominant walls, designing space without partitions, materials that give the impression of a street, and incorporating public street art interaction content.</em></p>

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Zhao, Jie. "Art of Light and Shadow Reflected in Architecture." Applied Mechanics and Materials 357-360 (August 2013): 100–103. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.100.

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Architecture is a kind of art and the substance of architecture lies in space. Based on the change of light and shadow the plane and elevation scheme of the school history Museum was designed in detail. When the space of building is no longer drawn conclusion with the traditional entity enclosing, light gives architectural space new vitality, and creates a variety of architectural space artistic conception. The different architectural mood which is brought about by the change of light and shadow is analyzed and compared. The result shows the art of light and shadow should be embodied constantly during the design. These can provide valuable references for initial architectural scheme design.

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17

Burganova, Maria, and Chris Uffelen. "Interview with Art Historian Chris van Uffelen." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 16–23. http://dx.doi.org/10.36340/2071-6818-2019-15-4-16-23.

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We are pleased to present an interview with an outstanding writer, urbanist and architectural historian, Chris van Uffelen, the author of a number of books on the history and theory of architecture. The space of the city in all its manifestations - from the history of architecture to the analysis of global street navigation, from current problems of adapting the urban environment to a man’s personal space to the aggressive or positive impact of a person on a megapolis, is the sphere of his professional interests. Chris van Uffelen is distinguished by his broadmindedness and takes an active position in the field of a professional and public conversation about architecture. His articles are presented in authoritative publications on architecture. He is an encyclopedist professionally analyzing both the architecture of the Middle Ages and the space of modern cities. Editor-in-chief Maria Burganova talks with Chris van Uffelen about architecture - its purpose, its past, and the future. The topics that concern many of us today - the change in architectural and cultural space, a person who influences a city, and a city that changes a person, are reflected in this conversation. We thank Sophia Romanova for professional support and assistance in arranging the interview with Chris van Uffelen.

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18

Xu, Bao Hui, and Yu Bao. "Landscape Architectural Design of Ecological Sightseeing Park." Applied Mechanics and Materials 522-524 (February 2014): 1760–63. http://dx.doi.org/10.4028/www.scientific.net/amm.522-524.1760.

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Ecological tourism park is a new form of tourism emerging in recent years, which have very important significance to the new rural construction. The design of landscape architecture in ecological park is still at the exploratory stage. This paper presents the design idea, design method of landscape architecture. In order to improve the design level of architectures in the ecological park, the method of integrating the architectural art, design technology and environment is proposed.

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Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.

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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.

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20

Shi, Jian He, and Xian Wei Wu. "On the Central Concept of Architectural Philosophy: Art." Applied Mechanics and Materials 174-177 (May 2012): 1892–94. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1892.

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Aesthetic taste as the main value of life is the central task of building arts. Artistic characteristics of architecture reflect human glory and always exist in our thousands of years of architectural history. The art pursuit of architecture is still the focus for the public especially architects. Therefore, the central concept of the construction philosophy is the art of architecture.

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21

Claus, Jurgen. "Solar Art: Solar Architecture." Leonardo 28, no. 3 (1995): 231. http://dx.doi.org/10.2307/1576080.

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22

Sisa, József. "Architecture, art et industrie." Acta Historiae Artium 58, no. 1 (December 2017): 153–65. http://dx.doi.org/10.1556/170.2017.58.1.7.

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23

Oliver, Adriana Lira, and Alicia Oliver. "Nanotechnology, architecture and art." Characterization and Application of Nanomaterials 5, no. 1 (March 9, 2022): 59. http://dx.doi.org/10.24294/can.v5i1.1680.

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In the past three decades, nanotechnology has attracted extensive attention. People have many expectations on the utilization of nanotechnology in medicine, but unfortunately, these expectations are unlikely to be realized. In the field of nanotechnology, the niche for building commercial products has not been developed yet. However, metal nanoparticles have attracted people’s attention since ancient times because of their optical properties, which are very different from those of bulk metals. By understanding the origin of these optical properties and using current technology, these nanoparticles can be manipulated to build a palette. Using micro measurement equipment, the palette can be printed with very good resolution.

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LAWSON, JAMES. "RENAISSANCE ART & ARCHITECTURE." Art Book 12, no. 4 (November 2005): 40–41. http://dx.doi.org/10.1111/j.1467-8357.2005.00605.x.

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Witte, Arnold. "Mendicant Art and Architecture." Explorations in Renaissance Culture 38, no. 1-2 (December 2, 2012): 95–100. http://dx.doi.org/10.1163/23526963-90000428.

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26

Betsky, Aaron. "The Art-Architecture Complex." Journal of Architectural Education 66, no. 1 (September 28, 2012): 54–55. http://dx.doi.org/10.1080/10464883.2012.714919.

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27

Mitrache, Georgică. "Architecture, Art, Public Space." Procedia - Social and Behavioral Sciences 51 (2012): 562–66. http://dx.doi.org/10.1016/j.sbspro.2012.08.206.

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28

Kammerer-Luka, G. "Architecture — related computer art." Visual Computer 2, no. 3 (July 1986): 187–88. http://dx.doi.org/10.1007/bf01900337.

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Ríos Moyano, Sonia. "«Motion, autos, art, architecture»." Boletín de Arte, no. 43 (November 24, 2022): 298–304. http://dx.doi.org/10.24310/bolarte.2022.vi43.15358.

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Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 109. http://dx.doi.org/10.25038/am.v0i12.171.

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The philosopher Petar Bojanić advocates resistance of the architectural discipline to the philosophy of architecture. Using the technique of mise-en-scène, in “Thinking Architecture/Disciplining Architecture” (2015) Bojanić reaffirms that after architecture’s theoretical turn in the second half of the 20th century the architect is undoubtedly capable of theoretically thematizing his/her own work. I argue strongly that this implies, among other things, building a disciplinary language, which must reconcile, or at least balance between, the verbal and non-verbal form of expression. Also, I try to show that it is precisely theory that the architect has needed through history to establish the architectural discipline as liberal and autonomous.In “The Real and the Theoretical” (2013) the philosopher from Belgrade stresses the tensions between reality and theory present in the work of the architect. Theorizing in the field of architecture carries a danger of severe detachment from currently important and pressing social problems. Since there is no discipline without a group and since architecture is defined as the art of community, architectural practice can be understood, as it is in “The Architectural Philosophy” (2013), as a spatial way of transforming society. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies 12 (2017): 109-120.

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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.

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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.

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Emmett, Mathew. "Neo‐Fluxus: Multimedia Performance Art and Architecture." Architectural Design 93, no. 5 (August 30, 2023): 120–27. http://dx.doi.org/10.1002/ad.2982.

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AbstractSpace Interface is a collaboration between artist‐architect Mathew Emmett and the legendary Eberhard Kranemann, a German neo‐Fluxus artist and founding member of electronic music pioneers Kraftwerk. Here, Emmett describes how, through mixed‐reality performance and audiovisual installation, their work transforms architectural settings by using video and electronic improvisation to evoke extended levels of architectural reality. They consider buildings as psychological prostheses, and their experiments attempt to invert and extend what might constitute architecture.

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Wang, Xinyu. "The Role and Value of Architectural Art for Game Design." Highlights in Science, Engineering and Technology 75 (December 28, 2023): 150–55. http://dx.doi.org/10.54097/ztz4zr25.

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Architecture is an important element of game design, and all kinds of architectural art in the game scene provide players with unlimited reverie virtual places and spaces. The article focuses on the application of architectural design in the virtual space of the game, taking the functional attributes of the place element of architecture in the composition of the virtual space as the entry point, and comparing the different attributes of architecture in the real and the virtual space of the game. Architecture and games are often seen as two unrelated fields, but they are closely related. The similarity between game design and architectural design is that they both need to be designed based on certain rules and constraints and take the user’s experience into account. Based on this commonality, game designers need to integrate the virtual environment space composed of buildings with the architectural features of the real world in the context of the game, which is one of the most important factors determining whether players can understand and immerse themselves in the game. Game designers often take inspiration from architectural design to help them create realistic environments in their games. At the same time, in games, architecture is not only used as a background for a virtual city or a realistic rendering of an existing city, but more importantly, the well-structured ambient space constituted by architecture is utilised to convey psychological cues such as emotions and feelings.

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Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70

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Cai, Ni Na. "Exploring the Art of Masahiro Chatani’s Architectural Origami." Applied Mechanics and Materials 193-194 (August 2012): 1205–9. http://dx.doi.org/10.4028/www.scientific.net/amm.193-194.1205.

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With the rapid development of the information age, the forms of architecture diversify. Origami, the ancient type of art provides us with infinite source of inspiration. This paper is trying to analyze the beauty of line, strength and space of Masahiro Chatani’s architectural origami, a great Japanese artist, and elaborate the influence of origami on modern architecture. When enjoying the visual feast brought by Masahiro Chatani’s architectural origami, we can get some inspiration from it. Besides architecture, the art of origami is also applied to other modeling designs. Origami is not limited to tow-dimensional plane any more, but expands in three-dimensional space, which is the embodiment of the wisdom of human.

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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.

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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.

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Gaber, Tammy. "In Pursuit of “Islamic Art and Architecture”." American Journal of Islam and Society 26, no. 2 (April 1, 2009): 102–9. http://dx.doi.org/10.35632/ajis.v26i2.1410.

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Books Reviewed: Richard Yeomans. The Art and Architecture of IslamicCairo. United Kingdom: Garnet Publishing, 2006; Doris Behrens-Aboseif.Cairo of the Mamluks: A History of the Architecture and Its Culture. UnitedKingdom: I.B. Tauris, 2007. GeorgeMichell. The Majesty ofMughalDecoration:The Art and Architecture of Islamic India. New York: Thames andHudson, 2007.Many people take it for granted that the blanket term Islamic art and architectureis sufficient to convey the vast production carried out in the name ofIslam; however, they often have a limited vision of what this term actuallyentails. Islam’s time span (fourteen centuries and counting) and geography(historically ranging from Spain to China) simply means that the art andarchitecture produced in its name deserves a more detailed and accountablepresentation of fact. In other words, it would be unthinkable for scholars touse a term like Christian art and architecture instead of such specific termsas Byzantine, Romanesque, and Gothic, each of which relates to a specifictime and place. Thus, the vocabulary of understanding the production of artand architecture in Islam’s name requires the use and understanding of clearterms and deserves specific publication and study ...

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Andreeva, Olga P., Evelina V. Mikhailova, and Svetlana P. Akhmetova. "ART NOUVEAU ARCHITECTURE IN THE MODERN URBAN IMAGE OF CHUVASHIA." Arts education and science 2, no. 35 (2023): 128–35. http://dx.doi.org/10.36871/hon.202302128.

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Art Nouveau architecture attracts the interest of contemporary researchers with its formative natural elements, plastic ornament, decorative lines, and unique options complementing and organically fitting into the modern urban environment. The few buildings in medium and small towns with Art Nouveau features and links to the local architectural traditions, with their unique decorative elements, deserve special attention. This interest is primarily due to the aesthetic perception of architectural space, the study and preservation of modern monuments. Today, many buildings have lost their Art Nouveau decorative elements, and their original appearance has been changed as a result of alterations. The reason for such transformations were historical events that significantly influenced the architectural image of the towns. The analysis of Art Nouveau architecture in the towns of the Chuvash Republic, such as Cheboksary, Alatyr, and Yadrin, reveals the distinctive features of compositional solutions and decorative finishing of buildings, as well as changes in their image. The study relies on the architecture of the mansions of the merchants Yefremov in Cheboksary, the houses of the timber dealer Burashnikov and the merchant Talantsev in Yadrin, and the consumer culture buildings in Alatyr. Based on the study of Art Nouveau architecture, the authors try to show the irreversible changes made to the original appearance of the buildings by some reconstructions, and identify the problem of preserving the architectural heritage of the Art Nouveau style in the cities of the Chuvash Republic.

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Becheru, Raluca. "The philosophy of architecture in analytic tradition: An enquiry on the possibility of the field and its themes." SAJ - Serbian Architectural Journal 8, no. 2 (2016): 309–21. http://dx.doi.org/10.5937/saj1602309b.

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The paper focuses on the new field of philosophy of architecture in analytic tradition. The research presented in this paper is part of an ongoing doctoral research concerning the connection between ethics and aesthetics in architecture. The connection between architecture and philosophy is not a novelty. Architectural theory has always looked up to philosophy for inspiration but only recently philosophers have started to study architecture in detail. Architectural theory is still a field that is in search of a better conceptual frame after the failure of the theoretical premises of the Modern Movement and the rise of the "theory speak". Architecture's features as a public art ask for a certain amount of objectivity. The philosophy of architecture in analytic tradition can contribute to a more objective conceptual frame. The principal concerns are familiar to those acquainted with continental philosophy: What makes architecture special among the arts? What is the essence of an architectural work? How we can better define architecture's social mission? But the way of answering them is different. The ethical dimension of architecture is one of the most debated subjects among architects in recent years. There are several contributions on the connection between ethics and aesthetics in the philosophy of architecture in analytic tradition. They have the potential to have an impact on architectural theory and practice.

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Pelkonen, Eeva-Liisa. "Vincent Scully Detonates the Past." Joelho Revista de Cultura Arquitectonica, no. 13 (March 10, 2022): 67–82. http://dx.doi.org/10.14195/1647-8681_13_4.

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The essay discusses the role which art historian Vincent Scully (1920‑2017) played in revisioning modern architecture’s relationship to time and history. The focus is on the psychoanalytical turn in his scholarship, which dictated that architecture was a product of collective memories rather than of historical processes. It makes a larger argument that art history, since Freud introduced the idea of “unconscious” architectural history, often became written from the perspective and for the benefit of the present.

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Wu, Xue Ping, and Yue Xi Zhou. "A Preliminary Compare of the Chinese and Western Architecture." Advanced Materials Research 255-260 (May 2011): 1523–26. http://dx.doi.org/10.4028/www.scientific.net/amr.255-260.1523.

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Chinese and western architecture art, often be summed up with a "stable" and "change". This article tries to architectural culture, building materials, construction space layout and construction from four aspects of development of Chinese and western architectural art characteristics were analyzed.

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Juarranz, Angela. "Mundane beauty in art and architecture." Ge-conservacion 11 (July 2, 2017): 196–201. http://dx.doi.org/10.37558/gec.v11i0.476.

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In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

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Makhmudovich, Alikulov Alisher. "HARMONY OF ARCHITECTURE AND MONUMENTAL PAINTING IN THE ART OF UZBEKISTAN." American Journal of Social Science and Education Innovations 06, no. 05 (May 12, 2024): 96–100. http://dx.doi.org/10.37547/tajssei/volume06issue05-09.

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This study explores the harmony between architecture and monumental painting in the art of Uzbekistan. It investigates how architectural forms and decorative elements are integrated with painting techniques to create a cohesive visual language. Through an analysis of historical and contemporary examples, the research elucidates the cultural significance and aesthetic principles underlying this symbiotic relationship. By examining the interplay between architectural space and pictorial composition, this study offers insights into the unique artistic traditions of Uzbekistan and their enduring influence on architectural design and decorative arts.

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Hawkes, Dean. "Aarhus Town Hall and the ‘other’ environmental tradition." Architectural Research Quarterly 18, no. 3 (September 2014): 273–82. http://dx.doi.org/10.1017/s1359135514000621.

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The first chapter of Nikolaus Pevsner's The Englishness of English Art is entitled ‘The Geography of Art’. In this he presents a reflection on the validity of geography as a means of interpreting art and architecture and in it he proposes that, ‘there is a whole string of facts from art and literature [that are] tentatively derived from climate’. The instrumental connection of architecture and climate is widely accepted in the literature of socalled ‘architectural science’. But the influence of geography and the specific conditions of climate may be shown to have a more fundamental influence on architecture than simple pragmatism.

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Wróblewski, Sebastian. "Vita brevis, Ars longa – applied art and modernist architecture in Poland: Transformation of approach to applied art and contemporary protection." Muzeológia a kultúrne dedičstvo 10, no. 2 (2022): 61–76. http://dx.doi.org/10.46284/mkd.2021.10.2.4.

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The main aim of the present paper is to present the latest achievements in the process of protection of the applied art which was a part of post 1950s architecture in Poland. During the period 1945–1990 many buildings were adorned with different applied art forms: sgraffito, wall paintings, mosaics and other art techniques. The research focuses on the transformation of the society’s approach to applied art after a period of neglect and different forms of protection. In many cases applied art forms like mosaics and ceramic artworks became longer lasting elements than the architecture which they originally adorned. After the demolition of modernist constructions, artworks are frequently transferred to new architecture. That process proves that vita (architecturae) brevis, ars longa.

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Karaičić, Danica. "[In]Corporeal Architecture: On the Clothed Body and Architectural Space." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 89. http://dx.doi.org/10.25038/am.v0i18.302.

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In this paper, I will discuss the clothed architectural body and how it simultaneously experiences and constructs architectural space. For this purpose, I will analyse [In]Corporeal Architecture, an art experiment that I conducted at an outdoor exhibition space called Testing Grounds in February 2018 as part of my current PhD studies in Melbourne, Australia. [In]Corporeal Architecture challenges relationships between the body, cloth and architecture. To address this complexity, I draw on Gins and Arakawa’s book Architectural Body. Article received: December 18, 2018; Article accepted: January 23, 2019; Published online: April 15, 2019; Original scholarly paperHow to cite this article: Karaičić, Danica. "[In]Corporeal Architecture: On the Clothed Body and Architectural Space." AM Journal of Art and Media Studies 18 (2019): 89–105. doi: 10.25038/am.v0i18.302

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Kapliński, Oleg. "Architecture: Integration of Art and Engineering." Buildings 12, no. 10 (October 5, 2022): 1609. http://dx.doi.org/10.3390/buildings12101609.

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The current Special Issue is a synthetic overview of 21 published articles. The contact point of architecture–art–engineering is multidimensional, and therefore, this synthesis of works takes into account three criteria: (a) research subject indication, (b) research problem identification, and (c) sublimation of the research techniques and instrumentality used. Research problems, scientific values, and utility values have been highlighted. This synthetic tripartite is intended to make it easier for the reader to find an interesting subject and instrumentality. As the topics of the articles overlap, guided by the dominant values of each article, five subject groups have been sublimated. These are: structural aspects and design, digitization, architectural heritage, aesthetics and emotions vs. engineering, and interior architecture. The characteristic values of each subject group are presented. The indicated new design and research tools do not separate but combine the subject industries; they connect the entities of the investment process.

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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul, and Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth." Applied Mechanics and Materials 725-726 (January 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.

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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.

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Ardiani, Yanita Mila. "Ecology and Architecture in the art of making an Aesthetics Artwork." IOP Conference Series: Earth and Environmental Science 998, no. 1 (February 1, 2022): 012035. http://dx.doi.org/10.1088/1755-1315/998/1/012035.

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Abstract Architectural inspiration comes from a combination of various multidisciplinary sciences. One of the combinations that inspire Architects to produce works is the combination of Ecology and Architecture, where each other is interrelated. Ecology and natural forms in Ecology can inspire new architectural forms. This paper will discuss the origin of inspiration from ecology that can be applied in Architectural Aesthetics. The method used is to collect precedent studies and literature studies related to these matters. Then, in the end, the works of Bina Nusantara University Architecture Students who designed Aesthetics forms from Architectural Ecology installations will be shown in the Aesthetics course. Experimentation experiments and discussions can inspire students to produce an architectural work from the aesthetic form of a combination of Ecology and Architecture.

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Tian, Mengyao, and Xu Xiao. "The influence of Chinese and Western cultural traditions on ancient architecture." Pacific International Journal 5, no. 4 (December 31, 2022): 105–11. http://dx.doi.org/10.55014/pij.v5i4.231.

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Architecture is a frozen music, a visual art, and a visual object whose existence is witnessed by history. Some classic ancient architectures including the pyramids of ancient Egypt, the Parthenon of ancient Greece, the Pantheon of ancient Rome, the Forbidden City, the Great Wall, the Hanging Temple of China and other world-famous traditional Chinese and Western architectures reflect ancient philosophical thoughts of the times. Architecture has formed a unique culture with the passage of time, and in turn culture plays an influential role to the formation of architecture. Geographical differences cause diversity to architectural cultures all round the world. In terms of Chines and western ancient architecture, the two differ each other on appearance, connotation, space and structure, which indicate not only the culture characteristics but also the aesthetic changes behind the architectures between China and the West.The West's passion for stone architecture and the East's passion for wood architecture are determined by national culture and geographical environment. It is difficult to judge which one is superior, sine such designs are developed to adapt to the environment and living habits. Ancient people built their characteristic architecture to meet the needs of the local people and living conditions.

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