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1
Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (August 27, 2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.
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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.
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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.
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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.
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Merrill, Elizabeth M. "Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture." Architectural Research Quarterly 23, no. 3 (September 2019): 210–24. http://dx.doi.org/10.1017/s1359135519000204.
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As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.
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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.
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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.
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Rahman, N. Vinky, and Esra Monica Aruan. "Performing Art and Culture Center Hamdan." International Journal of Architecture and Urbanism 3, no. 3 (November 18, 2019): 342–50. http://dx.doi.org/10.32734/ijau.v3i3.3750.
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Performing Art and Culture Center is a building that functions as a center of activity to accommodate the creativity of the community in the field of art as well as public space facilities in the city of Medan. The center for arts and culture is expected to be able to respond to the problem of Medan City in providing community space and informal education facilities so that this function aims as a community space that can accommodate artistic activities with adequate facilities. The method used in designing this project is a data collection through field surveys and literature studies. This project is one of the functions in the revitalization of the Integrated Hamdan Area in Medan Maimun District. To reflect the concept of revival and as an innovative design, the theme of this project is contemporary architecture. This project will be a non-formal education facility that is educational and entertaining. With this function, Performing Arts and Culture can increase tourism in Medan, a place to create value for the creativity of the community, increase the sensitivity of the people of Medan city towards traditional and modern cultural arts, and make Medan a cultured city.
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Pierce, Imogen Van. "Contemporary Debates: The Hundertwasser Art Centre with Wairau Maori Art Gallery." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 5–25. http://dx.doi.org/10.24135/backstory.vi2.16.
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What began as a humble sketch on the back of an envelope, the Hundertwasser Art Centre with Wairau Māori Art Gallery project has evolved into a unique and ambitious quest for artistic representation in Northland. The history of this controversial public art project, yet to be built, has seen a number of debates take place, locally and nationally, around the importance of art in urban and rural societies and the broader socio-economic context surrounding the development of civic architecture in New Zealand. This project has not only challenged the people of Northland to think about the role of art in their community, but it has prompted New Zealanders to question whether there is an appropriate level of investment in the arts in New Zealand.
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Knight, George. "The Yale Center for British Art: a Building Conservation." Louis I. Kahn – The Permanence, no. 58 (2018): 50–59. http://dx.doi.org/10.52200/58.a.8ah55zai.
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The Yale Center for British Art was designed by acclaimed American architect Louis I. Kahn to house a collection of British art on the campus of Yale University. The Center, Kahn’s third and final museum building, was designed between 1970 and 1974 and opened its doors to the public in 1977. By 2002 it was evident that the building was fast approaching a crossroads: finishes had reached the end of their lives, program space was in desperate demand, patron amenities and life safety measures no longer met contemporary standards and, worst of all, infrastructural systems strained to sustain the environments demanded to protect the collections. The integrity of Kahn’s architecture was in jeopardy. What follows is the story of what came next: how the building was painstakingly researched and analyzed, and how a series of projects ensued to re-equip the Center to present and protect its collection for decades to come.
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., Andalucia, and Marini . "North Sumatera Convention Center." International Journal of Architecture and Urbanism 2, no. 2 (August 20, 2018): 132–37. http://dx.doi.org/10.32734/ijau.v2i2.397.
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Sumatera Utara has enhancement of population growth around 2.33% per year and economic growth around 14.7% per year. By all means, this data effect on trade sector, industry sector, entertainment sector, and education sector. From the data above can be obtained that Medan needs supporting facilities to organizing even such as conference, exhibition, a party even, or concert which nationally or internationally. There are a few even for entertainment and art in Medan seen from rarely held music or art performance nationally or internationally. Moreover, there is a very few venue to hold it. North Sumatra Convention Center is built at Jl. H. Adam Malik. This location is chosen because it is by the District of West Medan, which is destined for commercial building supporting the economy. The theme of the design is Contemporary Architecture. This theme is the result of the author's thought to make this building also become Landmark Medan. With the design of the new Convention Center in Medan itself aims to create a place for conference and other activities. The international convention center design is also expected to improve the quality and quantity of similar development for community place and improve the economy of Medan with regions and other countries. The design of North Sumatra Convention Center is expected to be able to support the big activities as mentioned above.
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Siza Vieira, Ávaro. "Centro de arte contemporáneo de Galicia en Santiago de Compostela (Galicia, España)." Informes de la Construcción 47, no. 439 (October 30, 1995): 41–57. http://dx.doi.org/10.3989/ic.1995.v47.i439.1053.
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Kossel, Elmar. "Der Wiederaufbau von Florenz 1945." Architectura 46, no. 1 (December 30, 2016): 72–103. http://dx.doi.org/10.1515/atc-2016-0005.
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AbstractFlorence suffered heavy destruction due to blasting by the german Wehrmacht in the area around the Ponte Vecchio in 1944. On the question of how the historic, in the core medieval buildings should be rebuilt, a vigorous debate was ignited, which also was intensively conducted in public. The debates core was about the question of wether the old center should be reconstructed exactly as it was or should a modern and contemporary solution be given priority. The art historian Bernhard Berenson and the archeologist Ranuccio Bianchi Bandinelli exemplified the position in the debate for the Florentine context. Linked to this discussion was also the question, how Italy would present itself after war and fascism as a new and democratic society. The built result can be seen as a compromise of these positions, as the new architecture is added in the center emphasized inconspicuousDespite the consistently negative reception, it was possible to dissociate oneself in two respects from this locally located variety of post-war modernity: On the one hand, the international architectural scene and, on the other hand, its own architectural heritage which is contaminated by fascism. The reference to its own architectural heritage and the very independent appropriation of international influences should remain the basic characteristic of the »Scuola Fiorentina« until the mid-1970s
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Kubec, Jan. "Copernicus Science Centre – marvel of erosion logic or a functional machine? A case study of a public architecture building at the beginning of the 21st century." BUILDER 285, no. 4 (March 28, 2021): 75–77. http://dx.doi.org/10.5604/01.3001.0014.8076.
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Throughout the recent two decades the issue whether architecture is still at its core a public art and whether construction in the public zone in all forms there of still remains the main purpose of architectural practice has been questioned. Given the crisis that has attended architectural language the last half of the 20th century, we have to acknowledge that one of the most difficult issues facing architects today is the way in which a public building is still able to express certain intrinsic values as these are embodied in (1) volumetric organisation, (2) structural order, and (3) representational form [2].The subject of this article is the presentation and analysis of author’s concept of the Copernicus Science Centre in Warsaw in terms of both formal and functional solutions - design as a reciprocal act and serving as models for ecological architecture. In course of the conducted studies various features required for proper functioning of a contemporary public building have been identified. These include: relations of the enclosure to internal space, spatial organisation, frontiers be-tween the interior and surroundings, and relations between the building and the landscape.
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Nashman Fraiman, Susan. "The Torah Ark of Arthur Szyk." Arts 9, no. 2 (May 19, 2020): 60. http://dx.doi.org/10.3390/arts9020060.
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This paper discusses the design and symbolism of a hitherto unpublished work by the artist Arthur Szyk (1894–1951), an ark for the Torah which he designed for the Forest Hills Jewish Center of Queens, New York, and which was dedicated in 1949. The Torah Ark is the central focus of all synagogue worship. Szyk’s ark is unique in its multiplicity of symbols and texts, which was at odds with the modernist idiom of post-World War II synagogue architecture. This research, which also brings previously unpublished material, analyzes the possible sources for the work and its distinctive message, which is exceptional in the world of modern contemporary Jewish art.
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Bondarenko, Igor A. "Eternal and Temporary in Architecture and Urban Planning." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 1 (March 18, 2019): 5–11. http://dx.doi.org/10.22337/2077-9038-2019-1-5-11.
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The article focuses on the archaic model of the geocentric universe, which was captured in the general structure of buildings and cities. In this model, there is a stationary beginning in the center and a dynamic, changeable shell around. This envelope was associated with the firmament, over which stars and wanderingluminaries float, measuring time cycles. In Modern and Contemporary Periods, other ideas prevailed, aimed at achieving absolute harmony in mortal life, as if the course of history had ended and time stood still. This led to the flourishing of the art of regular planning and such architectural ensembles, where nothing can be "neither added nor reduced in order not to make it worse". Having passed through certain waves of "dynamic chaos" of eclecticism, modernity, and avant-garde, this art, only in a different guise, was once again established in modernism, which conquered the whole world but caused disappointment with its technocracy. Now we poorly understand the causes and consequences of what is happening. The article concludes with a call to return to the "long-forgotten old" and begin again to divide the "inner" - fundamental, unshakable, intimate - and "outer" - subject to fashion and conjuncture, frail and transitory. Intermediate states are also needed, gradual transitions from chaotic to moderate and highly organized. It means the rejection of the maximalist claims to achieve absolute harmony in the maelstrom of deliberately imperfect earthly life. Instead, the proposed implementation of the principles of relative harmony, allowing to conform to the context, aiming at a gradual and feasible ascent to an unattainable ideal.
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Milbrath, Susan, and Carlos Peraza Lope. "REVISITING MAYAPAN: Mexico's last Maya capital." Ancient Mesoamerica 14, no. 1 (January 2003): 1–46. http://dx.doi.org/10.1017/s0956536103132178.
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Archaeological excavations begun at Mayapan in 1996 require re-evaluation of this site, sometimes disparaged as representing “decadent” Postclassic Maya culture. New discoveries show that the site was an international center that incorporated specific symbols in its art from areas as far away as Central Mexico and Oaxaca. Indeed, there is evidence of trade with both areas. Another important Postclassic trade route connected Mayapan to Yucatan's eastern coast and Peten, Guatemala. These connections are reflected in similar ceramics and architecture in the three areas. Revival of Terminal Classic traditions at Mayapan inspired certain architectural constructions and a stela cult marking Katun endings. The Katun-cycle chronologies of the Colonial period provide intriguing evidence that political events at Mayapan may be linked with the site's architectural history. The “founding” of Mayapan may have occurred earlier than the conventionally accepted date ofa.d.1263 (end of Katun 13 Ahau). TheChilam Balam of Chumayelchronicles use of a 24-year Katun instead of a Katun of 20 Tuns, suggesting that the earliest founding event at Mayapan (Katun 8 Ahau) may date back to the eleventh centurya.d.and overlap with the demise of Chichen Itza. Some of Mayapan's earliest architecture is contemporary with Chichen Itza's latest constructions. Several hundred years after Mayapan was founded, there was a renaissance of the Cocom heritage evident in specific architectural forms modeled on those from Chichen Itza.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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GILMAN, BRIDGET. "San Francisco views: Robert Bechtle and the reformulation of urban vision." Urban History 43, no. 4 (July 13, 2016): 640. http://dx.doi.org/10.1017/s0963926815000863.
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ABSTRACTWhen Photorealism arrived on the art scene in the 1960s, it received considerable media attention for its striking illusionism and unparalleled commitment to fusing painting and photography. But many judged the style to be merely retrograde realism disguised by the use of contemporary source photographs or, more harshly, as an unthinking reproduction of capitalist culture – i.e. a kind of toothless Pop art slickly rendered for the masses. Though the style now constitutes a familiar part of the contemporary art world, few have sought to understand or mitigate several decades of critical antipathy and neglect. This essay examines painter Robert Bechtle's work, contra the historic assumption of Photorealism's social irrelevance. Bechtle's images of San Francisco, defined by architecture and automobiles ubiquitous in post-1945 Californian neighbourhoods, present the city without overt commentary. Yet, through this seemingly ordinary iconography, the artist upends deep-rooted urban visual paradigms, linking the traditionally vaunted city centre to its apparently subsidiary suburbs. Bechtle offers the viewer not iconic landmarks or arresting vistas, but rather a way to comprehend how everyday life in the city is informed by significant configurations of residential architecture, under-remarked geographic particularities and historical development that blurs the distinction between centre and periphery. These representational strategies are central to understanding the ways in which the Bay Area – and indeed much of post-war America – is experienced as built environment and social space.
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Tostões, Ana. "José Augusto França interviewed by Ana Tostões." Modern Lisbon, no. 55 (2016): 83. http://dx.doi.org/10.52200/55.a.w6x7yxwv.
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On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au XXè siècle) and a PhD in Letters (1969, Paris-Sorbonne University, Le Romantisme au Portugal). He is professor emeritus of the Nova University of Lisbon, where he created the first Art History masters of the country (1976). He was Director of the Portuguese Cultural Center of the Calouste Gulbenkian Foundation in Paris (1983), President of the National Academy of Fine Arts (1985) and member of the UNESCO Comité du Patrimoine Mondial. He is a reference author in the field of visual and cultural arts in Portugal, being the first one identifying and presenting modern architecture in Portugal in his Arte em Portugal no Século XX (1974). Among his works stand out studies on art in Portugal in the 19th and 20th centuries, as several volumes of essays on historical, sociological and aesthetic reflection on contemporary art issues. He has received the Medal of Honor of the City of Lisbon (1992), the Grand Officer (1991) and the Grand Cross (2006) of the Infante D. Henrique Order and the Grand Cross of the Order of Public Instruction (1992).
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Caldenby, Claes. "“Utopias Are for Those Who Cannot Build”: The Structural Philosophy of the Swedish National Board of Building." Arts 7, no. 4 (November 2, 2018): 73. http://dx.doi.org/10.3390/arts7040073.
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Structuralism in architecture was a widespread international phenomenon in the post-war decades. It was an avant-garde architecture, in many cases even utopian. In contrast to this, the structural philosophy of the Swedish National Board of Building was outspokenly pragmatic. This article, based on documents and interviews with the architects involved, gives the background of the National Board’s interest in “the chronological dimension of architecture”. The National Board was the largest client in Sweden for design and building and experienced managers of a large building stock. In the mid-1960s, they developed, in cooperation with consultants, a “building box” for office buildings. They gladly showed a lack of interest or downright scepticism towards international structuralism: “Utopias are for those who cannot build”. Two of the main involved practices were A4 and ELLT, later merged into Coordinator architects, and from early on focused on an architecture of change. Two of their iconic projects from the late 1960s are the large office block Garnisonen and IBM Nordic Education Center. They are examples of a “consequence architecture”, very clearly “ideas based”. For a period around 1970 the pragmatic theory led to radical projects. “Dogmatic theorising was part of the game” as it was said about contemporary art.
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Bursiewicz, Natalia. "The image of contemporary architecture of Wrocław depicted in recent tourist commercial and Internet media." w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 9 (September 11, 2021): 28–48. http://dx.doi.org/10.1344/waterfront2021.63.9.02.
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The aim of the paper is to present the tourist and image potential of contemporary public architecture. Wrocław was chosen as the research subject, as it is a historical center with an extremely rich architectural heritage, which has enjoyed great interest among visitors for centuries. With the announcement of Wrocław as the European Capital of Culture 2016, and then the European Best Destination in 2018, its attractiveness increased significantly, which was reflected not only in the number of visitors, but also in the advertising materials themselves. Both before and after arrival, millions of tourists encounter a multitude of various advertising forms, both virtual and printed, which determine the direction of sightseeing and shape a specific image and perception of the city. In general opinion, Wrocław is considered a historic city, the most interesting places of which are concentrated around the Old Town and Ostrów Tumski. The Centennial Hall, built at the beginning of the 20th century, stands out from the „newer heritage”. The idea of the study, however, was to answer the question whether contemporary architecture is used in any way in the current tourist advertisement of the city. Another goal was to identify and list the most frequently appearing objects from the adopted group, and to analyze the manner of their presentation. Based on the collected materials, efforts were made to assess the role of the media in creating a tourist product in terms of promoting local architecture in recent years. At the same time, an attempt was made to evaluate the role of architecture in creating the city’s progressive brand. In the research, the author used the method of analyzing the existing statistical data, iconographic research and the method of analyzing the content of advertising materials, as well as scientific studies on cultural heritage and tourism in the city. The final part of the paper shows that modern architecture can be a significant element increasing the tourist attractiveness of the city.
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Nekrošius, Liutauras. "ARCHITECTURE AS AN ART COLLECTION: PALANGA CASE / ARCHITEKTŪRA KAIP MENO KOLEKCIJA. PALANGOS ATVEJIS." JOURNAL OF ARCHITECTURE AND URBANISM 36, no. 3 (October 9, 2012): 222–38. http://dx.doi.org/10.3846/20297955.2012.732799.
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The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.
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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (December 2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.
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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, churches and community centers; and also at American universities via programs of Coptic studies. This article covers the above topics and discusses a few of the challenges that come with immigration and assimilation, especially when the community desires to maintain the depth and versatility of an ancient religious culture.
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Jeon, You-Chang, and Sung-Wook Kim. "A Study on Constructive Characteristic of Media in the Surface of Contemporary Architecture -Focused on Codification and Seriality of de Young Museum and Walker Art Center." Journal of the Korea Academia-Industrial cooperation Society 12, no. 5 (May 31, 2011): 2416–24. http://dx.doi.org/10.5762/kais.2011.12.5.2416.
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Plevoets, Bie, and Shailja Patel. "Z33 Hasselt: Hortus Conclusus as a Model for an Urban Interior." Interiority 4, no. 1 (January 29, 2021): 79–94. http://dx.doi.org/10.7454/in.v4i1.108.
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This contribution reviews the recent renovation of Z33—House for Contemporary Art, Design and Architecture in Hasselt, Belgium—in the light of its unique implementation of different levels of interiority. The institute is housed in the former beguinage, a site with a rich and layered history and one of the few green public spaces in the city centre. The intervention by architect Francesca Torzo builds further on and strengthens the existing qualities of the site through a creative process of copying and improving. By doing so, she changed the overall appearance of the beguinage, strengthening its quality as an enclosed public space—an intimate yet collective hortus conclusus.
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Stupar, Aleksandra. "Urbs et orbis: (Re)charting the center, (re)positioning the limits." Spatium, no. 20 (2009): 53–59. http://dx.doi.org/10.2298/spat0920053s.
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The paper examines the concept of finiteness and its implications on urban space focusing on the relation between urban(ized) environment, social context and spatiotemporal perception. Furthermore, it analyzes and evaluates various roles which the notion of the center and the limit has had through history - representing an inseparable part of traditional city planning or being completely transformed in order to transmit and express contemporary identity. Considered as a residue of a particular mythical narrative and a distinctive feature of the first philosophical speculations, this concept was rooted in primordial technical matrices of archaic and classical cities, but its latest manifestation has distorted previous models. Consequently, the original significance has been manipulated - shaping a new urban geography as a post-modern, multi-scale setting for our future life.
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Elet, Yvonne. "Seats of Power: The Outdoor Benches of Early Modern Florence." Journal of the Society of Architectural Historians 61, no. 4 (December 1, 2002): 444–69. http://dx.doi.org/10.2307/991868.
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Outdoor public seating is an intriguing and virtually unstudied element in the history of western architecture and urbanism. This article focuses on Florence in the fourteenth and fifteenth centuries, tracing the numerous stone benches that once existed on piazzas, streets, loggias, and palace façades throughout the city. More than simply utilitarian appendages, the benches were carefully integrated into the design of iconic urban spaces and building fronts, both civic and private. The study draws on abundant and varied primary source material: contemporary chronicles, histories, letters, poetry, statutes, etiquette books, and architectural treatises, which provide a wealth of information on the use and form of the benches. Together with Renaissance images recording Florentine daily life, the documents reveal a rich culture and vocabulary of alfresco bench-sitting by people of all ranks, from government officials to vagrants. I examine the design, sociopolitical functions, and urban context of the benches. I propose that benches were part of the Tuscan urbanistic model for a civic piazza, and show how in Florence, the civic piazza was configured with tiered seats, exploring formal and semiotic resonances with the tribunal, theater, and council hall. I explore the appearance of stone façade benches on private palaces in fifteenth-century Florence. This was in part a monumentalization of a vernacular element, but I also suggest that for the Medici and other patrician builders, the bench was a direct reference to the civic center. The palaces valorized the stone façade bench for domestic architecture and codified it as a common element of Renaissance palace typology. References to contemporary seating provisions of other Italian towns and to precedents in Roman antiquity and late-medieval Italy provide context for the Florentine innovations. The bench emerges as a versatile element, both functionally and semiotically, which provides new insight into representations of power through the social control of outdoor space, and expressions of political ideology in urbanistic and architectural forms.
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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.
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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.
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Tsichla, Markella-Elpida. "Institutions and Culture in Thessaloniki and the Role of Local Government: From Dimitria to Labattoir." American Research Journal of Humanities and Social Sciences 7, no. 1 (January 28, 2021): 1–5. http://dx.doi.org/10.21694/2378-7031.21002.
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The cultural activity of the Municipality of Thessaloniki begins in the first post-war years and especially in the 50’s and later, in order to cover the inability of the Greek state to finance cultural activities outside the capital. This weakness is based on the fact that Greece came out devastated by the German occupation, but also by the civil war, which was the painful result of national division. On the other hand, it was considered a symptom of the Cold War. Consequently, the Municipality of Thessaloniki with its meager forces undertook the task of promoting and familiarizing its citizens with forms of contemporary culture and modern art, as the cultural heritage of the ancient Greek world was in the hands of of the central administration. Along the way, the Municipality of Thessaloniki and its departments take up the organization of art exhibitions, mainly of artists who came both from the city and from the Macedonian hinterland. The first concern of the Municipality was the creation of a gallery with works by contemporary artists and then it implemented a cultural activity, which was to become one of the most important cultural institutions in the country: Dimitria Festival, in the honor of the patron saint of Agios Dimitrios. During the Political Changeover, the Municipality of Thessaloniki increased its activities in the field of Culture as the economic situation of Greece significantly improved being a permanent member of the European Union since 1981. Thus, sponsorships were made by its citizens for the creation of new cultural infrastructure (Vafopouleio Cultural Center, History Center); the architectural wealth of the once prosperous Jewish community was used for cultural purposes, and also the Ottoman buildings, which are scattered throughout the city, were preserved.
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Kidder, Tristram R. "Plazas as Architecture: An Example from the Raffman Site, Northeast Louisiana." American Antiquity 69, no. 3 (July 2004): 514–32. http://dx.doi.org/10.2307/4128404.
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Research at the Raffman site (16MA20), a multi-mound center in the Lower Mississippi Valley of northeast Louisiana, demonstrates that the plaza was purposefully built and extended on its northern end. Construction entailed significant earth-moving and labor effort in addition to the erection of mounds flanking the plaza. At Raffman plaza, building is dated ca. A.D. 700–1000. Like the mounds at the site, the arrangement, shape, and dimensions of the plaza changed through time. The final plan of the plaza was the result of a rapid major reconfiguration of the spatial layout of the site at approximately A.D. 1000. The effort expended on planning and construction of the plaza at Raffman and similar features at contemporary and later sites in the southeastern United States indicates that plazas are not just empty spaces that developed because architecture enclosed an open area; they must be understood as one of the central design elements of community planning and intrasite spatial organization. Further research should be devoted to exploring how southeastern mound-and-plaza groups were constructed with specific efforts devoted to comprehending how plazas were laid out and built.
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Romaniv, Oksana, Oleksii Rybachok, and Daria Savelyeva. "STREET ART IN THE SPACE OF THE TOURIST ENVIRONMENT OF ZHYTOMYR." GEOGRAPHY AND TOURISM, no. 54 (2019): 41–49. http://dx.doi.org/10.17721/2308-135x.2019.54.41-49.
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The aim - to study the main characteristics of the tour "Street art Zhitomir" and its strategy to promote on the urban tourism market. Research methodology includes a system of methods and techniques: monographic, methods of market research (applied in the study of the existing demand for the proposed type of travel products and attitudes of local people to the street art), interviews with experts (used in collecting information about sightseeing objects), the method of field research (used in the study of the actual state of excursions subjects in real-world conditions of the area). Research results. Reviewed the role of street art in urban space rethinking the example of prominent projects in the world. Established terminological meaning of "street art", "mural", "graffiti" and so on. The benefits of increasing the popularity of street art are noted. Wall painting or mural (in Spanish muro - "wall", "masonry") - a kind of monumental and decorative painting, performed directly on the wall or plaster, in which the images and decorative ornaments are subordinated to architectural forms. It allows to improve urban landscapes in combination with post-Soviet architecture. Other positives of street art are: creating landmarks, designing space, marking space, and more. A separate positive of the Murals: they help attract more tourists to the cities. The text of the publication gives examples of murals in famous tourist centers, which have helped to transform the urban space. The article discusses the importance of street art as one of the most popular and fastest growing types of contemporary art in shaping the space of the urban tourism environment of Zhytomyr. It defines the role of murals as the most common direction of Zhytomyr street art. The results of the study of the most famous and significant murals of the city of Zhytomyr by available sources of information are presented, the possibility of their involvement in the excursion program is analyzed. The main components of the excursion product "Street Art Zhytomyr" in the publication are developed. The tools for promoting the proposed excursion product to the urban tourism market are identified. The scientific novelty of the work: an innovative city excursion product was developed. The excursion program includes fifteen locations. The content of the tour is designed for both professional artists and those who are not experts in the field of art. The practical significance of the work: this excursion product can be introduced into the tourism market and it will contribute to the formation of a positive tourist image of the city of Zhytomyr.
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Turkan, Zihni. "Sustainability in the Formation and Development of Historical Cities: “Nicosia Historical City Texture”." European Journal of Sustainable Development 9, no. 2 (June 1, 2020): 250–62. http://dx.doi.org/10.14207/ejsd.2020.v9n2p250.
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The formation of the historical city texture of Nicosia, the capital of Cyprus, began during the Lusignan Period. St. Sophia Cathedral and St. Catherine Church, which have an important place in the formation of the texture, are two of the few works of art still surviving today. Being a period of destruction for the city, in general, The Venetian Period provided the city walls to Nicosia which still surround the historical texture. The Ottoman Period brought a change to the historical city texture and Islamic culture and Turkish Architectural construction style replaced the Christian cultures. A number of architectural works from this period, still existing within the walled city of Nicosia, provided a great contribution to the formation and development of the present day texture, as well as for its sustainability. The British Period is one which brought novelty to the city texture of Nicosia. With demolition of historical works and changes in the street and square dimensions, British Colonial Architecture displays the traces of the recent past. The administrative buildings constructed in place of the demolished Lusignan Palace, still serve at present. With the beginning of the Period of the Republic in 1960, Nicosia underwent a fast process of development as an important capital in the Middle East. The traditional visuality in the city texture left its place to contemporary constructions and formations. The inter-communal conflicts, which started in 1964 on the other hand, negatively affected the formation and development of the city texture, and there was a period of stagnation until the 70s. The new developments observed since the 70s and the insufficiency of precautions to protect historical texture, caused a deterioration the city texture. With the position of an open-air museum, Nicosia with its history of over twenty-five centuries has a very rich historical city texture with the legacies of various cultures which reigned over Cyprus and is sustainable in the present, and is therefore an important cultural and touristic center Keywords: Cyprus, Nicosia, Historical City Texture, Walled City, Sustainability.
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Burns, Robert C., and Patrick Thompson. "REHABILITATION OF AN ICONIC SKYSCRAPER POISED TO SPUR REVITALIZATION OF A DOWNTOWN NEIGHBORHOOD." Journal of Green Building 11, no. 3 (June 2016): 35–54. http://dx.doi.org/10.3992/jgb.11.3.35.1.
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INTRODUCTION The revitalization of downtown Richmond, Virginia, in the 21st century has been a slow process, beginning in the financial center near the State Capitol Building and migrating slowly westward along Broad Street, the traditional retail avenue of the City. One by one over the course of the past several years, large, iconic buildings have been rehabilitated for new and exciting uses. These buildings have long been associated with the history of the City itself: the Miller & Rhoads Department Store, the John Marshall Hotel, the First National Bank Building, and the Hotel Richmond among others. The Central National Bank (CNB) Building was built at the dawn of the Great Depression and eventually became one of the last Art Deco style skyscrapers remaining in downtown Richmond. Its location in the neglected western fringe area of Broad Street made it the next logical target for rehabilitation. When Douglas Development purchased the vacant building in 2005, they were buying the crowning piece of architecture that they hoped would become the linchpin project to spur the revitalization of the surrounding neighborhood. That lofty goal was not without challenges, of course, and it took 8 years to put the project together and start the building's renovation. The complications inherent in the rehabilitation of any iconic 75-year old building listed on the National Register of Historic Places to suit continued use for contemporary life also clearly came into play.
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Obradovic, Radojko, and Marjana Strugar. "Planned transformations within residential structure in the central zone of Belgrade." Spatium, no. 33 (2015): 84–91. http://dx.doi.org/10.2298/spat1533084o.
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Belgrade?s urban transformations largely mirror the Master Plan of Belgrade 2021 and the consequent detailed regulation plans, consistent with the national Law on Planning and Construction. A major negative consequence of contemporary urban transformations in Belgrade?s central compact blocks is a failure to create common public or semi-public areas in the center of the blocks, and a complete disregard to their importance. Any transformation in the future needs not only to correspond to the needs of citizens, but meet them on a larger scale, too, while creating an optimal ratio between sustainable development and maximum economic benefits for property owners, the city and the state. Only a good balance between these parameters can create the best possible conditions for growth. It can protect the city against heavy dependence on developers, and allow property owners to invest and save their urban units.
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Liu, Wenjie, Shoaib Akram, Jennifer B. Sartor, and Lieven Eeckhout. "Reliability-aware Garbage Collection for Hybrid HBM-DRAM Memories." ACM Transactions on Architecture and Code Optimization 18, no. 1 (January 21, 2021): 1–25. http://dx.doi.org/10.1145/3431803.
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Emerging workloads in cloud and data center infrastructures demand high main memory bandwidth and capacity. Unfortunately, DRAM alone is unable to satisfy contemporary main memory demands. High-bandwidth memory (HBM) uses 3D die-stacking to deliver 4–8× higher bandwidth. HBM has two drawbacks: (1) capacity is low, and (2) soft error rate is high. Hybrid memory combines DRAM and HBM to promise low fault rates, high bandwidth, and high capacity. Prior OS approaches manage HBM by mapping pages to HBM versus DRAM based on hotness (access frequency) and risk (susceptibility to soft errors). Unfortunately, these approaches operate at a coarse-grained page granularity, and frequent page migrations hurt performance. This article proposes a new class of reliability-aware garbage collectors for hybrid HBM-DRAM systems that place hot and low-risk objects in HBM and the rest in DRAM. Our analysis of nine real-world Java workloads shows that: (1) newly allocated objects in the nursery are frequently written, making them both hot and low-risk, (2) a small fraction of the mature objects are hot and low-risk, and (3) allocation site is a good predictor for hotness and risk. We propose RiskRelief, a novel reliability-aware garbage collector that uses allocation site prediction to place hot and low-risk objects in HBM. Allocation sites are profiled offline and RiskRelief uses heuristics to classify allocation sites as DRAM and HBM. The proposed heuristics expose Pareto-optimal trade-offs between soft error rate (SER) and execution time. RiskRelief improves SER by 9× compared to an HBM-Only system while at the same time improving performance by 29% compared to a DRAM-Only system. Compared to a state-of-the-art OS approach for reliability-aware data placement, RiskRelief eliminates all page migration overheads, which substantially improves performance while delivering similar SER. Reliability-aware garbage collection opens up a new opportunity to manage emerging HBM-DRAM memories at fine granularity while requiring no extra hardware support and leaving the programming model unchanged.
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Arandjelovic, Biljana. "Berlin Mitte: Alexanderplatz and Friedrichstaße: Urban and historical images." Spatium, no. 31 (2014): 51–56. http://dx.doi.org/10.2298/spat1431051a.
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Berlin Mitte is one of the most interesting parts of the city, located in the core of Berlin where every corner and stone can tell a story. Mitte, the cultural center of Berlin is also known as the political and economic hub of Berlin. This paper explores the urban and historical image of two important parts of Berlin Mitte district: Alexanderplatz and Friedrichsta?e. Friedrichstra?e, as the main shopping and business street in this area, was planned with great attention by Prussian authorities, while the area around Alexanderplatz grew up randomly and its streets did not follow any special urban patterns. All potential international investors wanted to come to Friedrichstra?e after the fall of the Wall, while Alexanderplatz was not so attractive to them. Many famous architects took part in numerous competitions regarding urban planning reconstructions of the famous Alex throughout the 20th century. These two areas of the Mitte district, Alexanderplatz and Friedrichsta?e, are very important for contemporary Berlin and both areas have different problems.
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Markejevaitė, Lada. "TRAINING OF TECTONIC SKILLS IN ARCHITECTURAL STUDIES/TEKTONIZAVIMO ĮGŪDŽIŲ UGDYMAS ARCHITEKTŪROS STUDIJOSE." JOURNAL OF ARCHITECTURE AND URBANISM 32, no. 1 (March 31, 2008): 34–40. http://dx.doi.org/10.3846/13921630.2008.32.34-40.
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Tectonic expression of forms maintains the importance developed in architecture for a long time, but changing conditions force it to become more complex and integrate more factors. Tectonics creates preconditions for architecture as a sincretic art. So the tectonic nature of architecture becomes of great interest for the creative process. It becomes meaningful to introduce multiple and diverse problems of tectonics into architectural education. The creative work of a contemporary architect is stimulated by generation of distinctive architectural forms which are based on the nature of materials, logical adoption of structures and development of artistic appearance. Skills in modelling a tectonic form play an important role in the process of creation a sound architectural form. Therefore, it is worth to improve the methods of teaching and develop tectonic skills in a more effective way. In the process of education understanding of the interrelation of the main tectonic elements – material, structure and form (artistic appearance) – is developed. It is important to develop tectonic skills during the entire educational process. At separate educational stages different problems of architectural tectonics should be analysed, while interrelation of the main tectonic elements is to be disclosed constantly. Tectonic skills are to be developed simultaneously integrating all the relating disciplines. The educational programs of some schools feel lack of complexity in developing tectonic skills and demonstrate insufficient interdisciplinary connection and the continuity of knowledge. The necessity of a new model of complex studies is evident. To secure a gradual process of tectonic studies, a complex three-levelled model of acquiring tectonic skills is presented. Each level of the model is characterized by progressive acquaintance with the tectonic form. The first level examines tectonic characteristics in non-architectural objects and is an experimental stage; the second level is cognition of architectural tectonic systems and tectonic features of an architectural context; the third level is interpretation based on the tectonic theme: with the help of artistic appearance, an architectural object is tectonically embodied and made meaningful. The stage of interpretation of a tectonic system is the highest level of training compositional skills which integrates the main study disciplines and intensifies students’ artistic intuition. At each level of the model one of the three main elements of tectonics is emphasized: at the first level – material, at the second level – structure and at the third level – form. Santrauka Per ilgą laiką susiformavusi tektoninė formų raiška išlieka svarbi architektūroje ir šiais laikais, tačiau kintant gyvenimo sąlygoms tampa kompleksiškesnė ir integruojanti daugiau raiškos aspektų. Tektonika sukuria prielaidas architektūrai reikštis kaip sinkretiniam menui – taigi tektoninio formos pavidalo paieška atsiduria kūrybinio proceso dėmesio centre. Atsirado poreikis daugialypę, įvairiapusę tektonikos problematiką įtraukti į architektūros studijas – tektonizavimo įgūdžių ugdymo procesą. Kūrybinis šiuolaikino architekto darbas yra įkvėptas išskirtinių architektūrinių formų, kurios yra pagrįstos medžiagų prigimtimi, logišku konstrukcijos panaudojimu ir meninės raiškos sukūrimu. Formos tektoninio modeliavimo įgūdžiai yra svarbūs kuriant visapusiškai užbaigtą architektūrinę formą. Todėl svarbu patobulinti mokymo metodus ir ugdyti tektoninius įgūdžius efektyvesniu būdu. Mokymo procese formuojamas trijų tektonikos elementų tarpusavio ryšio supratimas – medžiagos, konstrukcijos ir formos (meninės raiškos). Svarbu ugdyti tektonizavimo įgūdžius viso mokymo proceso metu. Skirtingose pakopose turi būti analizuojamos vis kitokios architektūrinės tektonikos temos ir nuosekliai atskleidžiamas tektonikos elementų tarpusavio ryšys. Tektonizavimo gebėjimai turi būti ugdomi vienu metu integruojant visas su juo susijusias disciplinas. Kai kurių aukštųjų mokyklų mokymo programoms trūksta kompleksiškumo, nepakanka tarpdisciplininio ryšio ir žinių perimamumo, todėl naujo mokymo modelio poreikis yra akivaizdus. Siekiant užtikrinti nuoseklų tektonikos studijų procesą, pateiktas kompleksinis trijų pakopų tektonizavimo įgūdžių ugdymo modelis. Kiekviena kompleksinio tektonizavimo įgūdžių ugdymo modelio pakopa skiriama formos tektonizavimo įgūdžiams įtvirtinti skirtinguose lygmenyse. Pirmoji pakopa – tektoninių ypatybių atskleidimas nearchitektūriniuose dariniuose – galėtų būti apibūdinta kaip eksperimentinis etapas, antroji pakopa – architektūros tektoninių sistemų tipų ir jų raidos pažinimas, trečioji pakopa – tektoninių sistemų interpretavimas kaip meninės interpretacijos, pagrįstos tektonikos tematika, etapas: meninės raiškos priemonėmis objektas yra tektoniškai įkūnijamas ir įprasminamas. Interpretavimo pakopa yra aukščiausia kompozicinių gebėjimų įtvirtinimo pakopa, kuri integruoja studijų disciplinas ir sustiprina studento meninę intuiciją. Kiekvienoje modelio pakopoje yra akcentuojamas vienas iš trijų pagrindinių tektonikos elementų: pirmojoje – medžiaga, antrojoje – konstrukcija, trečiojoje – forma.
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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.
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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.
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Vukotic-Lazar, Marta, and Jasmina Djokic. "Complex history as a source of planning problems: Old Belgrade fairground." Spatium, no. 13-14 (2006): 34–40. http://dx.doi.org/10.2298/spat0614034v.
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The Old Belgrade Fairground complex is the large area in the center of Belgrade that is completely isolated from other parts of Belgrade: it is one of the most devastated city areas, populated by poor inhabitants, often by those from the marginal groups, burdened with tragic history and it represents one of hardest problems for planners to solve. It is situated on the left bank of the Sava River between two bridges and downtown New Belgrade. Opposite to it, the Sava Amphitheatre slopes down the Belgrade Ridge towards the river. The complex was built in the thirties of the 20th century across the River Sava in the area that was an unpopulated swamp - Belgrade was situated on the right Sava bank. It was meant to be modern extension of oriental city, which could represent the western tendencies of the young state (Kingdom of Yugoslavia) and its capital. Modern and monumental complex of exhibition and commercial pavilions was built, and started its life with national and international fairs and exhibitions. World War 2 changed its destiny: German occupation forces transformed the complex into the concentration camp, where thousands of people were tortured and killed. After the war, new republican government, both communist and antifascist, had double frustration regarding this space: it?s tragic (during the War) and "capitalist" (before the War) past, so complex that was absolutely ignored in the period of the postwar renewal, and the result is described at the beginning of this text. This paper discusses the possibility to conciliate historical roles of the complex, and to realize it?s potentials in the modern world. Facts of the complex?s history are presented in the first part of the paper. Further on, these facts are analyzed in the context of contemporary city development of Belgrade in particular but globally, too.. Finally, some guidelines for crossing the gap between this area and the rest of the city are presented in the third part of the paper.
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Radomski, Grzegorz. "Ochrona kultury narodowej w koncepcjach współczesnej prawicy narodowej w Polsce." Sprawy Narodowościowe, no. 47 (January 29, 2016): 15–25. http://dx.doi.org/10.11649/sn.2015.061.
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Protection of natural culture in concepts of the contemporary National Right Wing in PolandIn the centre of the system of values of the National Right Wing which revived after 1989 there are still nation, family and religion. The nation as community of culture is in opinion of the said parties exposed to dangers. The main risks are in their opinion as follows: cosmopolitism, Communist ideology, individualism, liberalism; secularization.In Poland, such ideas are, in the opinion of the National Right Wing, propagated by the liberal and post-communist circles. In the beginning they demanded that the communist activists are brought to justice. Some columnists refer to antisemitism. They perceive also the fall of the literary output. They assess critically the novels of Czesław Miłosz, Stanisław Barańczak or Olga Tokarczuk. Similar assessments regard the works of Polish historians. As preventive measures the following is mentioned: appropriate educational activity, statutory protection of national heritage, broadening of Catholicism, promotion of national culture. They attach great importance to the national branding. Its components are history, language, political regime, architecture, literature, art, religion, icons landscape, music. They would probably accept the opinion of Michael Porter: “Many contemporary discussions of international competition stress global homogenization and a diminished role for nations. But, in truth, national differences are at the heart of competitive success.” Ochrona kultury narodowej w koncepcjach współczesnej prawicy narodowej w PolsceW centrum systemu wartości odrodzonego po 1989 roku ruchu narodowego pozostają naród, rodzina i religia. Naród, traktowany jako wspólnota kultury, narażony jest w ocenie wspominanych wyżej środowisk na liczne zagrożenia. Za najgroźniejsze uznają one: kosmopolityzm, ideologię komunistyczną, indywidualizm, liberalizm, sekularyzację. W Polsce wspomniane idee mają być propagowane przez środowiska liberalne i postkomunistyczne. W wypowiedziach publicystów narodowych pojawiają się także akcenty antysemickie. Krytyczna ocena dotyczy też współczesnej polskiej literatury, a zwłaszcza twórczości Czesława Miłosza, Stanisława Barańczaka czy Olgi Tokarczuk. Podobne oceny odnoszone są do prac polskich historyków. Za istotną uznano więc puryfikację kultury narodowej. Wśród środków zaradczych środowiska narodowe proponują: rozwój edukacji historycznej, ochronę dziedzictwa narodowego, rozwój katolicyzmu i promocję kultury narodowej. W tym ostatnim wypadku za niezwykle ważny uznają one branding narodowy. Jego podstawowe składniki to historia, język, architektura, krajobraz, reżim polityczny itp. Polscy narodowcy zapewne zaakceptowaliby opinię sformułowaną przez Michaela Portera. Twierdzi on, iż co prawda nastąpiła globalna homogenizacja, ale podkreślanie odrębności narodowej jest źródłem sukcesu.
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Khonsari, Torange. "Contemporary Initiatives in Participatory Art and Architecture Practice." Open House International 33, no. 2 (June 1, 2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.
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Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commissioned by Gasworks Gallery was a residency over a 3-month period, which examined how the gallery is perceived and used by its audiences. The second project shows work with the residents of two housing estates, Braithwaite House and Quaker Court in Bunhill Row - Old street - London. The project was derived from the public realm strategy for EC1, commissioned by EC1 New Deal for Communities and was to create an active public and social space to be shared by two rather conflicting communities.
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Kara, Taushif. "Pray to the Archive: Abstracting History in Zanzibar." International Journal of Islamic Architecture 9, no. 2 (July 1, 2020): 265–85. http://dx.doi.org/10.1386/ijia_00014_1.
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Abstract This article explores the problem of reading architecture as archive, with specific reference to the built environment on the island of Zanzibar. The architecture of Stone Town ‐ Zanzibar's urban centre ‐ is often marshalled by scholars as clear evidence of the island's complex and layered histories. This reading, however, tends to lament an erstwhile Indian Ocean cosmopolitanism at odds with both the Zanzibari past and present. In this article, I trace the contours of the island's divergent political and architectural histories and demonstrate how an archival view of architecture can obscure the very past it seeks to recover. I illustrate this tension through one particular case study: the Khoja Jamatkhana in the heart of Stone Town. I then consider the possible futures of archival readings by exploring the limits of both formal analysis and historical context through the work of contemporary artist Zarina Bhimji. If the Jamatkhana points to the restrictive capacity of archival readings of architecture, Bhimji's work opens up the archive itself as a site of abstraction, bringing into sharp relief the intricate relationship between space and history.
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Merkel, Jayne. "Boston Institute of Contemporary Art." Architectural Design 77, no. 6 (2007): 130–33. http://dx.doi.org/10.1002/ad.586.
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Santos, Jose dos, and Cabral Filho. "Digital Art — A Field of Inquiry for Contemporary Architecture." International Journal of Architectural Computing 3, no. 3 (September 2005): 355–72. http://dx.doi.org/10.1260/147807705775377276.
Full textAbstract:
This article investigates the interplay of digital technology, art and architecture and it presents a series of experimental workshops developed at LAGEAR (Graphic Laboratory for the Experience of Architecture, School of Architecture at UFMG, Brazil). The intention of these workshops is to include an artistic approach to the work in a computer lab dedicated to teaching and researching architecture. At first, a discussion on the relationship between art and architecture is presented, followed by an analysis of the enhancement of such relationship with the advent of digital technology. Then a series of works developed by artists and students in collaboration is described. The article concludes with a discussion on the role of digital art for architectural education. It is proposed that it may be one of the most adequate fields for students to freely investigate contemporary issues, such as interactivity and automation, which are now shaping our built environment.
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De Meulder, Bruno, Kelly Shannon, and Vu Thi Phuong Linh. "HCMC: mirroring the city center, inversing contemporary logics." ZARCH, no. 15 (January 27, 2021): 14–35. http://dx.doi.org/10.26754/ojs_zarch/zarch.2020154856.
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Ho Chi Minh City (HCMC), the largest agglomeration in Vietnam, is a multitude of cities and where spatial development is inherently intertwined with a continuously transforming water structure. HCMC is a relatively young city—the foundational citadel dates from the end 18th century—that nevertheless was always complex. Its original dichotomic nature, with Chinese Chợ Lớn and Vietnamese Sài Gòn, forcefully colonized and domesticated a quagmire. It eventually became colonized itself by France (formalized by the Indochina federation 1887-1954). The agglomeration subsequently underwent strong growth and transformation during the American War (1955-75), to explode even more after the (re)opening up to the market in 1986 (Đổi Mới: the change to the new). Shock and wave development (and significant disruption), hand-in-hand with forceful public intervention and laissez-faire dynamics, led to odd bedfellows—a partially planned and spontaneous urban environment, iterating between conscious design decisions anchored on territorial characteristics (predominantly defined by water structures) and generic additions regardless of the terrain, between structuring and undirected fabrics. Amidst another wave of rampant growth and expansion, the city plans to double its center eastwards across the Sài Gòn River in the water-sick districts 2, 9 and Thu Duc. This offers the occasion to boldly rethink the formation of the contemporary tropical deltaic metropolis. The article will plead for an alternative for the future development of HCMC through the elaboration of a project for the twin center of Sài Gòn, foreseen in an interfluvial land that is systematically permeated by canals, river branches, ditches, etc. The plan recognizes that the water system defines the base spatial register of the territory and intelligently anchors urban development on this register.
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Gorgi, Karim Raef. "Revisionist Architecture." Journal of Urban Society's Arts 6, no. 2 (October 25, 2019): 81–86. http://dx.doi.org/10.24821/jousa.v6i2.3159.
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This paper introduces the reconciliation as well as an analysis on the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture, but also raise awareness on the subjectivity of beauty in architecture. In the conclusion of this paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration.
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SLASTENIN, P. V. "THE CONCEPT OF SIMPLICITY IN CONTEMPORARY ARCHITECTURE." Urban construction and architecture 1, no. 3 (September 15, 2011): 6–8. http://dx.doi.org/10.17673/vestnik.2011.03.1.
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This article is an attempt to crystallize some thoughts about the place of simplicity in contemporary architecture. The article briefly describes the viewpoint of the avant-garde artist K. Malevich and modern architects J. Pawson, K. Sejima and R. Nishizawa with regard to concept of simplicity and its origin. Some possible ways to achieve simplicity in art and architecture, such as economy and minimum, are considered in this article.
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Wibisono, Alenda Khoirunnisa, Hardiyati Hardiyati, and Rachmadi Nugroho. "THE IMPLEMENTATION OF THE ORGANIC ARCHITECTURE THEORY IN CONTEMPORARY ART GALLERY DESIGN STRATEGY IN SURAKARTA." ARSITEKTURA 17, no. 1 (April 30, 2019): 15. http://dx.doi.org/10.20961/arst.v17i1.23906.
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Surakarta has various potentials in contemporary art, namely the potential of artists, the intensity of activities, as well as formal and informal art groups and institutions. Unfortunately, those potentials are not equal with the availability of facilities to accommodate them. Therefore, a Contemporary Art Gallery in Surakarta is needed as a place of appreciation, recreation and education. Gallery is a fixed container in the form of a closed building to accommodate visual communication activities through exhibitions and other artistic activities (Webster, 1979). Contemporary art is a developing art that responds to and reflects the situation at the moment (Maria & Belle Bintang Biarezky, 2016). To be able to accommodate contemporary art, Organic Architecture is the right approach to be applied to building design strategies. Organic Architecture is radical, free, flexible, dynamic (Pearson, 2002). Organic Architecture has 8 design principles, namely building as nature, continuous present, form follows flow, of the people, of the hill, of the materials, youthful and unexpected, and living music, which will be studied to determine design strategies. The principles that can be applied will be applied to the analysis process that will result in the design of the Contemporary Art Gallery which can accommodate various contemporary art activities, represent them and accommodate possible changes.
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Laaksonen, Esa. "Architectural intersections: Museum of Contemporary Art, Helsinki." Architectural Research Quarterly 3, no. 1 (March 1999): 15–28. http://dx.doi.org/10.1017/s135913550000172x.
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Steven Hollwon an international competition for the Museum of Contemporary Art in Helsinki, Finland, based on the concept of intertwining or ‘chiasma’. That idea stems from the museum's site, which stands at the point where the city and Töölö Bay, the commercial core and the Parliament building come together. Intertwining also characterizes the form of the building, in which a gallery wing twists over and around a rectangular block, separated by a tall, curving entry hall dominated by a broad ramp. The museum has a few functional lapses, but is generally successful.
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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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Caldarola, Elisa. "Architecture and Sites." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 5–23. http://dx.doi.org/10.52685/cjp.21.1.1.
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Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture the lesson learned from the analysis of the art debate.
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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.
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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.