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1
Selwadiya, Sejal, Soma A. Mishra, and Kavya Trivedi. "REVIVING ART FORMS OF NIRONA-THROUGH ARCHITECTURE." International Journal of Research -GRANTHAALAYAH 6, no. 10 (October 31, 2018): 176–86. http://dx.doi.org/10.29121/granthaalayah.v6.i10.2018.1176.
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This research is subjected to the documentation of Nirona, in Kutch, Gujarat. Nirona is web of various art forms- Rogan painting, copper bell, lacquer art, leather art, Weaving, practiced at one place, making it culturally very rich. Though it is blessed with a bunch of art forms, it is still facing survival problems. Thus, it is getting at the verge of extinction. This research aims at documenting these art forms and understanding the reason behind its declination. Also, architectural contributions for their survival and upliftment are analyzed and based on that new suggestions are made.
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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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Uyaguari, Alvaro, Edison Espinosa-Gallardo, Milton Escobar-Sánchez, José Luis Carrillo-Medina, and Patricio Espinel. "Open Source Web Software Architectures for Geo-graphic Information Systems: A Systematic Mapping Study." KnE Engineering 1, no. 2 (January 30, 2018): 192. http://dx.doi.org/10.18502/keg.v1i2.1495.
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Abstract. A geographic information system is an organized integration of hardware, software and geographic data designed to collect, store, manipulate, analyze and present geographically referenced information. In the development of applications web the software architecture are very important aspect when developing complex software efficiently. This research shows a mapping study which objective is know the state of the art of the software architectures of the geographic information systems for open source web environments. The results show that 74.19% of contributions are integrations of existing open source components, 16.13% add tools to the software architecture, and 9.68% integrate new methods to solve or improve algorithms that are part of the architecture. This indicates that further research is needed to experience new tools and/or new algorithms to solve or improve existing ones.
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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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Ang, Li Minn, and Kah Phooi Seng. "GPU-Based Embedded Intelligence Architectures and Applications." Electronics 10, no. 8 (April 16, 2021): 952. http://dx.doi.org/10.3390/electronics10080952.
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This paper present contributions to the state-of-the art for graphics processing unit (GPU-based) embedded intelligence (EI) research for architectures and applications. This paper gives a comprehensive review and representative studies of the emerging and current paradigms for GPU-based EI with the focus on the architecture, technologies and applications: (1) First, the overview and classifications of GPU-based EI research are presented to give the full spectrum in this area that also serves as a concise summary of the scope of the paper; (2) Second, various architecture technologies for GPU-based deep learning techniques and applications are discussed in detail; and (3) Third, various architecture technologies for machine learning techniques and applications are discussed. This paper aims to give useful insights for the research area and motivate researchers towards the development of GPU-based EI for practical deployment and applications.
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Krastins, Janis. "Architecture of Charles Carr in Liepāja." Landscape architecture and art 15 (March 23, 2020): 31–37. http://dx.doi.org/10.22616/j.landarchart.2019.15.03.
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Contribution of civil engineer Charles Carr to the development of Liepāja's Art Nouveau architecture is analysed in the article. Art Nouveau in Liepāja is one of the greatest values of architectural heritage of the city. Buildings of this style determine the cityscape in many places, but data on Liepāja's Art Nouveau architects until recent past were extremely sparse. Ch. Carr was known only as the author of the design of the building at Graudu iela 45. Two more his designs, including the one for the building at Graudu iela 44, were found during research. Analysis of planning principles, methods of artistic composition and architectural detailing of these works allowed identifying several other notable Liepāja Art Nouveau buildings as possible creations of Ch. Carr and to determine the place of this personality in the history of Latvian culture.
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Paterson, Mark. "Architecture of Sensation." Body & Society 23, no. 1 (September 23, 2016): 3–35. http://dx.doi.org/10.1177/1357034x16662324.
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Recent social theory that stresses the ‘nonrepresentational’, the ‘more-than visual’, and the relationship between affect and sensation have tended to assume some kind of break or rupture from historical antecedents. Especially since the contributions of Crary and Jay in the 1990s, when it comes to perceiving the built environment the complexities of sensation have been partially obscured by the dominance of a static model of vision as the principal organizing modality. This article returns to some prior historical articulations of the significance of motility in perception, retracing pathways across art history, architectural theory and the history of neuroscience to argue for an alternative model based on the movement of the eye. Along with subsystems that deal with balance and orientation, I offer parallels between spatial motifs of the interior spaces of the body – labyrinths, vestibules, chambers – and those in artefacts and the built environment that contribute to the heightened physicality of the oculomotor subject.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Brajkovic, Jelena, and Lidija Djokic. "Principles and modes of new media architecture." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 239–49. http://dx.doi.org/10.2298/fuace170303018b.
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The contemporary age is marked by the rapidly advanced digital revolution, unstoppable rise of computer technologies and omnipresence of technological advancements in all aspects of everyday life. In the information era, computer technologies have become pervasive, ubiquitous and dominant. Their hybridization with previously present media forms resulted in the emergence of a new and exuberant field of new media and technologies. New media is a hybrid field of computer based technological forms, which are used in contemporary practice, not only as tool, but also as an expressive medium. Because of the complex nature of new media, the field is extremely hybrid, positioned at the intersection of art, science and culture. Its emerged cultural paradigm is scientific culture, in which dominant characteristics are technological art and cultural forms, as well as information and techno society. In this overall context, architecture is not an isolated phenomenon. The new media have influenced the field of architecture too, offering new possibilities, features, design methodologies and principles for conceptualizing and developing architectural space. In architectural practice different modalities of the new media are being used. These modalities initiated the emergence of the field of new media architecture. The distinction of these state-of-the-art types of architectural space, together with the principles and concepts they rely on, were the main focus and main contribution of the research presented in this paper.
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Omer, Spahic. "The Contributions of the Mamluks to the Architecture of the Prophet’s Mosque (Sumbangan Dinasti Mamluk kepada Senibina Masjid Nabawi)." Journal of Islam in Asia (E-ISSN: 2289-8077) 15, no. 2 (December 24, 2018): 329–62. http://dx.doi.org/10.31436/jia.v15i2.754.
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This paper discusses the contributions of the Mamluks to the architecture and development of the Prophet’s Mosque in Madinah. The main discussion lays emphasis on two major issues: Making the Mosque in the Mamluk architectural image, and the maturation of architectural deviations. In order to make them more comprehensible, the two thrusts are preceded by a brief account of a religio-political context that existed prior to and at the time when the Mamluks started to assert their authority, both locally and internationally. In the sheer context of the architectural development of the Mosque, the Mamluks unmistakably showed why they are regarded as some of the greatest patrons of art and architecture in the history of Islamic civilization. But in terms of how they dealt with the prevalent architectural deviations, the Mamluks could be recognized both as victims of the established nonconformist architectural tendencies and trends, and as active protagonists in their further nurturing and spreading.
Keywords: The Mamluks, the Prophet’s Mosque, Madinah, architectural deviations.
Abstrak
Kertas kajian ini membincangkan sumbangan ‘Mamluk’ kepada seni bina dan pembangunan Masjid Nabi di Madinah. Perbincangan utama kajian ini menekankan kepada dua isu utama: pembinaan Masjid dalam imej seni bina ‘Mamluk’, dan penyelewengan seni bina. Untuk menjadikannya lebih mudah difahami, terdapat dua teras yang perlu didahului, iaitu satu ringkasan tentang konteks agama-politik yang wujud sebelum zaman penguasaan ‘Mamluk’ dan pada masa ‘Mamluk’ meluaskan kuasa mereka, samada di dalam dan di luar negara. Dalam konteks pembangunan seni bina Masjid, ‘Mamluk’ membuktikan mereka adalah salah satu pelukis seni bina terkemuka dalam sejarah tamadun Islam. Tetapi dari segi menangani penyelewengan seni bina, ‘Mamluk’ juga dikenali sebagai mangsa kepada seni bina yang tidak konvensional, dan sebagai protagonis aktif dalam memupuk dan menyebarkannya.
Kata Kunci: Mamluk, Masjid Nabi, Madinah, penyelewengan seni bina.
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Rendell, Jane. "Architectural research and disciplinarity." Architectural Research Quarterly 8, no. 2 (June 2004): 141–47. http://dx.doi.org/10.1017/s135913550400017x.
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There are at present considerable concerns with how architectural research will be assessed in the Research Assessment Exercise (RAE) of 2008. In RAE 2001, most architectural research was submitted to one of three Units of Assessment (UoA): 33 Built Environment, 60 History of Art, Architecture and Design, and 64 Art and Design. There were subtle, but important, differences in output definition and assessment criteria between UoA 33 and UoA 64 with respect to practice-led research. Most importantly, in UoA 33 practice-led outputs were accepted by the panel, but only as publications, whereas UoA 64 assessed practice-led research outputs accompanied by a 300-word statement that clarified the contributions of that particular research to the development of original knowledge in the field. The diversity of methods and complexity of output types, combined with the composition of UoA 33, led to results that many feel did not properly reflect the strengths of architectural design, particularly practice-led research. This methodology essentially disenfranchised a significant part of the community from the rae process to the detriment not only of the community, but to the credibility of the process itself.
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Dias Valle, Pedro Henrique, Lina Garcés, Tiago Volpato, Silverio Martínez-Fernández, and Elisa Yumi Nakagawa. "Towards suitable description of reference architectures." PeerJ Computer Science 7 (March 9, 2021): e392. http://dx.doi.org/10.7717/peerj-cs.392.
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Due to the increasing size and complexity of many current software systems, the architectural design of these systems has become a considerately complicated task. In this scenario, reference architectures have already proven to be very relevant to support the architectural design of systems in diverse critical application domains, such as health, avionics, transportation, and the automotive sector. However, these architectures are described in many different approaches, such as using textual description, informal models, and even modeling languages as UML. Hence, practitioners are faced with a difficult decision of the better approaches to describing reference architectures. The main contribution of this work is to depict a detailed panorama containing the state of the art (from the literature) and state of the practice (based on existing reference architectures) of approaches for describing reference architectures. For this, we firstly examined the existing approaches (e.g., processes, methods, models, and modeling languages) and compared them concerning completeness and applicability. We also examined four well-known, successful reference architectures (AUTOSAR, ARC-IT, IIRA, and AXMEDIS) in view of the approaches used to describe them. As a result, there exists a misalignment between the state of the art and state of the practice, requiring an engagement of the software architecture community, through research collaboration of academia and industry, to propose more suitable means to describe reference architectures and, as a consequence, promoting the sustainability of these architectures.
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Serena ; Bachtiar Fauzy, Gabriella. "ACCULTURATION VARIETY OF SUNDANESSE AND MODERN ARCHITECTURE AT SELASAR SUNARYO ART SPACE IN BANDUNG." Riset Arsitektur (RISA) 3, no. 02 (May 15, 2019): 121–37. http://dx.doi.org/10.26593/risa.v3i02.3275.121-137.
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Abstract- The growth of globalization is a worldwide phenomenon that is unavoidable and its impact affects alot of fields, including architecture. Non-local elements, like modernism, that penetrate Indonesia’s culturecause a competition against the local architecture including traditional values, which are reduced due tomodernization. Combining modern and local architecture can be seen as an effort to conserve traditional valuesand answer to the era’s challenge at the same time through the application of modernization.The aim of this research is to understand the meaning of acculturation in architecture, discover whichacculturation that occurs in Selasar Sunaryo Art Space architecture and discover what domination that exists inSelasar Sunaryo Art Space’s architecture.Study of synthesis of architecture in Selasar Sunaryo Art Space is done by doing firstly a survey to gainobject data, undertake an interview with the architect and client to gain the architectural concept of the object,and re-model the object in 3D. Literature is also done to gain theories about acculturation in architecture,building anatomy theory to describe the study object, also Sundanese and modern architecture theories.Afterwards, the object is analyzed by the said theories and interpreted referring to literature.The result of this research shows that modern architecture dominates Selasar Sunaryo’s architecture,especially in it’s body, floor, structure, and ‘s shape. Synthesis of architecture can be seen from the landscapedesign and roof design. Overall, Selasar Sunaryo’s architecture is dominated by modern structure andarrangements, although there are several adaptations to the building’s climate context and application ofSundanese architecture concepts to its buildings.Hopefully this thesis would be beneficial to practitioners, academics, and people in general as acontribution to expand the knowledge of local and non-local architecture synthesis, also as a contribution ofknowledge that is beneficial within designing process or of continuation of the research.Key Words: acculturation, architecture, modern, Sundanese
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Schmidt, Victor. "Dutch art periodicals today." Art Libraries Journal 12, no. 1 (1987): 18–24. http://dx.doi.org/10.1017/s0307472200005009.
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A survey of current Dutch periodicals, devoted to the visual arts (including architecture) or of related interest. A noteworthy feature of art literature in the Netherlands is the contribution made to it by student journals. The quantity and variety of Dutch art periodicals has increased in recent years, enriching art literature but posing problems regarding its bibliographical control.
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Motro, R. "Tensegrity Systems: The State of the Art." International Journal of Space Structures 7, no. 2 (June 1992): 75–83. http://dx.doi.org/10.1177/026635119200700201.
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Tensegrity systems are space structures of a special nature and their industrial use has not yet been fully developed. The article describes the state of the art. The systems examined are geometrically and mechanically complex. Solutions have been found for some of the problems and others require development. A large set of references identifies the main contributions of researchers encouraging the designing of tensegrity systems open up new prospects for construction and application.
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Sheren, Ila Nicole. "Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 137–51. http://dx.doi.org/10.5195/contemp.2011.5.
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The Mudéjar phenomenon is unparalleled in the history of architecture. This style of architecture and ornamentation originated with Arab craftsmen living in reconquered medieval Spain. Embraced by Spanish Christians, Mudéjar traveled over the course of the next four centuries, becoming part of the architectural history of Latin America, especially present-day Mexico and Peru. The style’s transmission across different religions and cultures attests to its ability to unify disparate groups of people under a common visual language. How, then, did mudejar managto gain popularity across reconquered Spain, so much so that it spread to the New World colonies? In this article, I argue that art and architecture move more fluidly than ideologies across boundaries, physical and political. The theory of transculturation makes it possible to understand how an architectural style such as Mudéjar can be generated from a cultural clash and move to an entirely different context. Developed in 1947 by Cuban scholar and theorist Fernando Ortíz, transculturation posited means by which cultures mix to create something entirely new. This process is often violent, the result of intense conflict and persecution, and one culture is almost always defeated in the process. The contributions of both societies, however, coexist in the final product, whether technological, artistic, or even agricultural. I argue that mudejar in Latin America is a product of two separate transculturations: the adoption of Arab design and ornamentation by Spanish Christians, and the subsequent transference of these forms to the New World through the work of indigenous laborers.
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Chiavoni, Emanuela. "Rome and Its Domes: Drawing, Art and Architecture." Periodica Polytechnica Architecture 49, no. 1 (May 4, 2018): 72–76. http://dx.doi.org/10.3311/ppar.11826.
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Any analysis performed to gather data about architectural and urban heritage always begins with the observation of reality and the involvement established between the observer and the space around them. A spectator inevitably interprets what they see in a personal manner so as to give objects a specific meaning. The ability to understand the data and the relationship between the parts and then assign it a value varies from person to person. That the mind can mediate the mental processes of perception-action-thought means that any direct analysis to understand a cultural asset is scientifically extremely important. The critical process sparked by an on-site study exploits the concise graphic transcription of what is visible, including the graphics tool used to achieve that representation. This contribution will present a study performed by the author to gather data using the drawings of several domes in the historical centre of the city of Rome.
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Sharif, Mohamed. "Surface Architecture." Architectural Research Quarterly 7, no. 1 (March 2003): 88–91. http://dx.doi.org/10.1017/s1359135503222016.
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Notwithstanding contributions such as those articulated in Kenneth Frampton's Studies in Tectonic Culture (MIT Press, 1995), few authors have furthered a clear discourse concerning the relationships between construction techniques and formal ideas in architecture subsequent to the late twentieth-century critiques of Western Modernity. Moreover, such writing as there has been has tended to draw from the supposedly redemptive, recuperative and largely Heideggerian tenor of concerns regarding the relationship of humankind to technology and its desired capacity for architecture to mitigate, if not completely resist, the assumed imminent threat of technology to life itself.
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du Toit, Calvyn Clarence, and Hendrik Auret. "Welcoming the Stranger with Intention and Architectural Edifice: Beyond the Geopolitical Hollowness of Crimmigration." International Journal of Public Theology 10, no. 4 (November 22, 2016): 443–60. http://dx.doi.org/10.1163/15697320-12341460.
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Encounters between strangers and established dwellers harbour poetic possibilities. However, contemporary cities often fail to capitalise on these meetings. Events of crimmigration divulge a geopolitical hollowness, which the city might reframe. This article offers such a reframing by discoursing Public Theology and Architecture. First, we describe the geopolitical hollowness of crimmigration. Next, we connect Spiritual Architecture and Public Theology through Stiegler’s description of the pharmacological atmosphere technics engender. Then, we interpret a biblical spirituality curated by the Sodom narrative, illuminating the pathological paths which established denizens’ desire for the migrant might take. Finally, inspired by amalgamating the architect, Norberg-Schulz’s ‘art of place’ and the potential for an architectural ‘art of care’ dormant in Heidegger’s philosophy, we propose a symbolic architectural edifice. A building welcoming and inviting the care-filled contribution of the migrant to the node of the city.
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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (September 30, 2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.
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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place. In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.
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Schützeichel, Rainer. "Architecture as Bodily and Spatial Art: The Idea ofEinfühlungin Early Theoretical Contributions by Heinrich Wölfflin and August Schmarsow." Architectural Theory Review 18, no. 3 (December 2013): 293–309. http://dx.doi.org/10.1080/13264826.2014.890007.
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Schmitt, Gerhard, Florian Wenz, David Kurmann, and Eric van der Mark. "Toward Virtual Reality in Architecture:Concepts and Scenarios from the Architectural Space Laboratory." Presence: Teleoperators and Virtual Environments 4, no. 3 (January 1995): 267–85. http://dx.doi.org/10.1162/pres.1995.4.3.267.
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Virtual reality is the logical step that started way back in time with the appearance of the very first architectural drawing. This has been a long history of development: architectural drawings in Europe, which date back to the tenth century, were the first kind of abstraction that appeared “virtually real” to potential clients and builders—real enough to base decisions on. With the discovery of perspective techniques, drawings became more refined and developed into a form of art with numerous branches, ranging from technical drawings to presentation drawings. Wooden models appeared even before the Renaissance and were supplemented in the nineteenth century with cardboard models. Each new invention helped to improve the understanding of projects and architecture by reducing abstraction, while increasing the complexity of the representation (Schmitt, 1993). Toward the end of the twentieth century, the majority of architectural projects were and are never realized. Prominent projects, such as the new Berlin Government Centre, result in several hundred professional competition entries. With the advent of virtual reality (VR) techniques, architects will at first intensely criticise the new technology, before adopting and improving it, and they will modify it with domain specific contributions. The knowledge of architectural abstraction and simulation is useful to the further development of VR and vice versa. Today, the newest methodological and technical instruments help designers to create a more responsible architecture, many aspects of which can be experienced and tested before construction. This includes the possibility of expanding the number of senses addressed for the explanation of an architectural idea. To structure the discussion about VR in architecture, we first describe the theoretical framework, then move to the description of a Architectural Space Laboratory at the Architecture Department of the Swiss Federal Institute of Technology, ETH Zürich, and follow this with examples of program development. We conclude with speculations on the impact of the new technology on the architecture of the future.
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Shaw, Sarah. "Reviews: Roveda, V. and Yem, S. Buddhist Painting in Cambodia. River Books, 2009. ISBN-13: 9789749863527. Skilling, P. (ed.) Past Lives of the Buddha Wat Si Chum: Art, Architecture and Inscriptions. River Books, 2008. ISBN-13: 9789749863459." Buddhist Studies Review 28, no. 1 (July 8, 2011): 143–51. http://dx.doi.org/10.1558/bsrv.v28i1.143.
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Buddhist Painting in Cambodia by Vittorio Roveda and Sothon Yem. Bangkok: River Books, 2009. 328pp., 630 colour illustrations. Hb. £38.00/US$80.00, ISBN-13: 9789749863527.
Past Lives of the Buddha Wat Si Chum: Art, Architecture and Inscriptions. Edited by Peter Skilling, with contributions from Pattaratorn Chirapravati, Pierre Pichard, Propad Assavavvirulhakarn, Santi Pakdeekham, Peter Skilling. Bangkok: River Books, 2008. 296pp., 390 colour images and 30 plans and maps. Hb. £29.75/US$75.00, ISBN-13: 9789749863459.
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Graziani, Salvatore, and Maria Gabriella Xibilia. "Innovative Topologies and Algorithms for Neural Networks." Future Internet 12, no. 7 (July 11, 2020): 117. http://dx.doi.org/10.3390/fi12070117.
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The introduction of new topologies and training procedures to deep neural networks has solicited a renewed interest in the field of neural computation. The use of deep structures has significantly improved the state of the art in many applications, such as computer vision, speech and text processing, medical applications, and IoT (Internet of Things). The probability of a successful outcome from a neural network is linked to selection of an appropriate network architecture and training algorithm. Accordingly, much of the recent research on neural networks is devoted to the study and proposal of novel architectures, including solutions tailored to specific problems. The papers of this Special Issue make significant contributions to the above-mentioned fields by merging theoretical aspects and relevant applications. Twelve papers are collected in the issue, addressing many relevant aspects of the topic.
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Vidrih, Rebeka. "The Bauhaus Pots and Cups Express the Spirit of the Twentieth Century: Design in Art History and Pevsner's Definition of the Modern Movement." Res Mobilis 9, no. 11 (September 15, 2020): 19–31. http://dx.doi.org/10.17811/rm.9.11.2020.19-31.
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Nikolaus Pevsner’s Pioneers of Modern Movement is considered the foundational text of two new historical fields, the history of modern architecture and the history of design. This contribution, nevertheless, discusses this text in the context of art-historical discipline. Pevsner himself namely understood his work as a complement to Kunstgeschichte: by defining the ‘Modern Movement’ in established art-historical terms and also by discussing not only architecture but attempting to define the style and the worldview expressed in it for the whole period and all of visual arts. Specifically, this contribution is interested in the place that Pevsner allocated to the design within his art-historical edifice, since inclusion of objects of everyday use within an art-historical study was not (and still is not) usual. For Pevsner, on the contrary, design (linked to architecture) turns out to be a key component of his narrative, even if not for aesthetic but rather for moral or social reasons.
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Dilmi, Djamel. "SINO-ARABIC SCRIPT AND ARCHITECTURAL INSCRIPTIONS IN XI’AN GREAT MOSQUE, CHINA." Journal of Islamic Architecture 3, no. 1 (September 2, 2014): 39. http://dx.doi.org/10.18860/jia.v3i1.2539.
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The Islamic art have played a significant role in the development of Muslim Chinese community in China, it was<br />developed through time in response to cultural needs of the minority Muslim groups in China. The Islamic<br />calligraphy was widely used in architecture, especially in interior and exterior decoration of mosques and<br />other religious buildings. The aim of this study is to interpret the Islamic art and architecture in China through<br />application of Sino-Arabic script on mosques and crafts produced by Muslim minority in China in relation to the<br />Islamic civilization and Chinese civilization, in order to suggest some guidelines for the preservation of this<br />forgotten Islamic heritage. To achieve the aim of this paper the Sino-Arabic inscriptions will be examined in<br />order to determine their characteristics and the nature of the effects to which they have been subjected. A<br />broad range of information was collected from various sources and through a field survey that was carried out<br />in Xi’an Great Mosque in China. The collected information from field work will be analyzed with particular<br />regard to the special character of Chinese Islamic art and architecture. This study is an attempt to address<br />the important topic of Islamic calligraphy and its application on architectural buildings in China as part of<br />issues of Islamic architectural heritage and its integration with local tradition that have been occurred in the<br />Muslim world and it is hoped that it is going to be a significant contribution to the subject of Islamic art and<br />architecture in China as well as revival and preservation of this forgotten heritage. Detailed conclusion will be<br />arrived at the end and specific suggestions are intended to assist in examining the topic in depth and helping in<br />developing guidelines for regional expansion and adaptation of Islamic art and architecture with local<br />environmental condition to contribute more for the future of Muslim heritage and civilization.
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McCarthy, Christine. "Against ‘Churchianity’: Edmund Anscombe’s Suburban Church Designs." Architectural History 52 (2009): 169–200. http://dx.doi.org/10.1017/s0066622x00004184.
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Edmund Anscombe (1874-1948) was an important New Zealand architect, well known for his design of the 1925 New Zealand and South Seas International Exhibition (Logan Park, Dunedin) and the 1940 New Zealand Centennial Exhibition (Rongotai, Wellington), as well as for his art deco buildings in Hawkes Bay (especially Hastings), and in Wellington.This article explores Anscombe’s contribution to New Zealand’s early twentieth-century church design by presenting new archival research and examining his distinctive use of secular imagery, notably the architectures of the house and schoolhouse. The article locates these designs simultaneously within traditions of Nonconformist architecture and within a Victorian interest in the home as productively informing a spiritual understanding of church building. While some architectural examples of this thinking were apparent in late nineteenth-century America, there are no other known examples in New Zealand. Anscombe’s use of this secular and domestic imagery in his church design enabled fashionable and theologically-informed architectures to co-exist.
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Kunz, Hans-Joachim. "Bibliographische Arbeit der SÄchsischen Landesbibliothek Dresden auf dem Gebiet der bildenden kunst." Art Libraries Journal 11, no. 1 (1986): 28–29. http://dx.doi.org/10.1017/s030747220000448x.
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The Bibliographie Bildende Kunst has come out annually since 1973. It records literature of various kinds about painting, graphic art, plastic art, architecture, applied art, book art, design, folk art, artistic photography as well as theory and history of art. The compilation comprises monographs, periodical essays and important contributions from the daily press. Every yearly volume contains an index of authors and an index of subjects. Every five years a cumulated index is published. Since 1973 the Bibliographie Illustrierte Bucher der Deutschen Demokratischen Republik has come out. It lists GDR publications containing artistic illustrations. Every yearly volume is made accessible by means of an index of authors and subject titles. Index cumulations are published every five years. In 1984 a list concerning the location of periodicals and serials about Fine Arts in libraries of the German Democratic Republic was published. It contains titles from the 18th mid-century onward up to the present, including information on the particular ownership of GDR libraries. These publications are obtainable from Sächsische Landesbibliothek Dresden, GDR-8060 Dresden, PSF 467/468.
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Coen, Paolo. "Moshe Safdie at Yad Vashem: Architecture, Politics, Identity." Pólemos 13, no. 1 (April 24, 2019): 43–62. http://dx.doi.org/10.1515/pol-2019-0004.
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Abstract This article revolves in essence around the contributions made by the architect Moshe Safdie to the Yad Vashem memorial and museum in Jerusalem. Both probably need at least a brief introduction, if for no other reason than the nature of the present publication, which has a somewhat different scope than the type of art-historical or architectural-historical journals to which reflections of this kind are usually consigned. The first part draws a profile of Safdie, who enjoys a well-established international reputation, even if he has not yet been fully acknowledged in Italy. In order to better understand who he is, we shall focus on the initial phase of his career, up to 1967, and his multiple ties to Israel. The range of projects discussed includes the Habitat 67 complex in Montreal and a significant number of works devised for various contexts within the Jewish state. The second part focuses on the memorial and museum complex in Jerusalem that is usually referred to as Yad Vashem. We will trace Yad Vashem from its conception, to its developments between the 1950s and 1970s, up until the interventions of Safdie himself. Safdie has in fact been deeply and extensively involved with Yad Vashem. It is exactly to this architect that a good share of the current appearance of this important institute is due. Through the analysis of three specific contributions – the Children’s Memorial, the Cattle Car Memorial and the Holocaust History Museum – and a consideration of the broader context, this article shows that Yad Vashem is today, also and especially thanks to Safdie, a key element in the formation of the identity of the state of Israel from 1967 up until our present time.
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Kalabа, Svetlana. "Mark Bain’s work as a technological synthesis of architecture, music and the (in)animate nature." Spatium, no. 43 (2020): 59–65. http://dx.doi.org/10.2298/spat2043059k.
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The subject of research in this paper is Mark Bain?s work, perceived as a synthesis of architecture, music, technology and the (in)animate nature. Its basic thesis is that Bain sees his works of art as a set of agents that have the function of mediating social relationships within the surrounding world, and that sound vibration is treated as a means by which architectural constructions become animate beings, enabling the coherence of art and the animate - the living world. The study analyzes the theoretical and interdisciplinary research of Bain?s work, viewed through the prism of anthropological theory and both philosophical and theoretical perspectives of art. It investigates an innovative concept which introduces novelties into architecture and music, applying a specific interdisciplinary approach. The contribution of the study is that it determines the special aesthetics of Bain?s work, which constitutes a new vision of the world and knowledge of the future. The unity of knowledge belonging to different realms is presented through the creation of an innovative research concept and a specific worldview, characterized by a problem-solving approach to the relationship between the animate and inanimate nature.
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Stevanović, Vladimir. "Implications of Vattimo's 'Verwindung' of modernism in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 157–72. http://dx.doi.org/10.5937/saj1502157s.
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In the postmodern era, besides new approaches to architectural practice, substantial changes happen in architectural textual production owed to the inflow of the postmodern transdisciplinary theory in architectural discourse. Theorists, critics and historians of architecture gladly use the contribution from philosophy, political sciences, sociology, art theory and literary criticism to categorize and explain postmodern architectural styles or tendencies, no longer unifying them exclusively by means of formalistic aspects dating from the same period. Now, topics and paradigms from various postmodern theories are being implemented and thus created the phenomenon of the translation of a theory into an instrument of architectural purpose. In most cases, theoretical outlooks serve as a cover which the theorists of architecture use to formulate the poetics of architects, proclaim desirable models of reception, and develop the stance on the disciplinary and socio-historical contexts. However, it becomes interesting when the same architectural works of a single or several architects are differently interpreted by different theorists of architecture. The paper examines these premises on a specific example, which is: 1) demonstrated in practice by Catalan architecture of the 1980s; 2) the point of convergence between de Solà-Morales, Rossi and Frampton; 3) underlain by Vattimo's philosophical concept of Verwindung of modernism.
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Vikas, Kumar. "BANARAS: A PARALLEL SPACE OF THE COSMIC UNIVERSE AND ITS CONTRIBUTION TO ARCHITECTURE." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 936–43. http://dx.doi.org/10.21474/ijar01/11920.
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From its prominent position on the river Ganges , Banaras has borne testimony to a flourishing civilization and the many socio-political turmoil associated with a thriving territory from the ancient kingdoms of Aryans with its mention in Ramayana to the combats of medieval rulers of Mauryan and Gupta dynasty and the never ceasing instability during the dominance of Muslim and British regime.[1] The historical unrest has vanished and the city with its inhabitants of “grin-and-bear-it” attitude endured every phase of this turmoil and adapted to it and commemorated every such change in their stories and culture. Every paradigm shift gave Banaras its own unique Art and Culture which it (Banaras) has assimilated and made it its very own signature be it Food, Fabric, Jewellery, Lifestyle, Mode of communication, Weapons, Architecture, Mythology, Tales, Culture, Cult , Art and much more The citys divine image , its elaborate traditional rituals , its prodigious display of the hand-in-hand existence of art and the mundane activities of life. All give it a peculiar feel, though the city has tried to keep pace with time, it has modernized or commercialised but what has stayed with time is what satiates the quench of a mystic or an explorer of Art and Culture . This write up here is an attempt to bring to words the connection between what the oldest civilizations or cults have left to enrich the Art & culture or other-way-round , how by exploring the existing we are able to get a glimpse into the glorious past that has passed and enriched India .This manuscript is a study and construal of Varanasi from the perspective of one who is close enough to the hindu tradition to see its religious significance and also close enough to art , design and academics to know the understanding that Arts and Varanasi might pose. The journey towards the finalization of this script started with mapping the city and searching for the temples mentioned in various texts and my work is based on two primary sources : the city itself with its multitude of temples , its seasons of pilgrimage , the Akharas , voluminous literature on Banaras and its pandas and lay interpreters.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Makhmudova, Malika, and Mukhayyo Makhmudova. "THE ROLE OF RESTORATION AND SCIENTISTS IN THE PRESERVATION OF ARCHITECTURAL MONUMENTS OF THE TEMURID PERIOD." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 575–87. http://dx.doi.org/10.17770/sie2021vol4.6290.
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The article introduces the history of researches and study of the restoration of architectural monuments of the Temurid period. The architecture of the Temurid period of the Central Asian countries and Afghanistan, covering the period from the 14thto the 15thcenturies, is one of the brightest phenomena of world architecture. Amir Temur was one of the few leaders who was not only the creator of outstanding architectural masterpieces, but was also able to form a special architectural style in his state. The gardening art of this period also reached a high development. Therefore, the study and research of the architecture of this period, as well as its restoration is an extremely important task in world architecture. In this regard, the scientific, research, restoration works of many famous scientists, architects, architects-restorers are of great importance. Among them are Mauer, Zasypkin, Pugachenkova, Mankovskaya, Notkin, Zakhidov, Kryukov, Filimonov and many others who made invaluable contribution to the formation of and the development of the restoration school of Uzbekistan, as well as in the promotion and preservation of the cultural heritage of the Temurid period both in Uzbekistan and abroad. The experience of methods of restoration and conservation of architectural monuments of the Temurid period, including their architectural, compositional and artistic solution is considered and studied in the article.
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Kozyrenko, Nataliya Efremovna. "Architecture of the Stalin Empire in China." Урбанистика, no. 4 (April 2020): 1–17. http://dx.doi.org/10.7256/2310-8673.2020.4.30248.
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The subject of this research is the formation of large city planning ensembles in socialist cities during Great Leap Forward of the People’s Republic of China. The object of this research is architecture in the style of Stalin Empire 1950s – 1960s. The author examines the influence of Soviet architecture upon the emergence of Chinese styles, such as “Style 1959” and Communist Art Deco). Special attention is dedicated to stylistic peculiarities of the new architectural objects and Chinese interpretation of the Stalin Empire. In this context, both Chinese and Soviet architects contributed to determination of the architectural trend “Su-style”. The main conclusion lies in the statement that architecture of the Stalin Empire with the elements of classicism became the national style in socialist China. Chinese architects synthesized the new normative aesthetics and discovered new stylistic and imagery resources in architecture. The transition towards holistic Chinese “socialist culture” has not been completed and currently continues. The author’s special contribution is the research of socialist architecture of Harbin as a continuity of Russian traditions of the early XX century. The novelty of this work is defined by the first ever analysis of stylistic peculiarities of Harbin’s architecture that were built by the projects of Soviet architects.
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Grunskis, Tomas. "KŪRYBINIO EKSPERIMENTO SAMPRATOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 21–27. http://dx.doi.org/10.3846/tpa.2011.03.
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While analysing creative experiments in architecture, one finds a number of different phenomena and examples, not so easy to discuss in a more or less systematic way. These phenomena and results, in one or another way related to experimental architecture, can hardly be defined by a single category and, as shown by the history of architecture, have become one of its driving forces contributing to the development of architecture in the course of time. The issue of the concepts of architectural experimentation on the whole is important and urgent in two aspects. First of all, such concepts are used in attempting to formulate basic architectural and cultural declarations, consequentially applied in forming and proclaiming different political creeds (usual practice of international architectural biennales and expo exhibitions). Secondly, their cultural value is of key importance too, as the ideas and thoughts expressed through the experimental creation often convey social aspects and states, also the idea, how architecture is understood during a specific period of time and the role given to it by society. Finally, as architecture is a language used by society to convey its socio-cultural status and values, the experimental architectural creation can be significant, although often ignored, in architectural practice. The most outstanding examples of architectural experiments confirm that architecture as artistic creation has long ago gained certain features of a cultural phenomenon, which eventually has become closely connected to society. Thus the area of culture and forms of its expression has becoming more and more relevant and significant to architectural experimentation. Although artistic and scientific experiments have certain similarities within contemporary discourse of architectural practices, they still differ a lot in the aspects of their backgrounds, processes and even results. But still, the interdisciplinary aspect, common to contemporary artistic experimentation, draws art and science closer together. Fairly often, peculiar new forms of art borrow scientific data or ideas interpreting, expressing and using them effectively to make pure art. The concept of architectural experimentation still does not exist as an integral concept. Only a few general features and attributes can be named as helping to define the architectural phenomenon as an experimental one. These are: (a) the idealistic trend and (b) very active element of motivation. It is also noteworthy that looking retrospectively, within different epochs the architectural experimentation had different relationship with other arts. The discussed in the article experimental practices of architecture in the 1950-ies – 1970-ies accumulated and effectively operated the languages of other visual – and not only – arts. Although, at the same time it should be admitted that they did not have the same close relationship to traditional, fundamental arts, such as sculpture and painting. So does the contemporary, the 21st century, architectural experimentation – it no longer has closer connection to traditional arts. Although it has to be admitted that the most recent, media-related arts influence experimental architecture on the levels of its forms as well as concepts. In general, the architectural creation at the beginning of the 21st century (both building architecture and urban planning) is getting more and more social. The experiment in such creation is less artistic or valuable as pure art in the traditional sense. Fewer experiments are made on the form only, but rather on the process itself and then – the form. Although the most innovative architectural images being developed and declared are getting more abstract and universal, they are easier to implement than before (due to the most advanced technologies). So, it is not so simple to draw a dividing line between purely idealistic and realistic experimental architecture, because what was just a vision not so long ago, today can be easily realized. Does it mean that experiments have become more social and less creative? Probably, not. Most likely, it’s because creativity has become transformable and gained new ways of expression. Santrauka Straipsnyje analizuojamos esminės kūrybinio eksperimento sampratos architektūroje. Apžvelgiami pagrindiniai mokslinio ir meninio eksperimento principai, konceptai juos charakterizuojant bei lyginant tarpinternatvyje, detalizuojant tiek esminius skirtumus, tiek ir logines sąsajas tarp vienų ir kitų. Taip pat tekste plačiai analizuojamas kūrybinio eksperimento reiškinys architektūroje, aptariant ir mokslinės, ir meninės sričių įtakas jam, jo specifikas ir ypatumus.
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Keerthi, Koyippilly Satheesh, Bandana Mahapatra, and Varun Girijan Menon. "Into the World of Underwater Swarm Robotics: Architecture, Communication, Applications and Challenges." Recent Advances in Computer Science and Communications 13, no. 2 (June 3, 2020): 110–19. http://dx.doi.org/10.2174/2213275912666181129141638.
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Background: With the curiosity of exploring the underwater world, science has devised various technologies and machines that can help them in performing activities like exploring, navigating and plunging into the unknown world of oceanography. Underwater Robot or vehicle can be claimed as an outcome of extensive research done by the scientists who aimed at discovering the unknown mysterious world of ocean and how it can benefit humanity. Swarm robotics is an entirely new section of robotics that has been developed based on swarm intelligence. Considering the fact, swarm robotics being still in nuptial stage, researchers have provided immense contribution with an aim to develop this technology. The objective of the paper is to present a comprehensive review covering the various technical and conceptual aspects of underwater swarm robotic system. Methods: A systematic review on state-of-the-art has been performed where contributions of various researchers was considered. The study emphasis on the concepts, technical background, architecture and communication medium along with its applicability in various fields that also include various issues and challenges faced while attaining them. Results: The incorporation of swarm intelligence in underwater robotics provides a new angle altogether into the working pattern of underwater robotic system. Conclusion: The article is a systematic presentation of swarm robot technologies, their mechanisms, conceived and designed communication medium with respect to adaptability of the vehicle to the versatile nature of water. The paper delineates the various conceptual and technical details and its beneficence to humanity.
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Bjerke, Rune, and Nicholas Ind. "The influence of aesthetic investments on employees." EuroMed Journal of Business 10, no. 2 (July 6, 2015): 214–33. http://dx.doi.org/10.1108/emjb-09-2014-0029.
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Purpose – The purpose of this paper is to explore new constructs related to organizations, art and physical environment. Further, an intention was to explain and discuss whether investments in the physical environment in the form of art, design and architecture do have an effect on employees. Design/methodology/approach – To conclude whether aesthetics had an impact on employees in terms of job satisfaction, motivation and their self-perception of their own ability to provide customer service, the authors undertook a quantitative study of 222 employees in seven companies. The authors subsequently commenced five in-depth, semi-structured interviews with four accessible corporate art buyers and one curator to identify the main motivations for purchasing art and placing it in the work place. Findings – With regard to perceptions of art, design and architecture, the physical environment is perceived as a whole and seems to play a significant role in organizational life for employees in companies that have invested in art. The research implies, however, that the companies that invested in art, design and architecture, despite the positive influence on employees’ self-perceived service ability, did not accumulate benefits on service ability relative to employees in companies without art. Practical implications – Managers should cautiously reflect on their motivations for investing in art, design and architecture. Useful motivations might include projecting a desired external image or decoration or expressing connection to a community. Investing in art, design and architecture independent of what the organization is trying to do strategically will create cosmetic solutions that lack any wider purpose. Originality/value – Despite increased corporate interest in aesthetics, little research has been done to determine the effect on employees. The research shortage may be due to the challenge of understanding the meaning of the visible expressions. This paper is a contribution to strengthen the knowledge of the impact of workspace aesthetics on employees (the authors subsequently undertook five in-depth, semi-structured interviews with four accessible corporate art buyers at Storebrand (insurance and banking corporation), Telenor (mobile operator), Hydro (aluminium company), Nordic Choice Hotels and one curator).
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Alvarez de Buergo, Monica. "Prefacio I." Ge-conservacion 11 (June 30, 2017): 7. http://dx.doi.org/10.37558/gec.v11i0.528.
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This special issue constitutes an excellent and representative testimony of the variety of contributions presented during YOCOCU 2016.
The reader will find that the 41 papers in this special issue cover a wide range of materials (stone, gypsum, lime, mortar, ceramics, metal, paper, videos, textiles, paintings, plastics, pigments …), from different types of art and heritage: architectural and archaeological; contemporary and digital art; industrial heritage, vernacular, art caves and ethnographic heritage; museum collections, landscapes and intangible cultural heritage (CH).
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Barfod, Adrian A. S., Troels N. Vilhelmsen, Flemming Jørgensen, Anders V. Christiansen, Anne-Sophie Høyer, Julien Straubhaar, and Ingelise Møller. "Contributions to uncertainty related to hydrostratigraphic modeling using multiple-point statistics." Hydrology and Earth System Sciences 22, no. 10 (October 24, 2018): 5485–508. http://dx.doi.org/10.5194/hess-22-5485-2018.
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Abstract. Forecasting the flow of groundwater requires a hydrostratigraphic model, which describes the architecture of the subsurface. State-of-the-art multiple-point statistical (MPS) tools are readily available for creating models depicting subsurface geology. We present a study of the impact of key parameters related to stochastic MPS simulation of a real-world hydrogeophysical dataset from Kasted, Denmark, using the snesim algorithm. The goal is to study how changes to the underlying datasets propagate into the hydrostratigraphic realizations when using MPS for stochastic modeling. This study focuses on the sensitivity of the MPS realizations to the geophysical soft data, borehole lithology logs, and the training image (TI). The modeling approach used in this paper utilizes a cognitive geological model as a TI to simulate ensemble hydrostratigraphic models. The target model contains three overall hydrostratigraphic categories, and the MPS realizations are compared visually as well as quantitatively using mathematical measures of similarity. The quantitative similarity analysis is carried out exhaustively, and realizations are compared with each other as well as with the cognitive geological model. The results underline the importance of geophysical data for constraining MPS simulations. Relying only on borehole data and the conceptual geology, or TI, results in a significant increase in realization uncertainty. The airborne transient electromagnetic SkyTEM data used in this study cover a large portion of the Kasted model area and are essential to the hydrostratigraphic architecture. On the other hand, the borehole lithology logs are sparser, and 410 boreholes were present in this study. The borehole lithology logs infer local changes in the immediate vicinity of the boreholes, thus, in areas with a high degree of geological heterogeneity, boreholes only provide limited large-scale structural information. Lithological information is, however, important for the interpretation of the geophysical responses. The importance of the TI was also studied. An example was presented where an alternative geological model from a neighboring area was used to simulate hydrostratigraphic models. It was shown that as long as the geological settings are similar in nature, the realizations, although different, still reflect the hydrostratigraphic architecture. If a TI containing a biased geological conceptualization is used, the resulting realizations will resemble the TI and contain less structure in particular areas, where the soft data show almost even probability to two or all three of the hydrostratigraphic units.
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Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (November 12, 2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.
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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the theme of martyrdom and angels (the creatures closest to God), present within the monasteries of the order, both for what interests the architectural structure of buildings. Always the same as themselves, especially for the design, distribution and function of the spaces, which as a whole and in particular, they reflect, strictly and everywhere, the immutability of the Carthusian Rule, never changed since the foundation of the order in 1084. Following the model of the first monastery, built on the Chartreuse massif, in Grenoble (France), made by St. Bruno of Cologne, new settlements were erected and spread throughout Europe, with an exponential growth that does not suffer interruptions until the end of eighteenth century and that, left a deep and unequivocal cultural mark in the territory on which they extended. The Charterhouse model, a kind of Earthly Jerusalem like an imitation of the Celestial Jerusalem, can be well included in the universe of utopian architecture, but of the possible ones, where spirituality became tangible reality and where the sacredness of space conceived and built by the monks puts us in touch today the man with sensitive and perceptible experience, the so-called hierophany.
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Mileto, C., F. Vegas, V. Cristini, and L. García-Soriano. "PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 20, 2020): 1–2. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-1-2020.
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Abstract. Without a doubt 2020 will be remembered worldwide as the year of risk and emergency, in this case a health emergency, and of new communication technologies. When work began in 2018 on the organisation of “HERITAGE2020 (3DPast | RISK-Terra), International Conference on Vernacular Architecture in World Heritage Sites. Risks and New Technologies”, the new technologies applied to vernacular heritage and risk were on the rise, although nobody could have foreseen how central they would become to everyday life in 2020. “HERITAGE2020 (3DPast | RISK-Terra), International Conference on Vernacular Architecture in World Heritage Sites. Risks and New Technologies” is organised within the framework of two research projects. The first, “3D Past – Living and visiting European World Heritage” (2017–2020), was co-funded by the European Union as part of the Creative Europe Programme, led by Escola Superior Gallaecia (Portugal) in partnership with Universitat Politécnica de València (Spain) and Università degli Studi di Firenze (Italy). The main aim of this project has been to promote the inhabited vernacular heritage declared as World Heritage Sites in Europe by trying to promote its valorization through new technologies, both for local residents and potential visitors. Vernacular heritage, new communication technologies and heritage management for valorization and sustainable tourism are the central themes of this European project. In 2020, these issues have become even more important for the survival, understanding and valorization of heritage, particularly vernacular heritage, which today provides a solid opportunity for cultural and sustainable tourism, where these new technologies make it possible to reach a wider public in search of locations better suited to social distancing. The second project involved in this conference is “RISK-Terra. Earthen architecture in the Iberian Peninsula: study of natural, social and anthropic risks and strategies to improve resilience” (RTI2018-095302-B-I00) (2019–2021), funded by the Spanish Ministry of Science, Innovation and Universities. This project is geared towards the conservation of earthen architecture in the Iberian Peninsula, both monumental and vernacular, which continues to be undervalued and barely recognized. The RISK-Terra project aims to provide scientific coverage of the study of natural threats (floods, earthquakes, climate change), social threats (abandonment, social discredit, demographic pressure, tourist development), and anthropic threats (neglect, lack of protection and maintenance), as well as the mechanisms for deterioration and dynamics and transformation (replacement, use of incompatible techniques and materials, etc.) to which architecture is exposed. The objective of the project is to establish strategies for conservation, intervention and rehabilitation which make it possible to prevent and mitigate possible damage through compatible actions and/or actions to increase resilience.As these two projects have major points of contact with potential for common reflection, their main themes have been combined in this Heritage2020 conference. The topics established for the conference are: vernacular architecture (study and cataloguing of vernacular architecture; conservation and restoration of vernacular architecture; urban studies on vernacular architecture; sustainability in vernacular architecture); new technologies applied to architectural and archaeological heritage (digital documentation and state-of-the-art developments; digital analysis in heritage; digital heritage related to social context; digital heritage solutions and best practices for dissemination); architectural heritage management (management and protection of UNESCO World Heritage Sites; social participation in heritage management; regulations and policies in heritage management; intangible heritage: the management of know-how and local building culture); risks in architectural heritage (studies of natural risks in architectural heritage; studies of social and anthropic risks in architectural heritage, preventive actions in order to improve resilience in architectural heritage; actions and strategies in post-disaster situations); earthen architectural heritage (study and cataloguing of earthen architectures; construction techniques that employ earth; sustainability mechanisms in vernacular earthen architectures; restoration and conservation of earthen architecture).The scientific committee was made up of 98 outstanding researchers from 29 countries from the five continents, specialists in the subjects proposed. All the contributions to the conference, both the abstracts and the final texts, were subjected to a strict peer-review evaluation system by the members of the scientific committee.Out of the over 300 proposals submitted, over 150 papers by 325 authors from 27 countries from the five continents were chosen for publication.
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SORODOC, I., S. PEZZELLE, A. HERBELOT, M. DIMICCOLI, and R. BERNARDI. "Learning quantification from images: A structured neural architecture." Natural Language Engineering 24, no. 3 (April 2, 2018): 363–92. http://dx.doi.org/10.1017/s1351324918000128.
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AbstractMajor advances have recently been made in merging language and vision representations. Most tasks considered so far have confined themselves to the processing of objects and lexicalised relations amongst objects (content words). We know, however, that humans (even pre-school children) can abstract over raw multimodal data to perform certain types of higher level reasoning, expressed in natural language byfunction words. A case in point is given by their ability to learn quantifiers, i.e. expressions likefew,someandall. From formal semantics and cognitive linguistics, we know that quantifiers are relations over sets which, as a simplification, we can see as proportions. For instance, inmost fish are red,mostencodes the proportion of fish which are red fish. In this paper, we study how well current neural network strategies model such relations. We propose a task where, given an image and a query expressed by an object–property pair, the system must return a quantifier expressing which proportions of the queried object have the queried property. Our contributions are twofold. First, we show that the best performance on this task involves coupling state-of-the-art attention mechanisms with a network architecture mirroring the logical structure assigned to quantifiers by classic linguistic formalisation. Second, we introduce a new balanced dataset of image scenarios associated with quantification queries, which we hope will foster further research in this area.
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Andueza Olmedo, María. "AN ELUCIDATION OF PUBLIC SOUND ART THROUGH A NON-SONOROUS TRADITION." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 44–60. http://dx.doi.org/10.7146/se.v2i1.5253.
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The origins of sound art are usually traced to previous sonorous artistic manifestations such as futurism or fluxus (see Labelle, 2006; Kahn, 1999). However, in non-sonorous manifestations it is also possible to appreciate some features of sound art that go beyond the dominant role that sound plays. By adding to the topic of sound art essential notions of temporality, spatial construction and social recognition, the emergence of a sonorous artistic practice which goes beyond the mere use of sound is revealed. In this sense, research in public sound art, which is the primary topic of this paper, provides three issues to which it is important to pay attention in order to pose new sound art theories and ideas: First, the viewer-listener, considered simply as a citizen; second, the city, understood as a sculptural space and a social space, and finally, derived from the previous two, the transformation of the concept of ‘space’ in the practices concerning the public sphere of art. The implementation of these concepts, which took place naturally in different artistic domains, represented the beginning of the creative use of sound and, specifically, the awakening of public sound art. For this reason, based on sound art studies, as mentioned above, the projection of the article goes beyond these writings in an attempt to connect sound art with the public space. Literature on sound art has described its origins through music, poetry, architecture and other disciplines. However, this article addresses its origin in connection with the specific area of the city. The sound installation’s pioneer, Max Neuhaus, will act as a guide towards this aim. This process allows a rereading of some of the most evocative examples of sound art and, at the same time, provides other references that will be valuable for assessing the growing interest in the creation of sound interventions in public space. The prolific career of Max Neuhaus, which covered a broad range of topics, will establish a connection between public sound art and artists and thinkers who are rarely linked to this medium. These connections will, however, offer new perspectives onto the most widely discussed topics of the discipline: temporality and spatiality. This inquiry into the roots of sound art is an attempt to make a contribution to its history, not only by way of evidence, but also through suggestions provided by works of art that are far removed from the medium of sound and by other contributions from different fields of studies.(1)
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Paden, Roger. "The Ethical Function of Landscape Architecture." Environmental Philosophy 15, no. 2 (2018): 139–58. http://dx.doi.org/10.5840/envirophil201841766.
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This essay presents a theory of aesthetics for landscape gardening based on Karsten Harries’s theory of the ethical function of architecture. It begins with an attempt to understand Horace Walpole’s praise of William Kent’s contribution to the development of “the modern taste in gardening,” according to which Kent was largely responsible for achieving the progressive revolution in landscape architecture that produced the picturesque style of English landscape gardening. After examining Harries’s theory, the essay discusses whether landscape architecture can produce works of art and examines several historically-important garden styles to argue that it can. Finally, it discusses problems inherent in Modern and Postmodern landscape architecture.
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Piantá, Cláudia, and Costa Cabral. "Zoom-In, Zoom-Out: Architectural Scale and Digital Technology." International Journal of Architectural Computing 5, no. 3 (September 2007): 523–34. http://dx.doi.org/10.1260/147807707782581819.
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This paper aims at contributing to the study of the relationship between technology, knowledge and representation. It is based on previous studies on architecture, art and technology in modernity and its development, as well as on studies about scale in architectural design. In despite of the fact that scale can be technically considered indifferent for computer-aided design, I intend to discuss how digital tools intercede in the process of clipping that selecting a specific scale eventually implies sustaining that, for architectural design, the concept of scale has to do both with representation and with knowledge of reality.
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Brooks, Sarah. "Review: Architecture as Icon: Perception and Representation of Architecture in Byzantine Art by Slobodan Curčić and Evangelia Hadjitryphonos; with contributions by Kathleen E. McVey and Helen G. Saradi." Journal of the Society of Architectural Historians 71, no. 2 (June 1, 2012): 237–38. http://dx.doi.org/10.1525/jsah.2012.71.2.237.
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Song, Tianyu, Wei Ding, Haixing Liu, Jian Wu, Huicheng Zhou, and Jinggang Chu. "Uncertainty Quantification in Machine Learning Modeling for Multi-Step Time Series Forecasting: Example of Recurrent Neural Networks in Discharge Simulations." Water 12, no. 3 (March 23, 2020): 912. http://dx.doi.org/10.3390/w12030912.
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As a revolutionary tool leading to substantial changes across many areas, Machine Learning (ML) techniques have obtained growing attention in the field of hydrology due to their potentials to forecast time series. Moreover, a subfield of ML, Deep Learning (DL) is more concerned with datasets, algorithms and layered structures. Despite numerous applications of novel ML/DL techniques in discharge simulation, the uncertainty involved in ML/DL modeling has not drawn much attention, although it is an important issue. In this study, a framework is proposed to quantify uncertainty contributions of the sample set, ML approach, ML architecture and their interactions to multi-step time-series forecasting based on the analysis of variance (ANOVA) theory. Then a discharge simulation, using Recurrent Neural Networks (RNNs), is taken as an example. Long Short-Term Memory (LSTM) network, a state-of-the-art DL approach, was selected due to its outstanding performance in time-series forecasting, and compared with simple RNN. Besides, novel discharge forecasting architecture is designed by combining the expertise of hydrology and stacked DL structure, and compared with conventional design. Taking hourly discharge simulations of Anhe (China) catchment as a case study, we constructed five sample sets, chose two RNN approaches and designed two ML architectures. The results indicate that none of the investigated uncertainty sources are negligible and the influence of uncertainty sources varies with lead-times and discharges. LSTM demonstrates its superiority in discharge simulations, and the ML architecture is as important as the ML approach. In addition, some of the uncertainty is attributable to interactions rather than individual modeling components. The proposed framework can both reveal uncertainty quantification in ML/DL modeling and provide references for ML approach evaluation and architecture design in discharge simulations. It indicates uncertainty quantification is an indispensable task for a successful application of ML/DL.
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Szymański, Michał. "Computer Games in Art History. Traditional architecture and painting presented in virtual reality." E-methodology 5, no. 5 (April 23, 2019): 84–99. http://dx.doi.org/10.15503/emet.v5i5.449.
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Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented.
Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. Also important is notion of a commonplace forming a frame for images from different media.
Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.
Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them
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Manzo, Mario, and Simone Pellino. "Fighting Together against the Pandemic: Learning Multiple Models on Tomography Images for COVID-19 Diagnosis." AI 2, no. 2 (May 31, 2021): 261–73. http://dx.doi.org/10.3390/ai2020016.
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COVID-19 has been a great challenge for humanity since the year 2020. The whole world has made a huge effort to find an effective vaccine in order to save those not yet infected. The alternative solution is early diagnosis, carried out through real-time polymerase chain reaction (RT-PCR) tests or thorax Computer Tomography (CT) scan images. Deep learning algorithms, specifically convolutional neural networks, represent a methodology for image analysis. They optimize the classification design task, which is essential for an automatic approach with different types of images, including medical. In this paper, we adopt a pretrained deep convolutional neural network architecture in order to diagnose COVID-19 disease from CT images. Our idea is inspired by what the whole of humanity is achieving, as the set of multiple contributions is better than any single one for the fight against the pandemic. First, we adapt, and subsequently retrain for our assumption, some neural architectures that have been adopted in other application domains. Secondly, we combine the knowledge extracted from images by the neural architectures in an ensemble classification context. Our experimental phase is performed on a CT image dataset, and the results obtained show the effectiveness of the proposed approach with respect to the state-of-the-art competitors.