Relevant bibliographies by topics / History of Art and Architecture

Academic literature on the topic 'History of Art and Architecture'

Author: Grafiati
Published: 10 December 2022
Last updated: 14 March 2023

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Journal articles on the topic "History of Art and Architecture"

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

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The essay discusses the role which art historian Vincent Scully (1920‑2017) played in revisioning modern architecture’s relationship to time and history. The focus is on the psychoanalytical turn in his scholarship, which dictated that architecture was a product of collective memories rather than of historical processes. It makes a larger argument that art history, since Freud introduced the idea of “unconscious” architectural history, often became written from the perspective and for the benefit of the present.
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TODOROVA, ZINAIDA. "SAINT NICHOLAS CHURCH IN UNEZHMA VILLAGE: HISTORY AND ARCHITECTURE." Studia Humanitatis 21, no. 4 (December 2021): 14–24. http://dx.doi.org/10.15393/j12.art.2021.3784.

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The article deals with a relatively unknown monument of wooden architecture – the Saint Nicholas Church (1824) in Unezhma village of the Onega District in the Arkhangelsk Region. The monument is extremely hard to reach, and it is located in a unique natural environment. The church stands out due to its architecture; however, it is poorly studied in terms of its construction history, architectural and artistic features, and interconnections with regional traditions. The church is described together with the bell tower built in 1792 as an architectural complex existing for more than four hundred years. The study is based on historical archival sources and on-site survey results. The authors traced the construction history of the Saint Nicholas Church and identified its construction stages. The appearance of the building at each construction stage was substantiated and presented through graphical reconstructions. The building was compared to similar structures found in the Onega Pomorye, and its specific architectural features were exposed. The building was also studied from the structural point of view. Based on the results of the comparison with similar structures and the analysis of their historical changes, the author made some conclusions about the original design of the church top. Historical data on the preceding church were interpreted and used to create its graphical reconstruction, together with the analysis of local architectural traditions. Thus, the article brings to light the construction history and development of the Unezhma church complex. The architecture of the Saint Nicholas Church and the bell tower has its distinctive features, but it ultimately conforms to the church-building traditions of the Onega Pomorye.
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Burganova, Maria, and Chris Uffelen. "Interview with Art Historian Chris van Uffelen." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (December 10, 2019): 16–23. http://dx.doi.org/10.36340/2071-6818-2019-15-4-16-23.

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We are pleased to present an interview with an outstanding writer, urbanist and architectural historian, Chris van Uffelen, the author of a number of books on the history and theory of architecture. The space of the city in all its manifestations - from the history of architecture to the analysis of global street navigation, from current problems of adapting the urban environment to a man’s personal space to the aggressive or positive impact of a person on a megapolis, is the sphere of his professional interests. Chris van Uffelen is distinguished by his broadmindedness and takes an active position in the field of a professional and public conversation about architecture. His articles are presented in authoritative publications on architecture. He is an encyclopedist professionally analyzing both the architecture of the Middle Ages and the space of modern cities. Editor-in-chief Maria Burganova talks with Chris van Uffelen about architecture - its purpose, its past, and the future. The topics that concern many of us today - the change in architectural and cultural space, a person who influences a city, and a city that changes a person, are reflected in this conversation. We thank Sophia Romanova for professional support and assistance in arranging the interview with Chris van Uffelen.
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Shi, Jian He, and Xian Wei Wu. "On the Central Concept of Architectural Philosophy: Art." Applied Mechanics and Materials 174-177 (May 2012): 1892–94. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1892.

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Aesthetic taste as the main value of life is the central task of building arts. Artistic characteristics of architecture reflect human glory and always exist in our thousands of years of architectural history. The art pursuit of architecture is still the focus for the public especially architects. Therefore, the central concept of the construction philosophy is the art of architecture.
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Zhao, Jie. "Art of Light and Shadow Reflected in Architecture." Applied Mechanics and Materials 357-360 (August 2013): 100–103. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.100.

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Architecture is a kind of art and the substance of architecture lies in space. Based on the change of light and shadow the plane and elevation scheme of the school history Museum was designed in detail. When the space of building is no longer drawn conclusion with the traditional entity enclosing, light gives architectural space new vitality, and creates a variety of architectural space artistic conception. The different architectural mood which is brought about by the change of light and shadow is analyzed and compared. The result shows the art of light and shadow should be embodied constantly during the design. These can provide valuable references for initial architectural scheme design.
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Haugdal, Elin. "Arkitektur som forskningsfelt." Nordlit, no. 36 (December 10, 2015): 9. http://dx.doi.org/10.7557/13.3692.

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<p>This article gives a brief overview of research on architecture by art historians at UiT The Arctic University of Norway, and addresses some challenges for research on buildings within the discipline of Art history generally, and in the northernmost parts of Scandinavia particularly. Art history’s history of monuments has during the last four to five decades been expanded by new theoretical and aesthetic perspectives on architecture, and is questioned by a more comprehensive and socially distinguished research on the built environment. Researchers on architecture in the northern areas experience these tensions more directly, which thus provides an opportunity to question methods of writing architectural history. </p>
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Bazilevich, Evgeny M. "HISTORICAL ARCHITECTURAL HERITAGE AND HISTORY PRESERVED IN STUDENT DRAWINGS." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 24. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-24.

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The articles presents the experiences of the fine art teaching staff at the Institute of Architecture and Design, the Pacific State University, in the study of historical architectural environment and history based on an archive of preserved student drawings. The author considers this approach as one of the possible ways of organizing research work in the university in the areas of "Architecture" and "Design of Architectural Environment".
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Schwarting, Andreas. "Die ganze Breite architekturgeschichtlicher Forschung." architectura 50, no. 1-2 (November 25, 2022): 24–27. http://dx.doi.org/10.1515/atc-2020-1005.

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Abstract In 1976, Wulf Schirmer, professor of architectural history at the University of Karlsruhe (TH), followed Heinrich Klotz as editor of the architectura and headed the editorial team until 2002. During this time, the journal developed into an open forum for the most diverse forms of research in architectural history – chronologically from the ruins of the 4th millennium BC to the architecture of the late 20th century, topographically from Europe, the Mediterranean, Mesopotamia, Asia and Russia to North and South America, and methodologically from architectural research to art history, architectural theory and the preservation of historical monuments.
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VOSTRIKOV, V. N. "TYPOLOGY OF CHARACTER IN THE ARCHITECTURE OF ART NOUVEAU IN SAMARA." Urban construction and architecture 2, no. 2 (June 15, 2012): 6–9. http://dx.doi.org/10.17673/vestnik.2012.02.1.

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This article discusses issues related to architecture and semantics as its Crandalls part. One of the most important aspects of the work of architectural Art Nouveau decor, who was the conductor of cultural meanings and, more than any other art form. Samara modern architectural decoration not only analyzes the phenomenon of architecture and fine arts, but also as a specific cultural text - in all its ambiguity and the associative capacity, contradictory and multidimensional cultural and historical context of the era. Russian Samara Art Nouveau architecture in this work is understood not only as a part of the history of architecture, but also as a form of art that is open to dialogue with others of its species.
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Kamen, Ruth. "Viewpoint." Art Libraries Journal 26, no. 2 (2001): 3–4. http://dx.doi.org/10.1017/s0307472200012104.

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

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Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.

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Masters, Hannah L. "Art Therapy and Art History Theories, an Inquiry." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/515.

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This research uses critical theory inquiry with interviews and arts-based research to explore biases about art making in clinical art therapy practice. The literature review establishes an historical link between theoretical tenets in fields of art therapy and art history. Participants are chosen from experts in the fields of art therapy and art history. Interviews explore what art making means to each participant, utilizing both verbal and arts-based processing. The data is condensed through coding and arts-based reflection, and seven emergent themes are identified. The themes are checked with the participants for accuracy. The findings of the paper integrate the insight from the literature review with the expressed views of the participants to illuminate meaning-making processes of art. The paper concludes with identification of an “art historical lens” for practicing art therapy and discussion of treatment considerations, limitations of the study, and suggestions for further research.
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Barry, Marie Porterfield. "Lesson 06: Divine Architecture." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/7.

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PALCZYNSKI, MATTHEW JOSEPH. "ROTHKO AND ARCHITECTURE." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213124.

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Art History
Ph.D.
The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko's 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko's attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko's earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s. Discussions of these topics will suggest that his career-long references to architecture functioned, for him, as something intended to produce discomfort in the viewer. I will show that his acceptance of a lucrative commission to make paintings for a lavish restaurant that might seem at first to suggest pandering to an élite audience had the paradoxical effect of condemning that audience. I intend also to demonstrate that Rothko understood that the project was not merely about making paintings. Instead, for him, it dealt more with the challenge of uniting architecture and painting.
Temple University--Theses
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Widrich, Mechtild. "Performative monuments : public art, commemoration, and history in postwar Europe." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54554.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2009.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 343-364).
The performative monument, as I term an emergent genre of interactive public actions, rests on a new notion of agency in public space, in which political responsibility is performed by historically aware individuals in acts of commemoration. This dissertation argues that public performance art starting in the 1960s provided a crucial impulse for new forms of commemoration in 1980s Europe and beyond. I claim that performance, a supposed antipode to the monument in its ephemerality and dematerialization, did not neutralize the monumental but reinvented it as a new practice: one that involved the audience explicitly through conventional transactions, best understood through the speech-act theory of J. L. Austin (who coined the term "performative" in the 1950s). To specify the correlation between performance and monumental public space, I draw attention to the empirical shift from performance to monument production in the work of postwar Central and Eastern European artists, and to the theoretical continuity that makes this shift possible. Monumental architecture played a role in the early performances of Anselm Kiefer, Joseph Beuys, Jochen Gerz (all German), Valie Export, Peter Weibel, and Giinter Brus (Austrians), Marina Abramovid and Braco Dimitrijevid (from former Yugoslavia), among others. These artists brought a performative component to the memorial culture of the 1980s and '90s, mediating between history and the individual in ways sketched by the ephemeral events of '60s and '70s performance.
(cont.) I examine these interconnections in the passage from confrontation to commemoration through a variety of heterogeneous but related documents: photographs and eyewitness accounts of early performance; interviews and press accounts that evolved their own logic and myths over the years separate from the events; plans and drawings of unrealized monuments, and that most complicated and characteristic form of 'performative documentation,' photographs modified through drawing, painting, or collage techniques to involve their viewers in a collaborative re-imagining of the role of commemoration in public space.
by Mechtild Widrich.
Ph.D.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.

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Desai, Ankur V. "The Art and Architecture of the BAPS Svāminārāyaṇa Hindu Tradition." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1546612172252719.

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Boulton, Alexander Ormond. "The architecture of slavery: Art, language, and society in early Virginia." W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539623813.

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Inspired by the concept of culture as expressed in the work of Claude Levi-Strauss, this dissertation traces the roots of modern perceptions of slavery and race by analyzing three sites each of which is associated with a distinct cultural pattern and social ideology. The first, Penshurst in Kent England is described as feudal, organic, vernacular, and popular. The second, Westover in tidewater Virginia is classical, rational, and elite. Thomas Jefferson's Monticello in the Virginia piedmont, the third site, is described as romantic, liberal, and bourgeois. It is only at this third site, the locus for a distinctly modern family type, that concepts of race and slavery unique to our age are found. The new ideas about family structure, race and slavery, evident at Monticello, it is argued, have had a vast influence upon the course of American social and political development.
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New, Joachim H. L. "Architecture in mind : Hegel's history of architecture and its place in the Philosophy of Fine Art." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413736.

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Johnson, Samuel. ""The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124.

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Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film. Lissitzky also devoted more effort to theorizing what he called “the architecture of the book” than to any other single issue, publishing statements in 1919, 1923, 1927 and 1931 that demonstrate a consistency otherwise lacking from his incredibly varied career. This phrase encapsulates Lissitzky’s view of the book as a global structure uniting all the formal and technical capabilities of a culture: initially derived from Victor Hugo’s claim that Gutenberg’s invention of moveable type had replaced architecture as the universal form of popular expression, Lissitzky’s term emblematizes the expanded field of architecture in which he operated. This dissertation approaches Lissitzky as a theorist and practitioner of this expanded architectural field. Chapters one and two outline Lissitzky’s general project, treating the lithographic portfolios in which he circulated his abstract paintings and the journals and books he designed as model structures of print’s “architecture.” Its third chapter examines the changes that Lissitzky’s experiments with photography, both in cameraless abstract compositions and multi-negative montages, wrought on his conception of print. Rather than conceiving photography and film as exemplars of reproducibility as such, Lissitzky saw them as heralding a reorganization of existing systems of reproducible media linked by a broad cultural practice of reading. Chapter four shows how artists and printers in the USSR continued to debate these evolving practices of cultural literacy under Stalin, negotiating new technological possibilities and new political demands. As a leading figure in this debate, Lissitzky’s works exemplified the contradiction between advancing technical possibilities and diminishing popular participation in public life while remaining entirely affirmative toward the regime. The dissertation’s final chapter places the photographic albums Lissitzky produced in collaboration with his partner, Sophie Küppers, in relation to an emergent Stalinist patron class.
History of Art and Architecture
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Books on the topic "History of Art and Architecture"

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Brook, Stephen. Prague: Architecture, history,art. London: G. Philip, 1992.

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Brook, Stephen. Philip's Prague: Architecture, history, art. London: George Philip, 1992.

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Kalanjar fort: History, art & architecture. Delhi: Pratibha Prakashan, 2015.

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Murrell, Kathleen Berton. Moscow: History, art and architecture. London: Flint River Press, 2000.

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Ancient Rome: Art, architecture & history. Los Angeles, Calif: J. Paul Getty Trust, 2002.

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Knowles, Morris Richard, and Shoesmith R, eds. Tewkesbury Abbey: History, art & architecture. Glasgow: Logaston, 2003.

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Patrizia, Fabbri, and Casa Editrice Bonechi, eds. Art and history: Verona. Firenze, Italy: Casa Editrice Bonechi, 2000.

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From, Lena. Art museum architecture. Edited by Göteborgs konstmuseum. [Göteborg]: Göteborgs Konstmuseum, 2015.

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Nicholas, Kenyon, Saumarez Smith Otto, Leigh Mike, Meades Jonathan, Parry Eric, Westwood Vivienne, and Barbican Art Gallery, eds. Barbican: Life, history, architecture. London: Barbican Art Gallery, 2014.

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Ancient Rome: Art, architecture and history. London: British Museum, 2002.

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Book chapters on the topic "History of Art and Architecture"

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Hitti, Philip K. "Art and Architecture." In History of the Arabs, 591–601. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-03982-8_41.

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Augé, Marc. "Art, Contemporaneity, History." In Architecture and the Social Sciences, 13–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53477-0_2.

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Sykes, Percy. "Architecture and Art Under the Safavi Dynasty." In History of Persia, ii. 198—ii. 207. London: Routledge, 2022. http://dx.doi.org/10.4324/9780203426722-67.

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Williams, Kim. "Architecture, Mathematics and Theology in Raphael’s Paintings." In Crossroads: History of Science, History of Art, 29–39. Basel: Springer Basel, 2011. http://dx.doi.org/10.1007/978-3-0348-0139-3_3.

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Botica, Dubravka. "Periodization of Architecture in Croatian Art History." In Periodization in the Art Historiographies of Central and Eastern Europe, 141–55. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003178415-12.

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Roero, Clara Silvia. "Relationships Between History of Mathematics and History of Art." In Architecture and Mathematics from Antiquity to the Future, 59–66. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_4.

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Flood, Finbarr Barry, and Gülru Necipoğlu. "Frameworks of Islamic Art and Architectural History." In A Companion to Islamic Art and Architecture, 1–56. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch1.

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Andersen, Kirsti. "The Geometry of an Art. The History of Perspective from Alberti to Monge." In Architecture, Mathematics and Perspective, 153–57. Basel: Birkhäuser Basel, 2010. http://dx.doi.org/10.1007/978-3-0346-0518-2_10.

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Bock, Nicolas. "Patronage, Standards and Transfert Culturel: Naples between Art History and Social Science Theory." In Art and Architecture in Naples, 1266-1713, 152–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324389.ch8.

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Thompson, Ashley. "In the Absence of the Buddha: “Aniconism” and the Contentions of Buddhist Art History." In A Companion to Asian Art and Architecture, 398–420. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch16.

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Conference papers on the topic "History of Art and Architecture"

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Stolder, N. V. "Liberty Architecture in Naples." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-05.

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Nakapan, Walaiporn. "Mobile Learning in a History of Art and Architecture Classroom." In CAADRIA 2014: Rethinking Comprehensive Design: Speculative Counterculture. CAADRIA, 2014. http://dx.doi.org/10.52842/conf.caadria.2014.761.

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Pacheco, Beatriz A., Werner Marin, Bruno Cruz, Vinicius Miana, Ilana Souza-Concilio, Joaquim Filho, and Pedro H. Braga. "What where?! A game for learning art, history and architecture." In 2017 Twelfth Latin-American Conference on Learning Technologies (LACLO). IEEE, 2017. http://dx.doi.org/10.1109/laclo.2017.8120909.

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Morozova, Anna Valentinovna. "THE STAGES IN THE DEVELOPMENT OF ART STUDIES IN RUSSIA AND THE HISTORY OF SPANISH ART." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.010.

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Akgün, Yenal. "Contemporary Adaptive Systems in Architecture and Structural Engineering: State of Art and Future Perspectives." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021165n10.

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In all times of history, engineers and architects have searched for opportunities to develop adaptive structures, buildings and building parts, which are equipped for adjusting to ever-changing requirements and conditions. The reasons behind this interest relate to the growing need for functional/ spatial flexibility, sustainability and extended capabilities of structural performance. Recent advancements in construction technology, robotics, architectural computing and material science have increased the interest for these structures/ systems; and allowed us to develop examples that are more advanced. This paper aims to introduce the state of art contemporary adaptive systems in architecture and structural engineering; and presents a future perspective for these systems and their potential applications in the construction industry.
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Bogatyrev, Andrei, and Elena Milyugina. "PALLADIAN TRADITION OF STUDYING CHRISTIAN ARCHITECTURE IN THE ART HISTORY HERITAGE OF NIKOLAY LVOV." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s07.15.

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Marecki, A., and M. Mistewicz. "Combining Art and Engineering – Warsaw’s Oldest Road Viaduct." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0268.

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<p>The present paper analyses the engineering and architectural features of the early twentieth-century urban viaduct forming part of Karowa Street. It is a unique example of structural-architectural art that combines engineering solutions with an aesthetic architectural design. The structure was commissioned in 1904 and remained intact for more than 100 years. It survived two world wars, including the disastrous Warsaw Uprising of 1944, and is still used today. The road, leading up the steep Vistula slope, was designed in the shape of a spiral by Kajetan Mościcki, Warsaw’s chief engineer at the time. The viaduct itself was engineered by Arnold Bronikowski, who pioneered the use of the Monier’s patent in reinforced concrete bridges. The viaduct’s architectural features were designed by Stefan Szyller, one of Warsaw’s leading architects, and its elaborate sculptures, which transformed it from a utilitarian structure into a work of art, were crafted by Jan Woydyga.</p>
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Khalil, H., E. Bileha, and H. Mortada. "Urban conservation of the historic city of Jugol, Ethiopia: a syntactic approach." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/iha160131.

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Iatesen, Loredana Viorica. "NEW VISIONS IN THE RESEARCH OF MUSIC HISTORY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.046.

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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.

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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
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Reports on the topic "History of Art and Architecture"

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Burns-Dans, Elizabeth, Alexandra Wallis, and Deborah Gare. A History of the Architects Board of Western Australia, 1921-2021. The Architects Board of Western Australia and The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.1.

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An economic and population boom in the 1890s created opportunities for architects to find work and fame in Western Australia. Architecture, therefore, became a viable profession for the first time, and the number of practicing architects in the colony (and then state) quickly grew. Associations such as the Western Australian Institute of Architects were established to organise the profession, but as the number of architects grew and Western Australian society matured, it became evident that a role for government was required to ensure practice standards and consumer protection. In 1921, therefore, the Architects Act was passed, and, in the following year, the Architects Board of Western Australia was launched. This report traces the evolution and transformation of professional architectural practice since then, and evaluates the role and impact of the Board in its first century.
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Ryan, J. J., A. Zagorevski, N. R. Cleven, A J Parsons, and N. L. Joyce. Architecture of pericratonic Yukon-Tanana terrane in the northern Cordillera. Natural Resources Canada/CMSS/Information Management, 2021. http://dx.doi.org/10.4095/326062.

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West-central Yukon and eastern Alaska are characterized by widespread metamorphic rocks that form part of the allochthonous, composite Yukon-Tanana terrane and parautochthonous North American margin. Structural windows through the Yukon-Tanana terrane expose parautochthonous North American margin in that broad region, particularly as mid-Cretaceous extensional core complexes. Both the Yukon-Tanana terrane and parautochthonous North American margin share the same Late Devonian history, making their discrimination difficult; however, distinct post-Late Devonian magmatic and metamorphic histories assist in discriminating Yukon-Tanana terrane from parautochthonous North American margin rocks. The suture between Yukon-Tanana terrane and parautochthonous North American margin is obscured by many episodes of high-strain deformation. Their main bounding structure is probably a Jurassic to Cretaceous thrust, which has been locally reactivated as a mid-Cretaceous extensional shear zone. Crustal-scale structures within composite Yukon-Tanana terrane (e.g. the Yukon River shear zone) are commonly marked by discontinuous mafic-ultramafic complexes. Some of these complexes represent orogenic peridotites that were structurally exhumed into the Yukon-Tanana terrane in the Middle Permian.
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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada231842.

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Sowell, P. K. The C4ISR Architecture Framework: History, Status, and Plans for Evolution. Fort Belvoir, VA: Defense Technical Information Center, January 2006. http://dx.doi.org/10.21236/ada456187.

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Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/776935.

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Galenson, David. Anticipating Artistic Success (or, How to Beat the Art Market): Lessons from History. Cambridge, MA: National Bureau of Economic Research, February 2005. http://dx.doi.org/10.3386/w11152.

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Wiel, S. The science and art of valuing externalities: A recent history of electricity sector evaluations. Office of Scientific and Technical Information (OSTI), May 1995. http://dx.doi.org/10.2172/503480.

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Seidametova, Zarema S., Zinnur S. Abduramanov, and Girey S. Seydametov. Using augmented reality for architecture artifacts visualizations. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4626.

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Nowadays one of the most popular trends in software development is Augmented Reality (AR). AR applications offer an interactive user experience and engagement through a real-world environment. AR application areas include archaeology, architecture, business, entertainment, medicine, education and etc. In the paper we compared the main SDKs for the development of a marker-based AR apps and 3D modeling freeware computer programs used for developing 3D-objects. We presented a concept, design and development of AR application “Art-Heritage’’ with historical monuments and buildings of Crimean Tatars architecture (XIII-XX centuries). It uses a smartphone or tablet to alter the existing picture, via an app. Using “Art-Heritage’’ users stand in front of an area where the monuments used to be and hold up mobile device in order to see an altered version of reality.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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