Journal articles on the topic 'History of Art and Architecture'
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1
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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Dunbabin, J. "Anjou: Medieval Art, Architecture and Archaeology." English Historical Review 119, no. 480 (February 1, 2004): 171. http://dx.doi.org/10.1093/ehr/119.480.171.
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Ríos Moyano, Sonia. "«Motion, autos, art, architecture»." Boletín de Arte, no. 43 (November 24, 2022): 298–304. http://dx.doi.org/10.24310/bolarte.2022.vi43.15358.
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Chornyi, Maksym. "WOOD IN WORKS OF ART AND ARCHITECTURE, HISTORY OF USE AND PROBLEMS OF CARE." Current Issues in Research, Conservation and Restoration of Historic Fortifications 15, no. 2021 (2021): 13–21. http://dx.doi.org/10.23939/fortifications2021.15.013.
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Wood is a material used to create works of art, architecture and has been known to people for thousands of years. In Ukraine there is a huge number of outstanding works of architectural, art, decorative, sacred, industrial and utilitarian nature. Significant efforts are being made by conservation and museum workers to preserve and care for such works. The article provides information about the history of using wood to create works of art and architecture. The complex of art history, technological, nature protection and conservation-restoration information is generalized and the holistic understanding of the important role research and preservation of works, made with the wood use is given. The history of the woodworking industry in Ukraine was studied by S. Hensiruk, O. Furdychko, V. Bondar, and the specifics of artistic woodworking craft were analyzed by B. Suliak, M. Serhieieva. Peculiarities of Ukrainian wooden architecture were studied Y. Taras, L. Prybieha, Y. Ivashko, H. Shevtsova. Important information on the experience of preserving the cultural heritage of Ukraine can be found in the publication from O. Rybchynsky. This article analyzes the areas of wood application as a basis for the manufacture of art works, and architectural construction. The specifics of the use wooden in sacred architecture, art, decorative and applied arts of Ukraine are outlined. The types made of wooden art works are determined and their role in the Ukrainian culture is established. It is substantiated that the preservation of valuable art works is a very important task for conservation science and society in general. The author reveals the main problems of preservation and the reason for the destruction of wooden art works, and to implement the correct methods of preserving wooden objects, an interdisciplinary, synthetic approach is needed. All works of wood are constantly under the destructive influence of many factors, and the article identifies modern ways to overcome the problem of destruction wooden art works and basic care for them.
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Gáldy (book author), Andrea M., and Elizabeth Pilliod (review author). "The Art, History and Architecture of Florentine Churches." Renaissance and Reformation 41, no. 3 (November 12, 2018): 225–26. http://dx.doi.org/10.33137/rr.v41i3.31599.
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Collins, Bradford R., Frederick Hartt, Helen Gardner, Horst de la Croix, and Richard G. Tansey. "Art: A History of Painting, Sculpture, and Architecture." Art Journal 48, no. 2 (1989): 190. http://dx.doi.org/10.2307/776971.
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Foth, Gyöngyvér. "Friedrich Balthes - An Attempt to Reconstruct the Oeuvre of a Transylvanian Saxon Artist." Studia Universitatis Babeș-Bolyai Historia 67, Special Issue (December 30, 2022): 87–109. http://dx.doi.org/10.24193/subbhist.2022.spiss.06.
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"Friedrich Balthes was a young master of the national architectural style of the Transylvanian Saxons. Being a victim of the First World War (he died at the age of only 32, on the Serbian front, in 1914), he was almost completely forgotten during the century. Only the architectural monuments created at the beginning of the 20th century, of a remarkable modernity, are left behind by Balthes. These works are part of the German architectural movement, which was the forerunner of modern and also traditionalist architecture of the 20s of last century. Balthes designed many buildings in the national style of the Transylvanian Saxons: a style brought from Germany, and adapted to the Transylvanian cultural landscape. He was a multi-talented personality, also writing various studies and essays on the architectural art, on the cityscape, the culture of housing, interior art, folk art, the maintenance of rural art, the color in architecture and the decoration of the streets with plants, about the old frescoes of the evangelical chirch in Cisnădie and on many other subjects. As a self-confident Transylvanian Saxon intellectual, Balthes published his articles with the purpose to educate his nation for the new cultural ideas of his time. The following study aims to present a sketch of the multidisciplinary legacy of this remarcable artist, by showing some examples of his work. One of Balthes´ many architectural creations we presented herewith the evangelical school and parish house in Bruiu (built between 1912 and 1914), wich is a good example of the architects idea of a new style, whitch overrcomes art nouveau. It was a Transylvanian Saxon national architecture, very modern for that period. It was a harmonious combination of the Transylvanian Saxon vernacular motives, with elements inspired by the German Reformarchitektur, promoted by architect and architecture theorist Hermann Muthesius. Keywords: Art History, Architecture History, Transylvanian Saxons, Reform 1900‒1914, History 1900‒1914"
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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.
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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.
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Sisa, József. "Architecture, art et industrie." Acta Historiae Artium 58, no. 1 (December 2017): 153–65. http://dx.doi.org/10.1556/170.2017.58.1.7.
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Gaber, Tammy. "In Pursuit of “Islamic Art and Architecture”." American Journal of Islam and Society 26, no. 2 (April 1, 2009): 102–9. http://dx.doi.org/10.35632/ajis.v26i2.1410.
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Books Reviewed: Richard Yeomans. The Art and Architecture of IslamicCairo. United Kingdom: Garnet Publishing, 2006; Doris Behrens-Aboseif.Cairo of the Mamluks: A History of the Architecture and Its Culture. UnitedKingdom: I.B. Tauris, 2007. GeorgeMichell. The Majesty ofMughalDecoration:The Art and Architecture of Islamic India. New York: Thames andHudson, 2007.Many people take it for granted that the blanket term Islamic art and architectureis sufficient to convey the vast production carried out in the name ofIslam; however, they often have a limited vision of what this term actuallyentails. Islam’s time span (fourteen centuries and counting) and geography(historically ranging from Spain to China) simply means that the art andarchitecture produced in its name deserves a more detailed and accountablepresentation of fact. In other words, it would be unthinkable for scholars touse a term like Christian art and architecture instead of such specific termsas Byzantine, Romanesque, and Gothic, each of which relates to a specifictime and place. Thus, the vocabulary of understanding the production of artand architecture in Islam’s name requires the use and understanding of clearterms and deserves specific publication and study ...
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Alisher, Anna. "Art history dynamics of theater scenography." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 170–75. http://dx.doi.org/10.32461/2226-3209.2.2021.240004.
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The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.
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Rouse, Robert. "Reading Ruins: Arthurian Caerleon and the Untimely Architecture of History." Arthuriana 23, no. 1 (2013): 40–51. http://dx.doi.org/10.1353/art.2013.0003.
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Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 109. http://dx.doi.org/10.25038/am.v0i12.171.
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The philosopher Petar Bojanić advocates resistance of the architectural discipline to the philosophy of architecture. Using the technique of mise-en-scène, in “Thinking Architecture/Disciplining Architecture” (2015) Bojanić reaffirms that after architecture’s theoretical turn in the second half of the 20th century the architect is undoubtedly capable of theoretically thematizing his/her own work. I argue strongly that this implies, among other things, building a disciplinary language, which must reconcile, or at least balance between, the verbal and non-verbal form of expression. Also, I try to show that it is precisely theory that the architect has needed through history to establish the architectural discipline as liberal and autonomous.In “The Real and the Theoretical” (2013) the philosopher from Belgrade stresses the tensions between reality and theory present in the work of the architect. Theorizing in the field of architecture carries a danger of severe detachment from currently important and pressing social problems. Since there is no discipline without a group and since architecture is defined as the art of community, architectural practice can be understood, as it is in “The Architectural Philosophy” (2013), as a spatial way of transforming society. Article received: December 12, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Ćipranić, Miloš. "Avenues of Approach – Petar Bojanić and the Institution of Architecture." AM Journal of Art and Media Studies 12 (2017): 109-120.
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Tian, Mengyao, and Xu Xiao. "The influence of Chinese and Western cultural traditions on ancient architecture." Pacific International Journal 5, no. 4 (December 31, 2022): 105–11. http://dx.doi.org/10.55014/pij.v5i4.231.
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Architecture is a frozen music, a visual art, and a visual object whose existence is witnessed by history. Some classic ancient architectures including the pyramids of ancient Egypt, the Parthenon of ancient Greece, the Pantheon of ancient Rome, the Forbidden City, the Great Wall, the Hanging Temple of China and other world-famous traditional Chinese and Western architectures reflect ancient philosophical thoughts of the times. Architecture has formed a unique culture with the passage of time, and in turn culture plays an influential role to the formation of architecture. Geographical differences cause diversity to architectural cultures all round the world. In terms of Chines and western ancient architecture, the two differ each other on appearance, connotation, space and structure, which indicate not only the culture characteristics but also the aesthetic changes behind the architectures between China and the West.The West's passion for stone architecture and the East's passion for wood architecture are determined by national culture and geographical environment. It is difficult to judge which one is superior, sine such designs are developed to adapt to the environment and living habits. Ancient people built their characteristic architecture to meet the needs of the local people and living conditions.
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Wattolik, Eva. "Tomás Saraceno’s Art Work “In Orbit” (2013) against the Backdrop of Space Architecture." Arts 8, no. 1 (January 15, 2019): 13. http://dx.doi.org/10.3390/arts8010013.
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When discussing the correlation between technological progress and the development of modern architecture, case studies from the fine arts can be instructive. This article undertakes a close architectural analysis of Tomás Saraceno’s walkable art installation “In Orbit” (2013) by releasing previously unpublished technical specifications. A brief history of envisioned and constructed space architecture of the last hundred years—which can be divided into three phases—serves to locate the installation within the currents of predictive utopia, realized architecture and technological development. It becomes clear that Saraceno not only takes up pre-existing architectural techniques, but also develops them further.
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Arnold, Marion. "The GLAADH Project (Globailising Art, Architecture and Design History)." Art Book 11, no. 3 (June 2004): 52–53. http://dx.doi.org/10.1111/j.1467-8357.2004.00453.x.
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Riapolov, V. "Synagogical Architecture of Kharkiv: History and Art Criticism Analysis." World of the Orient 2020, no. 4 (December 30, 2020): 48–78. http://dx.doi.org/10.15407/orientw2020.04.048.
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Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.
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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.
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Verma, Neena. "Insecurity in architecture." Architectural Research Quarterly 18, no. 2 (June 2014): 106–9. http://dx.doi.org/10.1017/s1359135514000414.
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‘I myself do not believe in explaining anything’, wrote Shel Silverstein. It seems that architecture is always looking to explain itself. Definitions of architecture seem almost common knowledge; ask a bartender, biologist, computer scientist, economist, legislator, birdwatcher, quilter or scientist, each of whom analogises their field with respect to architecture. And several within the profession can themselves define architecture's limits quite elegantly. Most recently Steven Holl defined architecture as consisting simply of abstract, use, space and idea. However, seeking a rationale or explanation for architecture – its role in society, its impact, its value – remains an open debate. This debate has consumed the field, in academia and practice, for centuries. It suggests a dire insecurity.Shifts in architecture's self-perception and self-explanation often relate to formal styles. Any text on architectural history covers these styles, from Neolithic to contemporary, including accompanying sub-movements such as, for the early modern category, Expressionist architecture, Art Deco, and the so-called ‘International Style’. Each style is often imagined a product of, or reaction to, a preceding style, and much the same can be said of accompanying trends in the explanation of architecture. This essay, and its underlying argument, is itself a reaction to the current state of affairs.
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Seeumpornroj, Pat. "Globality in Teaching Art and Architectural History: A Case Study of the Glossary Assignment." Nakhara : Journal of Environmental Design and Planning 20 (July 21, 2021): 109. http://dx.doi.org/10.54028/nj202120109.
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In consideration of the research problem associated with the need for globality and inclusive vision in art and architecture history pedagogy, this research proposes an alternative research framework that entails the globality and inclusion of non-Western content in studying and teaching art and architecture history, as well as the use of interpretive-historical research methodology in conducting cross-cultural and comparative studies for a glossary assignment. This research provides a glossary assignment in which students conduct cross-cultural and comparative investigations of Western and non-Western art and architecture. The study approaches, tactics, and themes employed by students to do cross-cultural comparisons are systematically examined. Common glossary terms from conventional Western art and architecture history, namely, composite image, ziggurat, contrapposto, and still life, are critically used to demonstrate that they are universal and also existent in Southeast Asian art and architecture. Inductive rather than a priori analytical framework reveals new themes derived from cross-cultural comparisons. By juxtaposing original redrawn images of art and architecture from Western traditions and non-Western contexts, this research creates a significant visual impact on the usage of illustrations as tactics that transcend conventional maps and timelines. Application of the alternative study framework reveals the universality of the human desire to create art and architecture that transcends chronology and cultural boundaries.
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Larson, Julia Diane. "Design and Social Change: An Architectural History of the University of California, Santa Barbara." American Archivist 84, no. 2 (September 1, 2021): 240–55. http://dx.doi.org/10.17723/0360-9081-84.2.240.
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ABSTRACT The University of California, Santa Barbara (UCSB), campus as it stands today appears as an architectural mash-up of midcentury modern institutional buildings, both low rise and high rise; a smattering of World War II–era wooden buildings; 1970s-style double wide trailers; and new science buildings built by a who's who of internationally famous architects. In this case study, the author shows how the UCSB campus's architectural history mirrors the post–World War II boom in educational facilities throughout California and the social, cultural, and architectural history of the region as a whole. The key to discovering this history is archival research, both at the University Archives at the UCSB Library, as well as at the architecture-specific Architecture and Design Collection at the Art, Design & Architecture Museum on campus. In this case study, the author explains how the architectural history can be traced through the archival records to more fully understand the history of the campus.
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Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (September 14, 2020): 97–108. http://dx.doi.org/10.3846/jau.2020.13053.
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The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.
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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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Rocha, Ivan Esperança. "Rome models: between history and representations." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (March 24, 2018): 276–87. http://dx.doi.org/10.31669/herodoto.v3i1.350.
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Considered a millenarian art, the construction of models has gained in the last decades a special impulse using electronic supports in the area of archeology as well of architecture and engineering. In this text, will be presented and discussed the original and current role of the models in the historical-architectural reconstruction of the city of Rome, especially those created in the first decades of the 20th century by Giuseppe Marcelliani, Paul Bigot and Italo Gismondi.
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Scalissi, Nicole, Alison Langmead, Terry Smith, Dan Byers, and Cynthia Morton. "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 143–57. http://dx.doi.org/10.5195/contemp.2015.151.
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The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural History; and Dr. Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh. Moderated by Nicole Scalissi, PhD candidate, Department of History of Art and Architecture, University of Pittsburgh. The panel took place as a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3-5, 2014. The transcription has been edited for clarity.Curatorial Practice as Production of Visual & Spatial Knowledge
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Anderson, Stanford. "Architectural History in Schools of Architecture." Journal of the Society of Architectural Historians 58, no. 3 (September 1999): 282–90. http://dx.doi.org/10.2307/991520.
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Sattari Sarbanqoli, Sina, and Sirus Jamali. "A comparative study of painting and architecture stylistics of contemporary Iranian and western arts." Journal of Art and Architecture Studies 10, no. 2 (December 15, 2021): 31–41. http://dx.doi.org/10.54203/jaas.2021.5.
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Iranian art reflects the spirit and inclinations of Iranians, regardless of place and time of origin. Another point is the diversity of works of art which shows that the ancient Iranians had high skills in different regions. Iranian architecture and painting have always been present side by side and influentially throughout history, and this connection persists until today in contemporary Iranian art. The present article is a research on the features and concepts of architectural and painting styles in contemporary Iranian art and a comparative comparison of these two arts which is centered on the concept of architecture and painting. The contemporary architectural styles and tendencies in question date back to the first and subsequent Pahlavi rule. The general objectives of the research are to apply the styles of painting and architecture in Iranian art to achieve the same conceptualism of these two arts. For this purpose, three main categories have been studied: the first part is contemporary Iranian architecture, the second part is contemporary Iranian painting and the third part is a comparative comparison of contemporary Iranian architectural and painting styles. The present research is an analytical and comparative research and the research method is based on the application of styles and logical reasoning. Documentary and library studies and theories of experts are also the basis of this article.
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Shoked, Noam. "Hanging Out with Cyclists." Boom 6, no. 3 (2016): 84–88. http://dx.doi.org/10.1525/boom.2016.6.3.84.
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In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.
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Ivaschenko, Nikita A. "BRUTALIST ARCHITECTURE IN RUSSIAN AND FOREIGN ART HISTORY AFTER REYNER BANHAM." Articult, no. 4 (2022): 6–16. http://dx.doi.org/10.28995/2227-6165-2022-4-6-16.
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Brutalist architecture is of great interest to contemporary art historians, architecture lovers, designers and musicians. The first large work on brutalist architecture was Reyner Banham’s “The New Brutalism: Ethic or Aesthetic?”, initially published in the beginning of the 1970-s. This text, though not free of contradictions, became the start of a whole tradition of speaking about brutalism in special literature. Still being relevant, Banham’s book serves as a guiding star for the succeeding authors on the one hand and needs to be revised on the other. The article is centered on the texts that form this tradition in the history of art around the world and in Russia after Reyner Banham. It offers the result of collecting these texts on brutalist architecture and an analysis of the points of view of different authors on the problem of brutalist architecture and its history. The key questions of the article are to elaborate on the periodization and characteristic of brutalist architecture and to expose the existing tradition of studying it.
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Dark, Ken. "Gerd Detemple, Weltkulturerbe. Trierer Dom: Einblicke in Deutschlands älteste Kathedrale. Regensburg: Verlag Schnell & Steiner, 2021, 192 pp., 23 ill., and 81 photos." Mediaevistik 34, no. 1 (January 1, 2021): 312. http://dx.doi.org/10.3726/med.2021.01.37.
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This is a ‘coffee-table’ book on Trier cathedral, in part the oldest church building used today in Germany, dominated by superb color photographs taken by Gerd Detemple. These are produced splendidly in large – often full-page – format, and are a credit to the photographer and publisher alike. As such, the book will appeal to several markets: scholars who are studying the art and architecture of the cathedral; students of art and architectural history; those with an amateur interest in art-history, architectural history or the city of Trier, and those who have visited Trier and been to the building. However, the volume is probably best suited to the latter two groups, and it is a presentation of visual material rather than a scholarly work.
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Hopkins, Andrew, Anthony Blunt, and Richard Beresford. "Art and Architecture in France 1500-1700." Sixteenth Century Journal 31, no. 2 (2000): 633. http://dx.doi.org/10.2307/2671729.
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Açikyildiz, Birgül. "Ideology, Nationalism, and Architecture: Representations of Kurdish Sites in Turkish Art Historiography." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 323–53. http://dx.doi.org/10.1386/ijia_00082_1.
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This article discusses how the narrative of Turkish national historiography, crafted by Turkish elites in the 1930s in light of the official doctrine of the Turkish History Thesis and the Sun Language Thesis, attempted to Turkify the patronage of historical buildings constructed by diverse ethnic and religious communities of the country’s eastern region. I focus on the architectural production of the seven Kurdish dynasties that ruled a large area in the Middle East from the tenth to the mid-nineteenth century. Kurdish rulers constructed a large number of urban monuments bearing their names. These sites were appropriated into the Turkish national historiography in a denial of their Kurdish origins. This approach to history has rendered Kurdish material culture all but invisible, pushing the understanding of Kurdish architectural patronage and identity to the academic margins. This study aims to develop an alternative approach to the history of urban and architectural production in eastern and south-eastern Turkey, and opens a discussion for a definition of Kurdish art and architecture.
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Vowles, Hannah, Glyn Banks/Art in Ruins, and Nic Clear. "Recent History - Art In Ruins." Architectural Design 79, no. 5 (September 2009): 92–95. http://dx.doi.org/10.1002/ad.957.
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Filipczak, Zirka Z., and Hans Vlieghe. "Flemish Art and Architecture 1585-1700." Art Bulletin 82, no. 2 (June 2000): 357. http://dx.doi.org/10.2307/3051384.
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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.
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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.
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Yao, Yu, and Yuye Lu. "The Blending of Architectural Context and Clothing Art in Set of Etiquette System." International Journal of Advanced Engineering Research and Science 9, no. 7 (2022): 233–39. http://dx.doi.org/10.22161/ijaers.97.25.
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The culture of the Confucian "set of etiquette" has always had an impact on the development of Chinese traditional art. All dynasties placed a high value on the hierarchy of superiority and inferiority, which is reflected in ancient architectural and clothing art. Ancient architectural art and ancient clothing art are two distinct art forms, but they share some similarities in terms of design thought and layout structure. Architectural art and clothing art share artistic characteristics of the times, especially when influenced by the architectural context and set of etiquette. It also strictly adheres to the order of hierarchy in the standardization of art. The roof level of buildings and the crown shape of clothing are not only complementary, but also suggest people's reverence for heaven and earth. Architecture and clothing have evolved in tandem over the course of history.
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Akcan, Esra. "Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi." ARTMargins 4, no. 1 (February 2015): 79–101. http://dx.doi.org/10.1162/artm_r_00105.
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This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.
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Payne, Alina A. "Architectural History and the History of Art: A Suspended Dialogue." Journal of the Society of Architectural Historians 58, no. 3 (September 1999): 292–99. http://dx.doi.org/10.2307/991521.
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Grigor, Talinn. "Orient oder Rom?Qajar “Aryan” Architecture and Strzygowski's Art History." Art Bulletin 89, no. 3 (September 2007): 562–90. http://dx.doi.org/10.1080/00043079.2007.10786361.
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Mzhelsky, V. M. "CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 125–37. http://dx.doi.org/10.31675/1607-1859-2019-21-4-125-137.
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Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.