Journal articles on the topic 'Master of Interior Architecture'
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1
Jumsai na Ayudhya, Thirayu. "Research Directions in Interior Architecture in the Higher Education in Thailand (1997-2016)." Asian Social Science 13, no. 8 (July 24, 2017): 66. http://dx.doi.org/10.5539/ass.v13n8p66.
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This research aims to explore research directions in interior architecture in the higher education in Thailand within the past two decades (1997-2016). This research is a part of the quinquennial curriculum renewal process of the master degree of interior architecture programme, Department of Interior Architecture, King Mongkut’s Institute of Technology Ladkrabang (KMITL). The systematic literature review was conducted to track back on theses in interior architecture in the higher education in Thailand. The query focused on master degree theses published from 1997 to 2016 within ThaiLIS-Thai Library Integrated System (TTLIS) in which research, theses, and dissertations of all universities in Thailand were systematically collected. The keyword ‘interior architecture’ was used to search for thesis documents in TTLIS with specifically refined results on master degree theses in all universities in Thailand. One hundred and ninety-six theses were found in the search. This research comprises two stages. In the first stage, all one hundred and ninety-six theses were systematically reviewed and categorized into different types of research. It was found that there was no predictive research type and no novel theoretical framework generated among studied theses. In second stage, semi-structure interview was adopted to explore details of participants’ experiences of doing their theses; inspirations, background ideas, supports, and obstacles. A lack of generating new theoretical frameworks in interior architecture in the higher education in Thailand has weaken the progression of research in this discipline. Developing a novel theoretical framework in interior architecture in the higher education in Thailand is recommended.
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Istiani, Noor Fajrina Farah. "An Archaeology of the Interior." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 1, no. 2 (October 9, 2022): 62–69. http://dx.doi.org/10.21512/ijvcdc.v1i2.8228.
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This paper discusses the possibility of adopting the study of archaeology as known in cultural theory to redesign the obsolete interior architecture element. The archaeological discipline might offer a possibility to understand the interior element thoroughly through emphasizing the specific material characteristics and their correlation to the different periodical lifetimes of the context. The idea of the archaeology of an interior introduces well-recorded analysis and material experimentation in the physical translation of interior elements. The design process is mainly conducted by emphasizing the notion of "after use" and imagining the object's future to tackle the issue of the obsolete interior. This study becomes an essential basis for understanding the role of an interior architect in responding to the subject of the decayed interior from the other point of view by taking a personal stand for "use" and "after use" beyond the conventional idea of functional space. In the case study, this paper examined the idea of repurposing obsolete stairs as an archetype element through the physical and poetic approach of the object by taking one of the projects in Master interior architecture studio in Rotterdam. This practice aims to augment the material and generate the essential foundation for a design practice that could sensitively respond to the personal stand on the spatial design process.
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Zahroh, Umi. "Back-End Design and Development on Rekaruang Application with Microservices Architecture." JATISI (Jurnal Teknik Informatika dan Sistem Informasi) 9, no. 1 (March 16, 2022): 86–96. http://dx.doi.org/10.35957/jatisi.v9i1.1391.
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One of the basic human needs is a house. One aspect considered when building a home is interior design. However, today, many people do not care about the importance of interior design in human psychology, which may cause a problem for interior designers, especially in getting their service users. Therefore, this study will discuss solutions to overcome the issues of interior designers and interior designer service users through the development of the Rekaruang startup. This research focuses on planning and building the back-end, which will later be implemented in the Rekaruang Application. The back-end development will use a microservices architecture with the waterfall method as a guide for development. The services formed are user service, master data service, consultation service, transaction service, and chat service. The created services are represented in the form of API endpoints which are then tested with unit testing and load testing types to determine the performance of microservices. The test results using unit testing show that of the 34 test cases tested, all test cases can be declared victorious. Furthermore, this study only tested three endpoints for load testing because they were considered to have a long execution time. The total number of users that microservices can handle is 216 at the same time. The test results can be said to be good because the projection of Rekaruang users in the first year is only 40 users, consisting of 20 interior designers and 20 clients.
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Neagley, Linda Elaine. "The Flamboyant Architecture of St.-Maclou, Rouen, and the Development of a Style." Journal of the Society of Architectural Historians 47, no. 4 (December 1, 1988): 374–96. http://dx.doi.org/10.2307/990382.
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The construction of St.-Maclou after 1432 revitalized architecture in Rouen and Normandy for the next 90 years. Both the patrons and the architect played a significant role in the emergence of this new style. The architecture has been attributed to the Parisian master Pierre Robin, but the stylistic evidence based on a unique vocabulary of forms suggests that the St.-Maclou master was trained in the Norman Vexin and had a knowledge of architecture of Germany, Flanders, and central Europe. The parish church was also modeled on several monumental features found at the cathedral of Rouen including the interior and transept elevations, the lantern tower, and the western porch. This ambitious project, undertaken by the merchant class families of the parish during the English occupation, reflects both a desire to assume the duties of the old orders of the city and a conscious rejection of contemporary English-influenced architecture constructed during the occupation. One of these families, the Dufours, assisted the French king, Charles VII, in the recapitulation of Rouen in 1449. Thus, the retrospective and hence conservative reference to the Rayonnant parts of the cathedral of Rouen may have reflected a nostalgia for the architectural style associated with Louis IX and a golden age of French royalty. Using both stylistic and documentary evidence, this article attempts to identify the role of the patrons and architect in the development of the style of St.-Maclou.
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Sanabria, Sergio L. "A Late Gothic Drawing of San Juan de los Reyes in Toledo at the Prado Museum in Madrid." Journal of the Society of Architectural Historians 51, no. 2 (June 1, 1992): 161–73. http://dx.doi.org/10.2307/990712.
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A presentation drawing of the interior of the church of San Juan de los Reyes in Toledo, intended for the Catholic Monarchs Ferdinand and Isabella, reveals aspects of the design procedures followed by Late Gothic master masons. Its unusual optical structure is designed to permit accurate representation of a dense collection of details to be executed by masters from various trades. The Toledan architect and sculptor Juan Guas has been believed to be the sole designer of the drawing. The Burgalese Simón de Colonia may have intervened in the design of the crossing, and a court blazoner must have provided the heraldic and religious program.
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Петровська, Ю. Р. "ДИЗАЙН ІНТЕР’ЄРІВ ТЕМАТИЧНИХ РЕСТОРАНІВ ЯК СКЛАДОВА КУРСОВОГО ПРОЕКТУВАННЯ СТУДЕНТІВ СПЕЦІАЛЬНОСТІ «ДИЗАЙН»." SCIENTIFIC BULLETIN OF CIVIL ENGINEERING 108, no. 2 (2022): 12–17. http://dx.doi.org/10.29295/2311-7257-2022-108-2-12-17.
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The scientific publication outlines the methodology of teaching the specialized academic discipline “Design, Part 5” as a component of training of students of the Institute of Architecture and Design majoring in Design, aimed at the preparation of a comprehensive interior design project for a concept restaurant. Identification and usage of the national style features in the interior design of restaurants are becoming key factors in further stylization and transformation of ethnic motifs in modern interiors. The article highlights the results of mastering of the theoretical material by students during the semester, fulfillment of practical tasks, as well as the requirements to the content, volume and presentation of the course project. Based on the structure of the educational and professional program, the article describes the formation and development of student professional (special) competencies in the process of studying the academic discipline, as well as program learning outcomes. Interior design of theme restaurants is the object of the course and diploma design at the Department of Design and Architecture Fundamentals of the Institute of Architecture and Design of Lviv Polytechnic National University. The academic discipline “Design, Part 5” taught on the fourth year of study is a part of training of students majoring in Design; the study of this discipline develops the creativity of future designers, focuses them at the independent search for ideas and original three-dimensional solutions, requires processing of additional visual information and research and methodological literature. Students get acquainted with the history, modern experience and progressive interior design ideas for theme restaurants, learn how to find completed projects in the world practice and critically analyze them. In the course of the practical studies, students master the basic methods and principles of drafting working drawings, professional terminology used in the process of the interior design. Students often continue to work on the topics of their course projects on the interior design of catering establishments, and improve them by developing additional graphic brand elements, elements of landscape design in the catering establishment exterior, create design of large summer indoor or outdoor terraces, green recreation areas in their future diploma theses.
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Parkhomchuk, Mykhaiolo. "HISTORICAL DEVELOPMENT AND BASIC PRINCIPLES OF TEA ARCHITECTURE IN JAPAN." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 90–103. http://dx.doi.org/10.32347/2077-3455.2022.62.90-103.
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This paper reviews several examples of Japanese tea architecture in order to identify its specific features in the context of its historical development. Based on this, the main principles of the formation of tea architecture in Japan are defined. The analysis is conducted in relation to three main factors that influenced the formation of tea architecture: vernacular architecture, noble architecture and the philosophical ideas of Zen Buddhism. As an example, three tea houses of the master Sen no Rikyu (1522-1591) were used, namely: Kasa-tei, Shigure-tei (Todaiji Monastery, Kyoto) and Tai-an (Myoki-an Monastery, Kyoto), and the palace of Villa Katsura (1620-1658), commissioned by Prince Toshihito. The Kasa-tei and Shigure-tei houses are characterised by active inheriting of the structural elements and forms of vernacular housing. The Tai-an is a vivid reflection of aristocratic and Zen traditions. In the architecture of villa Katsura there is an influence of several directions of aristocratic and vernacular architectural styles. In each example, the influence of these three factors was detected at several levels: in the formation of the environment of the tea house (tea garden), in the structure and composition of the buildings, in the internal space of the buildings and at the level of semantics of the complexes. Among the variety of teahouses, at each determined level the preference may be given to one or another stylistic direction. For example, the traditions of vernacular architecture in the Kasa-tei and Shigure-tei houses are increasingly expressed in the exterior of the buildings and in the overall character of the complex. The aristocratic and ascetic spirit of the Tai-an house is mainly expressed in the interior of the building. In the architecture of Villa Katsura – similar to the examples mentioned above – the tradition of vernacular architecture is mainly present in the exterior and surroundings of the building, while the interior stays within the aristocratic tradition. The basic principles of tea architecture identified in the paper are arranged according to their origin and localization of application in the final table.
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Li, Zhixing, Yukai Zou, Mimi Tian, and Yuxi Ying. "Research on Optimization of Climate Responsive Indoor Space Design in Residential Buildings." Buildings 12, no. 1 (January 7, 2022): 59. http://dx.doi.org/10.3390/buildings12010059.
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This paper first analyzes the climate characteristics of five typical cities in China, including Harbin, Beijing, Shanghai, Shenzhen and Kunming. Then, based on Grasshopper, Ladybug and Honeybee analysis software, according to the indoor layout of typical residential buildings, this research extracts design parameters such as the depth and width of different rooms and their window-to-wall ratios etc., to establish a climate responsive optimization design process with indoor lighting environment comfort, with heating and cooling demand as the objective functions. Meanwhile, based on Monte Carlo simulation data, ANN (Artificial Neural Network) is used to establish a prediction model to analyze the sensitivity of interior design parameters under different typical cities’ climatic conditions. The study results show that the recommended values for the total width and total depth of indoor units under the climatic conditions of each city are both approximately 14.97 m and 7.88 m. Among them, under the climatic conditions of Harbin and Shenzhen, the design parameters of residential interiors can take the recommended value of UDI optimal or nZEB optimal. While the recommended values of window-to-wall ratios for the north bedroom, master bedroom and living room in Shanghai residential interiors are 0.26, 0.32 and 0.33, respectively. The recommended value of the window-to-wall ratio of the master bedroom in Kunming residences is 0.36, and that of the remaining rooms is between 0.15 and 0.18. The recommended values of window-to-wall ratios for the master bedroom and living room in Beijing residences are 0.41 and 0.59, respectively, and that for the remaining rooms are 0.15. The multi-objective optimization process based on parametric performance simulation used in the study can effectively assist architects in making energy-saving design decisions in the preliminary stage, allowing architects to have a case to follow in the actual design operation process.
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Kim, Hyon-Sob. "The appearance of Korean architecture in the modern West." Architectural Research Quarterly 14, no. 4 (December 2010): 349–61. http://dx.doi.org/10.1017/s1359135511000145.
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Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.
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Melenhorst, Michel. "Reuse of Modernist Buildings." Education and Reuse, no. 61 (2019): 4–7. http://dx.doi.org/10.52200/61.a.ntmr2l4l.
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In his keynote lecture “When the oppressive new and the vulnerable old meet”, at the 13th docomomo Conference in Seoul 2014, Hubert-Jan Henket (1940–) made a passionate plea for “Sustainable Modernity”. In docomomo Journal 52, an invitation to join this plea was published. Hubert-Jan Henket also spoke of a wish to change the curricula at all schools of architecture and include the history of modernity as well as the conservation and adaptive reuse of what is there already as a standard part of the education. Since then, and even before 2014, a lot has happened in exploring the further potential of reusing Modern Movement Architecture. In 2016 the project “RMB Reuse of Modernist Buildings” started. For the RMB project docomomo International and the University of Antwerp, Belgium; the University of Coimbra and the Instituto Superior Técnico – University of Lisboa, both from Portugal; Istanbul Technical University, from Turkey and TH-OWL, Detmold School of Architecture and Interior Architecture from Detmold, Germany, came together to prepare a master course, addressing the subjects as formulated in 2014 by Hubert Jan Henket and docomomo.
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Permilovskaya, Anna Borisovna, Alyona Igorevna Gerasimova, and Aleksei Aleksandrovich Usov. "Kurnaya Hut: Architectural and Design Features and Interior (on the Example of Tretyakov's House-yard, village Gar, Kargopolsky district)." Культура и искусство, no. 9 (September 2022): 41–57. http://dx.doi.org/10.7256/2454-0625.2022.9.38783.
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The Russian North is part of its territory, where monuments of wooden architecture are preserved to this day. One of the districts of the North is Kargopolye, whose architectural traditions date back to the high carpentry culture of Ancient Novgorod. Local buildings are an example of traditional wooden construction, a treasure trove of knowledge about the customs, culture and history of the Russian people. In the wooden monuments of Kargopolya, not only the accumulated experience of Russian masters is visible, but also the very spirit of the splendor of northern wooden architecture. The subject of the study is the architectural and structural features and the traditional interior of the Tretyakov house–yard (currently part of the exposition of the Museum of Wooden Architecture "Small Korely") as an example of a peasant Kurnaya hut in Kargopol. The article is based on the materials of expeditionary research by A. B. Permilovskaya (1984, 2006) – settlements and monuments of folk architecture of the Kargopolsky district of the Arkhangelsk region with the implementation of photofixation and schematic measurements; analysis of archival documents, interviews with residents of the Kargopolsky district. The scientific novelty of the research consists in the introduction into scientific circulation of new archival sources and field materials on the traditional culture of the Russian North. As a result, an analysis of the architectural and design features of chicken huts was carried out, the value of the furnace "in black" for Kargopol was revealed. M. A. Tretyakov's house-complex is of interest, because it contains a kind of "architectural code" for understanding the features of the construction of Kurnaya huts. The results of the study show that M. A. Tretyakov's house-yard is a monument of wooden architecture that has preserved the original design solutions, the layout of the premises. The Kurnaya hut has preserved the archaic device of the furnace "in black", the household items associated with it, as well as the original interior. Thanks to this, the modern exposition of the house reflects the real life of the Kargopol mid XIX century peasant life.
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Rong, X., B. He, and L. Zhuang. "A Primary Study on the Recording Method of Interior Decoration in Qing Dynasty – A Case Study of Interior Decoration of Jingfu Palace." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 621–26. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-621-2017.
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The existing interior decoration of Qing Dynasty is the master of that of each dynasty, with its diversified forms and complicated functions. As early as 1920s, the Rehabilitation Committee of Qing court recorded the interior furnishing in the Forbidden City by using Chinese traditional documentary method. Today, along with the constantly updated techniques, the recording method for the current situation of interior decoration has gradually developed from two-dimensional drawings into digital and comprehensive record. However, the current research results are mostly limited to a single field. This paper takes the digital record and reproduction about the current situation of interior decoration in Jingfu Palace in the Forbidden City as an example. Through the use of photogrammetry, 3D laser scanning, virtual display and other technology and equipment at the forefront of architectural field, it makes qualitative and quantitative record about the interior decoration inside Jingfu Palace. By combing with the interpretation of historical documents, it restores the original design ideas hidden behind the current situation of interior decoration, so as to summarize the best recording and reproducing method of interior decoration of Qing Dynasty.
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Zhang, Tong Yu, Xiao Tian Zhu, and Yu Hang Shang. "Simulation for the Interior Natural Ventilation Condition of the United Habitation in Marseilles." Advanced Materials Research 255-260 (May 2011): 1368–72. http://dx.doi.org/10.4028/www.scientific.net/amr.255-260.1368.
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The United Habitation in Marseilles is the master wok of Le Corbusier, the well-know architect. Over the fifty years of its existence, the researches concentrate on its light and shadows and color scheme of the facades, etc. However, the most important original intent of the designer is the optimization of the indoor thermal environment, especially the use of cross ventilation. As green building has drawn more and more attention nowadays, this article will focus on the indoor natural ventilation conditions of two standard cells of the Marseilles Unit, which are known as the ‘upper E’ apartment and the ‘lower E’ apartment, by using computational fluid dynamics (CFD) models. Compared with the data of Middle corridor type dwelling, verify the superiority of its architectural layout.
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Oksuz, Merve, and Ozge Cordan. "Using Video Games for Design Education: An Example of Developing Earthquake Scenarios for Home Environments." Journal of Design Studio 4, spi2 (October 3, 2022): 65–73. http://dx.doi.org/10.46474/jds.1155669.
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The heart of interior design/architecture education is design studios. As a design-based graduate program, the main objective of the International Masters of Interior Architecture and Design Program-(IMIAD) in Istanbul Technical University Graduate School is to produce new disciplinary information and knowledge for design (Cordan, 2017). Additionally, the main objective of the Interior Architecture Project III, which is the third design studio blended with the thesis studies in the IMIAD Programme, is to guide students in their study based on research-based design approach. In this study, one example was presented to explain how the research-based design process conducted. This study was based on developing a game scenario for experiencing earthquakes in an experiential box. The earthquake scenario was developed for a bedroom situation at home environment by using virtual reality and gamification methods. The educational use of video games through serious games helps designers and design students understand real situations and raise public awareness by experiencing them in virtual environments. Besides, the study will fill the gap in the literature by using video games as an educational tool in design to develop scenarios for natural disasters such as earthquakes, the study will help educators for developing new ways of teaching and students for solving design issues using video games. Different scenarios can be developed for different natural disasters and cases in the future for further studies.
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Doktor Olsen Tvedebrink, Tenna, and Andrea Jelić. "Getting under the(ir) skin: Applying personas and scenarios with body-environment research for improved understanding of users’ perspective in architectural design." Persona Studies 4, no. 2 (November 5, 2018): 5–24. http://dx.doi.org/10.21153/psj2018vol4no2art746.
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The aim of this paper is to move established positions in architectural design by discussing a more refined user perspective. The motivation is threefold. Firstly, fields like environmental psychology and cognitive science for architecture have in recent years brought novel insights on the embodied nature of human spatial experience, and the extensive effects of the built environment on people’s psychosomatic health and behaviour that are not well-captured by existing building standardization systems. Secondly, while the fast growing trends of user-centred and research-based design in architecture have showed that users’ experience is a valuable source of design knowledge, the methods for incorporating this wealth of new insights in the architectural design process are still underdeveloped. Finally, the example of the newly built psychiatric department in Aabenraa, Denmark, whose interior, despite an international architectural award in 2016, had to be re-designed one year after construction due to poor understanding of the users, indicates existing discrepancies in the current approaches to translating research information in user-centred design. To address these issues, we discuss the experiences from a new masters’ course in ‘Architecture, Health, and Well-being’ and propose that user-centred methods like ‘personas’ and ‘scenarios’ used in IT, marketing, and product development also have a potential to develop more in-depth research-informed user perspectives. As well as, to help students envision and strengthen the architectural quality of the programming and building design throughout the architectural design process, by supporting a ‘design empathic’ understanding and immersion in user perspectives.
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Watkin, David. "Freemasonry and Sir John Soane." Journal of the Society of Architectural Historians 54, no. 4 (December 1, 1995): 402–17. http://dx.doi.org/10.2307/991082.
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Soane's activities as a Freemason, in particular the remarkable hall which he designed for the Grand Lodge in London in 1828, are here analyzed in detail for the first time. The significance of Freemasonry for Soane is exhibited by an investigation of his acquisition and study of books by writers of the Enlightenment such as d'Hancarville, Lenoir, Ledoux, Court de Gébelin, Viel de Saint-Maux, and James Christie, who were either Freemasons or sympathetic to masonic ideals. At the instigation of his friend, H. R. H. the Duke of Sussex, Grand Master of the United Grand Lodge, Soane was given the most unusual commission of designing a Masonic ark in 1813. His Masonic Hall, designed fifteen years later, was an interior rich in symbolic ornament, and bathed in a mysterious light, in which he achieved a deeper religious atmosphere than in any of his designs for Anglican churches.
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To, Phuong Thanh, and David Grierson. "An application of measuring visual and non-visual sensorial experiences of nature for children within primary school spaces." Archnet-IJAR: International Journal of Architectural Research 14, no. 2 (October 31, 2019): 167–86. http://dx.doi.org/10.1108/arch-05-2019-0139.
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Purpose Proximity to nature is essential to a child’s development. Well-designed educational environments are crucial to supporting this proximity, particularly in the early years of schooling. The purpose of this paper is to measure children’s experiences of nature within three primary school spaces at various locations in Glasgow, Scotland. The methodology for measuring children’s visual and non-visual sensory experiences is developed to evaluate the connection between naturalness values and spatial environmental qualities across varying “Child–Nature–Distance” ranges. Design/methodology/approach The approach associates children’s multiple layers of sensory modalities with particular attributes of the spatial environment within primary schools to determine the level of naturalness that children experience, in both internal and external spaces. Findings The study finds that children’s experiences are significantly influenced by factors relating to urban setting, built environment master planning, architectural features and interior design. Research limitations/implications Apart from primary school architecture for children, this methodology could be fully developed to the comprehensive human–nature relationship under the impacts of physical features and societal of other diversified environments in a future study. However, the offering reasonable primary school architecture for a proper children’s multi-sensorial experience with natural environment cannot thoroughly established with a quantitative aspect by the present study only. More qualitative research is recommended to examine the process of altering from “cause” to “perceived” nature of users’ cognitions, attitudes and behaviours within the exposure proximity to nature. Practical implications The methodology for measuring visual and non-visual sensorial experiences of nature, and its application to children’s learning and leisure spaces within primary school architecture could offer a tool for assessing current schools, and evaluating future design proposals for new schools. Originality/value The authors argue that the applicationof this method can support design decision making for refurbishing schools at the micro level, and in planning urban development involving proposals for new schools at the macro level.
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Kucheruk, Oleksandr. "THE HOUSE OF THE CENTRAL COUNCIL IN KYIV: TRANSFORMATIONS OF THE IMAGE." City History, Culture, Society, no. 3 (October 30, 2017): 73–79. http://dx.doi.org/10.15407/mics2019.03.073.
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The article deals with the history of the construction and functioning of one of the most famous Kyiv buildings, which was used as the premises of the Ukrainian Central Council during the Ukrainian Revolution. The construction and the concept of this building are analyzed, and a description of the interior and exterior finishes. The process of transition of the building to the status of the house of meetings of the Central Rada was revealed in detail, its further fate was revealed, the functional transformation that took place with it in different periods of existence was investigated. Thus, the author found out that the building was erected in 1910-1912 by architect P. Alyoshin for the Tsarevich Aleksey (Romanov) Pedagogical Museum in the Art Nouveau style based on the Russian Empire style. From March 1917 the Ukrainian Central Rada worked here (it became a full-fledged "master" of the building since October 1917). It was time when the first changes in the exterior and interior of the house occurred - the Russian imperial coat of arms and the corresponding inscriptions were removed; the UNR coat of arms - Trizub was mounted on the wall; instead of the bas-relief portrait of Tsarevich Alexei, a portrait of Taras Shevchenko was placed, the imperial symbolism was dismantled. A little later, the boardroom was decorated with the emblems of five provinces whose Ukrainian jurisdiction was recognized by the Provisional Government (in 1923, the emblems as a relic of the "counter-revolutionary Council" would be abolished by the new government). In 1920-30s the building on Volodymyrska Street hosted many Soviet institutions (the Institute of International Relations, the Proletarian Museum and the Kyiv Provincial Eastport, the Museum of the Revolution, and the Kyiv Regional Executive Committee). In 1937 it was decided to arrange here a branch of the Moscow Museum of Volodymyr Lenin, having completed and reconstructed the existing premises. Architect Alyoshin, while maintaining the unity of style, extended the sides of the interior and closed them with a block parallel to the man's part, which formed a small courtyard. Interior planning and decoration have also undergone changes - so much of the stucco has been removed, and polychromy has been eliminated (similar activity occurred in the early 1950s). The general conclusion is that changes and transformations of the house on Volodymyrska Street, unconventional for Kyiv architecture, in most situations were controlled by architect P. Alyoshin, who retained the architectural features of the early twentieth century, and the introduction did not violate the overall impression.
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Carey, Moya, and Mercedes Volait. "Framing 'Islamic Art' for Aesthetic Interiors: Revisiting the 1878 Paris Exhibition." International Journal of Islamic Architecture 9, no. 1 (March 1, 2020): 31–59. http://dx.doi.org/10.1386/ijia_00003_1.
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Abstract The 1878 Exposition Universelle in Paris is known for the substantial scope and content of its Islamic art displays ‐ the most extensive offered to an international audience by that date. A renewed analysis of this influential event demonstrates that it featured a network of distinct ‐ though often interlinked ‐ installations that come under the label of 'Islamic art', situated across a complex site. These included national initiatives, such as L'Égypte des Khalifes, sponsored by the ruling Khedive of Egypt, and the purpose-built Pavillon de la Perse, constructed by master-builders dispatched from Qajar Tehran. Commercial undertakings included a display of Vincent Robinson's Iranian carpets in the British India section. At the Galerie orientale curated by Albert Goupil in the Palais du Trocadéro, other objects loaned from private collections were presented. Common across these various displays was persuasively staged architecture. This article argues for the centrality of architectural salvage and reconstruction in the early history of private and public displays of Islamic art. By examining the different individuals who created both L'Égypte des Khalifes and the Galerie orientale, article proposes a new assessment of an elite domestic culture, pursued by affluent bachelor aesthetes of the period, with many modern resonances.
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Conroy, Alison, Phalguni Mukhopadhyaya, and Guido Wimmers. "In-Situ and Predicted Performance of a Certified Industrial Passive House Building under Future Climate Scenarios." Buildings 11, no. 10 (October 4, 2021): 457. http://dx.doi.org/10.3390/buildings11100457.
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The Wood Innovation Research Lab was designed as a low energy-use building to facilitate the construction and testing of engineered wood products by the faculty and staff of the Master of Engineering in Integrated Wood Design Program at the University of Northern British Columbia in Prince George, BC, Canada. Constructed using a 533 mm thick-wall and 659 mm flat roof assembly, it received certification as Canada’s first industrial facility built to the International Passive House standard. Temperature and humidity sensors were installed in the north and south exterior wall assemblies to measure long-term hygrothermal performance. Data collected between 2018–2020 shows no record of long-term moisture accumulation within the exterior assemblies. Data collected during this time period was used to validate hygrothermal performance models for the building created using the WUFI® Plus software. Long-term performance models created using future climate data for five cities across Canada under two global warming scenarios shows favorable results, with an increase in average annual temperatures resulting in lower average relative humidity values at the interior face of the exterior sheathing board in the exterior wall assemblies.
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Aliberti, L., and P. Iglesias Picazo. "CLOSE-RANGE PHOTOGRAMMETRY PRACTICE: GRAPHIC DOCUMENTATION OF THE INTERIOR OF THE WALLS OF AVILA (SPAIN)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 19, 2019): 49–53. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-49-2019.
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<p><strong>Abstract.</strong> This work presents the results of the photogrammetric survey of the inner side of the walls of Avila. The graphical restitution realized is part of the studies for the Master Plan of the walls of Avila promoted by the Cultural Heritage Institute (IPCE), under the Spanish Ministry of Education, Culture and Sport in 2017. The monument has been extensively drawn throughout history, but there isn’t a complete and detailed planimetric documentation of its whole extent. The huge dimensions of the walls and the different conditions of the visible sectors of the interior side were difficult conditions to overcome. The versatility and great accuracy of photogrammetric method allowed the reconstruction of the interior of the walls in a short time and with accurate results . Moreover the possibility of integrating the results with previous surveys made it possible to present a complete and coherent documentation of the walls. This is an important point and in the research a continuity is sought between restitutions carried out with tools and at different times. In addition, a series of considerations are advanced about the transformation of traditional methods of representation of architectural heritage.</p>
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Revzina, Yulia. "All’antica life style: private thermae in Italian Renaissance architecture." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 68–82. http://dx.doi.org/10.36340/2071-6818-2021-17-1-68-82.
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The heritage of antiquity was the basis of Italian Renaissance architecture and inexhaustible source of inspiration for its masters. Among the facilities of par - ticular interest for architects and lovers of the epoch were the Roman thermae. Their parts and elements brought to life a variety of spatial solutions in architecture of tem - ples, villas and cathedrals. However the attempts to lit - erally build the thermae similar to Roman ones in time of Renessaince were rare to encounter. The most detailed description of Renessaince ther - mae was given by Giorgio Vasari in the life story “ On Le - one Leoni Aretino and other sculptors and architects” which involves the brief biography of Galeazzo Aless - si. It narrates, among others, about the thermae built by Galeazzo Alesssi on Grimaldi (later Sauli) villa in Bisagno nearby Genova (the building was not saved). According to Vasari, the thermae were octagonally planned pavilion with the round pool in its centre. The interior was worked in antique style. The article gives an insight into efforts to build the private thermae during Renaissance, prior to Villa Grimaldi’s pavilion, which testifies to customers’ looking to reconstruct all’antica lifestyle in private life particularly on the villa which, following an - cient men of latters was regarded as ‘temple of muses’.
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Noble, Alex, and Daniela Gachago. "Developing Critical Digital Literacies Through Digital Storytelling." International Journal of Mobile and Blended Learning 14, no. 3 (July 1, 2022): 1–19. http://dx.doi.org/10.4018/ijmbl.312184.
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The South African Higher Education sector has undergone major transformation since the end of Apartheid more than 25 years ago. Critical digital literacies and critical (digital) citizenship, aligns with the most important aspects of the transformation agenda, ‘the production of socially conscious graduates that will become the thinkers and leaders of tomorrow' (Soudien et al 2008). The ability to link the past and the present, the personal and the political is an important element of critical digital literacies. This paper reflects on projects introduced in a first year Extended Curriculum Programme course for Architectural Technology and Interior Design students at a University of Technology, in which students created a digital story after visiting historical sites in the Western Cape. Framed by Critical Race Theory concepts of master narratives and counter-storytelling, using multimodal analysis of the digital stories, this paper will highlight examples of students' attempts to disrupt common narratives through their creative yet personal engagement with the past and the present.
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Perperi, A. A., N. M. Yavorskaya, and P. V. Yavorskyy. "RESEARCH OF GEOMETRY IN THE ARCHITECTURE OF ANTONIO GAUDI." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 312–21. http://dx.doi.org/10.31650/2519-4208-2020-20-312-321.
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Exploring the work of Antonio Gaudi and his knowledge in descriptive geometry, which develops a spatial imagination, we notice the use of lines, shapes, volumetric geometric images in architectural creativity. In his early work, Antonio Gaudi designs buildings under the influence of the Moorish style, using geometric shapes and lines that emphasize Arabic motifs in the patterns. So in the house of Vissenty, made in the style of modernism, he applied the idea of a self-repeating element of a simple form toa more complex one. In a fragment of the gallery of the city park Guell, which is an example of the urban style, Gaudi used the transformation of one surface to another, while showing the smoothness of lines and the accuracy of surface construction and without violating their regularity.Combining various forms in one building or structure, Gaudi perfectly mastered the geometry of the curved lines of the second and third order in space. To achieve a similar effect of shaping, scientists tried in the 60s of the XX century by constructing curved lines and Bezier surfaces. Gaudi achieved a similar effect of shaping in a practical way.n his work, he used cylindrical, conical and spherical surfaces that smoothly passed one into another, as well as the surfaces of Catalan: a hyperbolic paraboloid, conoid, cylindroid. In creating volumetric interior plastic, the curved lines with a kinematic movement created bizarre shapes of the ceiling, smoothly turning into other geometric shapes of the walls.The staircasein one of the towers of the Sagrada Familia is a geometric image of a helicoid, where a complex geometric shape is taken as the generatrix, and the guides are two helises -cylindrical helical lines of different radii.In the geometric construction of a direct or inclined helicoid, it is necessary to have two guides and a movement step, which can be set mathematically. In any case, such a surface remains one of the most unique in nature because the helicoid is a minimal surface.Park Guell is located in Barcelona on the Carmel hill, an area of 17.2 hectares. It was built in the first half of the last century. The customer, who was Eusebi Güell.He huge park complex includes a territory with residential buildings and comfortable relaxation areas, amazing picturesque gardens, quaint shady alleys, multi-tiered terraces, colorful flower arrangements, winding grottoes and gazebos.Working on a park project, Gaudi was inspired by the beauties of the surrounding nature of the Carmel Upland and its picturesque landscapes. In the project, walking paths stretched across the entire park, the mountains were not specially cut from the terrain to emphasize the natural landscape of nature.Necessary for the construction of the elements of the park: poles and beams, were decorated under palm trees. Despite the fact that the height difference was 60 meters, the master skillfully beat the landscape with bizarre forms, emphasizing the desire of a person from simple to sublime.If you delve into history, you can see that the construction work is divided into three stages: the strengthening of hills and slopes with the arrangement of terraces for curved paths and the erection of walls; the construction of a colonnade, a market and mansions; building a bench in the shape of a snake. To date, all the facilities of the complex have been preserved in their original form. At the entrance to the park there are two houses resembling fabulous gingerbread houses, the walls of which arelined with ceramic fragments. The facade of eachhouse is decorated with a medallion with the inscription “Park Guell”. In Gaudi’s work, the “hundred columns” hall, which is inscribed in the landscape of the hill, is a terrace with 86 columns of 6 meters each. These columns support a ceiling with a bizarre shape of complex geometric surfaces of revolution. The plastic of the ceiling vault is made of modern concrete of the time, the decoration of which is made of ceramic in the form of a mosaic. In practical work, Antonio Gaudi took a self-repeating algorithm that developed in space in the form necessary for his design. Gaudi perfectly mastered the skills and knowledge of the discipline called Descriptive Geometry. Developing the spatial imagination, this discipline offers us all kinds of lines, geometric shapes and three-dimensional bodies, for the embodiment of the ideas of masters of architecture, one of which is Antonio Gaudi.
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Jerome, P., and D. Emilio. "DIGITAL DOCUMENTATION OF FRANK LLOYD WRIGHT’S MASTERPIECE, FALLINGWATER." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 389–93. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-389-2017.
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Since 1988, the professional staff of Architectural Preservation Studio (APS) has been involved with the conservation of Frank Lloyd Wright’s Fallingwater in Mill Run, PA. Designed and erected from 1935 to 1939 as a weekend home for the Kauffman family, the complex consists of the main house and guest house.<br><br> After five years of reports and prototype repairs, we produced a two-volume master plan. Using original Frank Lloyd Wright drawings from Avery Library as background drawings, we measured every surface and reproduced the drawings in CAD, also developing elevations of every room. Stone-by-stone drawings of every flagstone floor and terrace scheduled to be lifted were also created using overlapping film photography that was assembled into a photo mosaic. By 2005, we designed, administered and completed a four-phase exterior restoration, with the paint-stripping and repainting of interior rooms being performed during the brief winter period when the building is closed to the public on an ongoing basis.<br><br> In 2016, we were invited back to the site to review conditions and advise on routine maintenance. At that time we proposed to re-document the buildings, this time using laser-scanning. Laser-scanning of the exterior was performed in May of 2016, and of the interior in March 2017, each over the course of four days. This paper will make a comparison between manual and digital techniques in terms of Fallingwater’s documentation.
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Cabecera Soriano, Rubén. "El urbanismo de Alejandro de la Sota en la colonización española: La Bazana." VLC arquitectura. Research Journal 3, no. 1 (April 28, 2016): 1. http://dx.doi.org/10.4995/vlc.2016.4330.
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<p>The Spanish civil war caused the emerging development of the urban theory to come to a standstill, especially in the rural areas which had began to appear at the end of the XIX century, mainly in Europe and the United states. The need to urgently develop a process of interior colonisation in the most disadvantaged areas was solved in favour of the theories of concentration supported by José Tamés facing the colonist disintegration defended by Víctor D’Ors. The system disguised by Tamés –head of the Service of Architecture of the National Institution of Colonisation (NIC)– created population centres distributed throughout the territories colonised by the NIC, whose projects were developed by a large number of architects that formed a genuine architectural and urban laboratory. </p><p>Alejandro de la Sota was one of these architects and his work for the NIC leaves us with an imprint of an urban planning which could very well be seen on any front cover of a specialised journal. In La Bazana (1954, Badajoz) De la Sota combines with mastery the criteria imposed by the NIC with his unique interpretation of the territory, the landscape, the site, sun exposure and the way the colonists lived. </p>
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Lucas, Patrick Lee, and Hannah Rose Mendoza. "New York Interior Design 1935–1985, Vol. 1: Inventors of Tradition, Vol. 2: Masters of Modernism, by Judith Gura." Interiors 1, no. 3 (November 2010): 294–97. http://dx.doi.org/10.2752/204191210x12875837764336.
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Fusenig, Thomas. "Wolfgang Avemann (I583 - nach I620) und die frühe Verbreitung der niederländischen Architekturmalerei." Oud Holland - Quarterly for Dutch Art History 117, no. 3-4 (2004): 137–53. http://dx.doi.org/10.1163/187501704x00359.
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AbstractIt is sometimes difficult to distinguish the work of those Netherlandish painters who left their homeland in the second half of the I6th century, from that of their German pupils and followers from around I600. The genre of architectural painting is a particularly informative example of the complexities involved in this cultural exchange. Some years ago, the Gemäldegalerie Alte Meister, Kassel, acquired a very interesting interior by an almost unknown Hessian painter Wolfgang Avemann (I583- after I620) (fig. I). With this as the starting point, it is possible to reattribute to Avemann a number of perspective paintings (fig. 3, 5-8, I2, 13), which until now were mostly attributed to either Hendrik van Steenwijck the Elder (around I550 - I603) or the Younger (I58I/82-I649). The Van Steenwijck workshop was active at Frankfurt around I600, and since in almost all his paintings Avemann used the Van Steenwijck compositional structure (fig. 2, 4, 9), it is most probable that he was an apprentice in their workshop in Frankfurt. Moreover, his figures were influenced by Frederik and Gillis van Valckenborch (fig. I0), who returned to Frankfurt from Italy just at the time when Avemann was learning his craft. Avemann became a master in Nuremberg in I6I2. Another young master of perspective painting working in the city at the same time was Paul Juvenel (I579-I643) (fig. II), whose father was a Netherlandish émigré. Interestingly, Juvenel's pictures are sometimes mistaken for works by the Van Steenwijcks. Clarifying Avemann's role as a painter of perspective pictures expands not only our understanding of the genre of perspective painting in the early I7th century, but also sheds light on the important influence of Netherlandish artists living in Frankfurt (and Nuremberg) - and just at the time when the young Adam Elsheimer departed for Italy.
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Watson, Christabel. "A Reassessment of the Western Parts of the Romanesque Cathedral of Santiago de Compostela." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 502–21. http://dx.doi.org/10.2307/991623.
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In the last two decades, it has generally become accepted that the Romanesque Cathedral of Santiago de Compostela was left unfinished after the death of Archbishop Gelmírez in 1140. Not until Master Mateo was given his contract in 1168 was the building finally completed. It is said that the whole of the west end was designed by Mateo as a homogeneous entity. This overturns Kenneth Conant's hypothesis that the cathedral was raised in one building program, from the mid-1070s to 1140. The aim of this paper is to propose a reassessment of the western parts of the cathedral. By a detailed study of the standing fabric, the author has discovered that major portions of the Romanesque church existed at the west end before the advent of Mateo. The enigmatic west crypt has always provoked discussion. Here it can be shown that there is a division between the work of the beginning of the twelfth century and the additions undertaken by Mateo from 1168. That the towers existed from an early date is verified by a study of ground plans revealing a bend in the nave, and confirmed by measurements and the orientation of the cathedral. The west façade belonging to Mateo is contrasted with an earlier one created during the episcopate of Gelmírez. Similarly, by comparing aspects of the interior, it can be appreciated that the original Romanesque building was altered by Mateo. At gallery level two dissimilar archways indicate that the masons of Gelmírez were faced with problems that also troubled Mateo half a century later. Features at roof level demonstrate that the nave was already joined to the west end and did not have to wait for Mateo to complete the cathedral. These peculiarities are explained by an analysis of the architecture and from visible changes in the stone coursing and masonry. It will be shown that Mateo had to develop his new work within the constraints established by a preexisting building.
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Szumigała, Paweł Piotr, and Karolina Olenia Szumigała. "Extraordinary Modernism in The Reconstruction of The City Center of Le Havre on The Example of The Church of St. Joseph According to The Design of Auguste Perret." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 18, no. 3 (December 27, 2022): 41–50. http://dx.doi.org/10.35784/teka.3115.
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The aim of the work is to reread the extraordinary architectural, structural and aesthetic values of a sacred architectural object from the period of reconstruction of the city center of Le Havre. The research used the method: case study on a selected example of the church of St. Joseph. The scope of research included spatial and structural analyses and material solutions in the context of the reconstruction of the le Havre city centre area carried out in the current of academic modernism. Results: The church building, together with the town hall building and the cathedral, is one of the three main elements of the historical urban composition and the contemporary reconstruction of the city centre of Le Havre carried out by Auguste Perret. The church building in the style of academic modernism is still an inspiring and unusual example of the use of raw material, which are concrete and reinforced concrete in the implementation of a sacred object. The object is an example of modern construction thought, which also plays an artistic role in the creation of the form and interior of the object. The spatial, aesthetic and functional values of reinforced concrete construction and concrete detail are an enduring example of mastery of technology and implementation of spatial vision in this difficult and unattractive building material. To sum up, it should be stated that this object fits into the context of coherent and comprehensive thinking about sacred architecture and urban space reconstructed in reinforced concrete technology during the modernist period. It is a forgotten, but still extraordinary inspiration for contemporary needs in this area.
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Yilmaz, Meltem, and Rusen Keleş. "Sustainable housing design and the natural environment." Ekistics and The New Habitat 71, no. 427-429 (December 1, 2004): 236–43. http://dx.doi.org/10.53910/26531313-e200471427-429194.
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Dr Yilmaz teaches in the Department of Interior Architecture and Environmental Design of the University of Hacettepe, Ankara, Turkey,from which she has a Masters degree. She also has a Ph. D from the Department of Urban and Environmental Sciences, University of Ankara. She has presented papers on environmental problems and vernacular architecture at numerous national and international congresses, and published others in various scholarly journals.
Professor Keleş taught at Ankara University, Faculty of Political Science for many years and served as Dean of the Faculty from 1971 to1975. He was also Head of both the Ernst Reuter Center for Urban Studies and the Center for Environmental Studies at the same university. He currently teaches at the Eastern Mediterranean University, North Cyprus. Dr Keleş has published extensively on Comparative Urbanization, Theories of Local Government, Environmental Policies, and Urban Politics. His major publications include The Politics of Urbanization: Government and Growth in Modern Turkey (with Michael N. Danielson, New York, Holmes and Meier, 1985)-, The Urban Poverty in the Third World, Institute of Developing Economies, Tokyo, 1988; and Housing in the Middle East (with Hiromaso Kano), Institute of Developing Economies, Tokyo, 1986. Dr Keles is a member of the World Society for Ekistics. The text that follows is an edited version of a paper presented at the international symposion on 'The Natural City, " Toronto, 23-25 June, 2004, sponsored by the University of Toronto's Division of the Environtmental Studies, and the World Society for Ekistics.
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Sušanj Protić, Tea. "Renesansna kuća Moise u Cresu - rezultati konzervatorskih istraživanja 2011. godne." Ars Adriatica, no. 4 (January 1, 2014): 283. http://dx.doi.org/10.15291/ars.501.
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The Renaissance residential architecture in the town of Cres is represented by a small number of preserved houses (palazzetti) of the local nobility which are attributed to the established stone-cutting workshop grouped around master Francesco Marangonich, a Lombard stone-cutter who arrived at Cres from the building sites of Venice and introduced Renaissance stylistic elements on the Quarnero islands. The best-known Renaissance residential building at Cres is the Marcello-Petris house which was built in the 1510s for the Minister Provincial and Bishop, Friar Antun Marcello-Petris. The Renaissance houses of the Cres nobility are characterized by their relatively large size, ashlar masonry, and the strict rhythm of the decorated openings on the representative facades. One of such buildings is the Moise house, situated in the medieval centre of the town, at a prominent site where the two main streets of the time crossed. Documents from the archive of the Franciscan monastery at Cres witness that in 1441, “Ser Andrea Moisenich” exchanged a garden for the house of “Nobilis Ser Stefano de Petris”, who had the Petris palace built before 1405, meaning that the present-day Moise house might be identified with the old Petris palace. It features the coats of arms of these two families from the same period, and, therefore, it could have functioned as a shared residence of both families, which was frequently the case in Venice, for example, when it came to large palaces with two residential floors and two courtyards, which are both elements of the Moise house. The Moise house is the largest residential building of Renaissance Cres and, through its size, it can be compared to prominent examples of large palaces in Dalmatian towns. It has not been the subject of scholarly and expert research because of its many alterations, the relatively poor preservation of its original features, and the loss of its representative appearance, all of which means that its basic characteristics remained unknown. Conservation works revealed the layout of its ground plan and established that it was conceived as an emulation of the Venetian model, with a central hall and four lateral chambers. These features set the Moise house apart from other Renaissance residential buildings at Cres as the only one which adopted and displayed the high Renaissance symmetry of ground plan, which is also reflected on the representative facade. Analysis of the plaster samples taken from the walls has resulted in their stratigraphy, which confirms the hypothesis that all the walls of the central salone were painted a secco in the seventeenth century.The conservation works carried out on the representative facade unveiled the position of the Renaissance windows, which indicates that the articulating rhythm was two single-light windows – a double-light window – two single-light windows, which was corroborated by the discovery of the dressed inner window splays. Such an arrangement was common practice in Venetian Gothic residential architecture but, in the territory of present-day Croatia, it gained prominence only in the Renaissance, and the Moise house is the only example of this at Cres. The second floor of the Moise house repeated the plan of the first, which implies that originally there would have been two sumptuous storeys. The vaulted rooms on the ground floor did not communicate with one another but formed separate units in a direct relationship with the street or courtyards and it is likely that they had a utilitarian function as shops or storage spaces, having no vertical communication inside the house with the residential floors, which were connected by means of a single flight staircase. The building had two representative courtyards; the west one gave way to subsequent additions but it was recorded in the Land Registry as early as 1821. On the ground floor, the courtyard had a porch with two arches above which was a gallery with a balustrade, traces of which were discovered through test-probes in the floor. In the small east courtyard, the remains of the Renaissance porch, supported by the excellently carved pillars have been preserved, while in the floor under the staircase vault, a circular, finely-dressed stone opening belonging to a well was found; its well head is today located on the ground floor of the house. The two representative courtyards are an exception in the densely-knit urban texture of Cres, which places the Moise house in a wider context of Renaissance residential architecture in the Adriatic. Its local variety would be the positioning of the well under the vault of the staircase, which is characteristic of the vernacular architecture in medieval Cres. In comparison to other similar buildings at Cres, the Moise house is unique in that it is the only Renaissance house of the nobility with a regular plan; other Renaissance houses are of a mostly irregular quadrangular plan, including the most representative example of the palazzetto of the Cres nobility, the Marcello-Petris house. The Moise house is also the only building to have a symmetrical interior layout, which resonates with the symmetrical articulation of the representative facade, while in the case of the Marcello-Petris house, the consistent rhythm of the richly decorated windows in the south facade are a screen of sorts placed before the asymmetrically-arranged interior space.The construction of such a large building, at a dominant position in the medieval core can be explained by the role of the original commissioners, the Petris family, as the most prominent noble family at Cres, while the credit for the contemporary Renaissance organization of the interior – with the only extant example of a central representative hall in the Renaissance residential architecture at Cres – belongs to the builders, who had already demonstrated knowledge of contemporary Venetian models on the well-known portal of the collegiate church at Cres.The Moise house was marginalized in previous overviews of the Renaissance residential architecture because of the modest state of preservation of its Renaissance stone sculpture. The results of the conservation works, and the analysis of the spatial organization, ground plan, and location of this building, but also the analysis of historical records, should contribute to a clearer perception of the Moise house in the context of the fifteenth- and sixteenth-century residential architecture on the east Adriatic coast, and to a re-assessment of its diminished representative importance, the value which is hidden in the architectural structure, concept and context, within the frame of the urban texture of medieval Cres.
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Radchenko, Vladyslav. "HISTORICAL ANTECEDENTS OF MEDICAL INSTITUTIONS." Current problems of architecture and urban planning, no. 64 (August 31, 2022): 284–94. http://dx.doi.org/10.32347/2077-3455.2022.64.284-294.
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The article is devoted to the consideration of the process of formation and development of architectural solutions in the field of designing medical institutions, determining the basic laws and outlining trends in design solutions in this industry.
Based on the study, the most important trends in the historical genesis of the design of medical institutions are characterized, which include the following: the formation of the principles of territorial placement of hospitals in an urban environment or outside an urbanized cell; determination of the basic characteristics of the formation of a master plan for the development of the territory of a medical institution, the basis of which is the close relationship of the object with the natural environment and active use in the processes of treatment and rehabilitation; structuring the organization of hospital buildings in the form of mandatory distribution of patients by type of disease, and, accordingly, differentiation of individual buildings and premises by accessibility, methods of handling patients, staff and visitors; formation of two main typological models of hospital building design: hall (wide elongated hall with side lighting, with beds near the walls and the aisle in the middle) and corridor (small-sized rooms on one or both sides of the corridor); creation of architectural projects aimed at overcoming the fear of patients due to the widespread use of glass and natural materials in the design of facades, natural lighting systems in the interior, the use of multi-level atriums with rich natural light.
So, in the article, based on the analysis of the process of formation and development of architectural solutions in the field of design of medical institutions, the main patterns were characterized and the trends of design solutions in this industry were outlined, which led to the formation of stable typological models of medical buildings.
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Khavaldzhy, Lidiia. "Dialectisms in journalistic works by V. Yavorivsky." Philological Review, no. 2 (December 10, 2022): 126–33. http://dx.doi.org/10.31499/2415-8828.2.2022.268664.
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In the article the functions of dialectisms are analysed in the artistic publicism of V. Yavorivsky’s early and mature periods of work that researchers characterize as deeply philosophical. It is well-proven that in works of early period of work stylistic potential of dialectisms is masterly used with the aim of stylization of broadcasting, authentication of personages or whole natural habitat, expressive expression. In particular, in publicism works of 70s and 80s of 20th century of V. Yavorivsky quite often uses dialectisms with the aim of recreation of local colour. In this case master of word uses the reception of alienation usually, applying for the selection of dialectal lexeme quotation marks in an order to underline her a withstand use and special connotation. On occasion dialectisms perform the identifying duty, when they name the differential line of broadcasting of habitants of whole natural habitat. A writer used dialectisms-nouns that name the articles of way of life, in particular the name of tableware, things of domestic consumption, name of clothing or shoes, domestic names church interiors and others like that. A publicist rethinks colloquial lexemes quite often, using them in figurative sense. An author creates the expressively saturated expressions, using a dialectal or colloquial verbal vocabulary. Interesting are cases of introduction of verbs in composition of phraseology turn widespread in the verbal broadcasting of habitants of edge. Dialectisms in the literary text do not cause a clear negative assessment. Their written fixation helps to focus on them, and hence the need to understand dialectics, to understand the motives for its inclusion in the text.
In publicism works of mature period an author now and then is succeeded to the use of dialectisms. Usually their function, related with the connotation of expression, execute words widespread in the verbal broadcasting, rarely used lexemes. Sometimes a writer is consciously succeeded to creation of styleme, replacing a current lexeme colloquial or occasional one. Thus, comparable study of peculiarities of application of dialectisms in publicism works of V. Yavorivsky is certified by conscious attitude of author toward the use of locally used lexemes. The careful selection of such nominations and knowledge of their stylistic loading characterizes an author as brilliant master of word.
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Djukanovic, Zoran, Jelena Maric, and Francesca Giofrè. "Evaluation of hospital outdoor spaces through users’ participation analysis." Facta universitatis - series: Architecture and Civil Engineering 15, no. 1 (2017): 73–84. http://dx.doi.org/10.2298/fuace161121005d.
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Hospital outdoor spaces (HOS) play an important part of the Healthcare facilities, with a particular impact on the healing process, which is possible to evaluate by their cultural, social, ecological and economic characteristics and values (Ulrich 1984, 2001, Burnett, 1997; Marcus and Barnes, 1999). However, this paper argues that research studies refer to HOS only as residual spaces to support medical activities. Urban theory, policy and scientific research is focusing on the issue of the hospital evaluation, but mainly on interior and spatial characteristics, rather than a hospital outdoor environment. No more than 1000 papers have been published on this topic. This paper discusses quality and significance of HOS in Belgrade, while identifying the problems and potentials of HOS, from the user perspective. The presented paper is established as the part of the larger research done in collaboration of the Faculty of Architecture in Belgrade and Sapienza University of Rome, Faculty of Architecture, which will be presented in a series of four books. The first book (Health Spaces: Hospital outdoor environment) is already published and it offers a general ?top-down? interdisciplinary overview of the topic of HOS, given by experts - architects, urban planners and designers. Particularly, this paper is prepared as a foundation for the second book, with the aim to offer a ?bottom-up? overview on the topic of HOS given by hospital ?community? (doctors, patients, staff, visitors, etc.). Furthermore, this research was also conducted as a part of an academic course: ?Participative Urban Design?, with the students at the master level of studies. The methodological framework used in this paper consists of extensive and fundamental literature review. In the frame of participative and collaborative approach, all analyses were conducted in the form of quality assessment, from the perspective of stakeholders, aforementioned as a hospital community. The survey was conducted using specific two-part questionnaire, carefully established within the academic course, as a main tool for reaching the database. Focusing on the case of Belgrade, four major hospitals were chosen as case studies: Clinical center of Serbia, Military Medical Academy, and both Clinical Hospital Centers: ?Bezanijska kosa? and ?Zvezdara?. The group of 12 students conducted the survey over a period of four weeks, with more than 120 participants from each hospital, gathering both specific and general results. Overall, this paper presents the first assessment of HOS of this kind ever done in Serbia. The results of the research will contribute to improving hospital environment and could present the first step on the path to integrate outdoor spaces into hospital life.
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Beschastnov, Nikolay, and Evdokia Dergiliova. "MOSCOW METRO OF ALENA DERGILIOVA: IMAGE OF STABILITY AND FEATURES OF CHANGE." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 101–13. http://dx.doi.org/10.36340/2071-6818-2021-17-2-101-113.
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The article focuses on the study of graphic works depicting the life of the Moscow metro, created in 1980–1990 by the Moscow artist Alyona Dergiliova. The etchings convincingly reflect the life of our people on the threshold of national historical development. In her complex, variously sized, drawn from life compositions with many figures in motion, the artist mastered the whole range of compositional and visual devices that she would use in her narrative watercolours of the 2000s. She found the contrast of the pathos in the metro interior – stations with a bustling motley crowd of Muscovites deep in themselves and rather shabby travellers from the depths of the Russian backcountry – which became the counterpoint for her further creative search for the image of Moscow. Investigation of resources, experiments in methods of taking the motion of subjects beyond the boundaries of the compositional plane, allow the series to be included in the list of artistic experiments relentlessly carried out by Dergiliova despite the years of difficulties in her creative life. The theme of ‘A Man and His City’ is apparently simple but it is resolved in a multitude of complex relationships carried from life on the squares of Moscow over to the interiors of its underground. People above and underground are the same, with their acquired strangeness, yet their psychological state in a confined space is different. The environment – albeit imperceptibly – changes people. It is vibrant all the same, but in a different way. The architecture inside the metro is closer to the person, and Dergiliova successfully uses this aspect in building her composition. The compositions include many recognizable details of architectural decor which complement the central narrative. These details are clues helping the viewer to figure out its meaning. The characteristic feature of the metro is motion, and the artist draws numerous human figures, figurative stucco elements, sculptural compositions, chips and cracks in the steps, chandeliers swinging at the arrival of the subway train – into an endless cycle. Scenes depicting the entrances to the metro is a separate theme, which is almost non-existent in Russian art. By rendering the entrances as energy hubs – breaches between the aboveground Moscow and its underground – Dergiliova fills them with particular meaning, as all these people, drawn by a skilful and confident hand, will have to squeeze into the endless corridors and noisy subway wagons rattling on rails. Careful analysis of the artist’s creation reveals the disturbing condition of the master’s soul. The condition which the masters of art were firmly in for the entire decade after the events depicted in these works.
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Bourguignon, Natalia, Elisa Bravo, Daniel Chamorro, Aparna Aravelli, Maximiliano Perez, Betiana Lerner, and Shekhar Bhansali. "(Digital Presentation) Design, Flow Simulation and Experimental Test of Micro/Milibioreactor with Pillar Structures for Bubble Control and Cell Growth." ECS Meeting Abstracts MA2022-02, no. 64 (October 9, 2022): 2402. http://dx.doi.org/10.1149/ma2022-02642402mtgabs.
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The demand for Lab on a Chip (LOC) devices, such as microbioreactors, has driven microfluidic research and technology. With the capability of controlling the environment and monitoring results in real-time, microfluidic devices are highly advantageous in the application of cell culture. On the other hand, micro/nano-scale bubbles have become a field of growing interest for addressing many challenges in LOC applications. In this work, we present a novel microfluidic bioreactor based on a micropillars design that reduces stresses caused by bubbles on the cell growth in the microchip. The combination of one chamber with 3-pillars and 10-pillars design with the channel heights of 270 µm and 2 mm was evaluated. To obtain the optimal architecture, computational fluid dynamics (CFD) simulations using SolidWorks Flow Simulation Software were created to characterize the designs. Simulations are essential to assure that the washing of cells and bubbles do not occur in the fluid and to weeding out the designs that are suitable for cell growth. Numerical results showed that the velocity is high at the inlet and outlet when compared to the interior portions of the chamber. A higher flow rate and velocity were observed during the filling time in the 10-pillars design (3.0 x10-4 m/sec) in comparison with the 3-pillars design (2.4 x 10-4 m/sec). Also, a more homogeneous filling pattern was observed in the 3-pillars designs. This behavior occurs because the increased number of pillars manifests with a greater number of nuclei of flow disturbance, and more centers of agitation, resulting in a more heterogeneous flow. Pressure is homogenous for both 3 and 10 Pillars designs with slight changes from the inlet, with higher pressure, to the outlet, with lower pressure. The microfluidic devices were manufactured using flexographic master mold (Fmold) technology and polydimethylsiloxane (PDMS 10:1) as substrate. The total liquid capacity of the microchips was calculated as 205.5 μL for 270-um-height and 1522 μL for 2-mm-height. An experimental flow test with methylene blue using the syringe pump, with an inlet flow rate at 2.5 μL/sec, and image analysis from video using ImageJ software was performed. The experimental results were found to be comparable to the simulations results. When the number of pillars and height of the chambers increased, a higher flow rate and velocity were observed during the filling time. In this context, the 3-pillar design with 2 mm height was considered the most suitable design for cell culture applications. In addition, the 2 mm larger height design was tested for bubble control, and the results showed some of the bubbles were easily removed by applying flow rate, and the ones that remained inside the chamber did not block the channels in the pillar’s designs without affecting the system. The present platform has a simple architecture, inexpensive manufacturing methods, ease of operation, and the ability to use different types of cells. The pillar milli-bioreactor system has the advantages of bubble control, a large volume of work, real-time monitoring, and a suitable microenvironment for cell culture with prospects for future health applications.
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Bondarenko, Igor A., Yuri P. Bocharov, and Dmitry I. Mikheikin. "The Contribution of the Soviet “Kinetic” Art of the 1960s‑1970s to the Development of the Theory and Practice of Architectural Lighting Technology." Light & Engineering, no. 04-2021 (August 2021): 55–63. http://dx.doi.org/10.33383/2021-040.
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The paper analyses the original works in the field of architectural light and engineering belonging to the most prominent representatives of the domestic kinetic art of the 1960s (F. Infante, V.F. Koleichuk, L.N. Nusberg, as well as A. Lanin and B.M. Galeev). The conceptual basis of these works is revealed including a special attitude to light as a unique physical phenomenon and, at the same time, the most important component of a new architectural and artistic language. The practical value of the projects of special dynamic lighting of art objects, interiors of exhibition spaces, individual architectural objects and the urban environment as a whole, proposed by these authors and partly implemented by them, is revealed. It is shown in what way and for what purpose this type of synthetic art was formed at the intersection of architecture, design and engineering, which made a significant contribution to the development of both the theory and practice of architectural light engineering. In conclusion, the idea is expressed about the importance of using the considered historical experience at the present time, when every year new technical possibilities appear for creating an expressive light-colour environment, but deep content, philosophical and theoretical foundations for its design, which inspired the masters who stood at the origins of this the most important architectural and artistic direction, are lost.
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Portnova, Tatiana V. "ARCHITECTURAL SPACE IN DANCE AS AN ARTISTIC AND FIGURATIVE SYSTEM." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 79–90. http://dx.doi.org/10.36340/2071-6818-2021-17-4-79-90.
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The study examines the expressive means of dance and architecture, establishes common and specific areas in the nature of their artistic language, identifies the extent of interaction between architectural principles with dance dramaturgy and choreographic composition, and analyzes examples of interpretation of dance production solutions in the architectural space. Through a simultaneous review, the author examines the expressive means of dance and architecture, establishing the common and the specific in the expressive and pictorial nature of their artistic language. The focus is on identifying the degree of influence of architectural principles on the dance drama, choreographic composition, and the reverse impact. The analysis provides examples of the interpretation of dance staging solutions in the architectural space, including innovative modern practices of the 20th‑21st centuries. The artistic and imaginative metamorphoses of staged choreographic solutions occurring in different kinds of architectural spaces are considered. Starting with the perspectivism of the scenery on the stage and the light architecture of the 18th century, the author moves on to the monumental construction of the large stage performance of the 19th century and concludes with the choreographic experiments of the early 20th century. The article points out that modern times offer the most curious design solutions. There are examples of bold, original methods of interaction between choreography and architecture: dances are staged directly in the interiors of buildings, bypassing the traditional stage platform. The implied idea of human movement in space, encompassing the viewer, appears here because of successively changing impressions. Finally, the author explores the directorial approach, where the choreography itself masters and constructs the architecture, helping the viewer to perceive themselves as if within its own spatial structure. This peculiar artistic and visual synthesis appears in the dynamics of genre and style of the author’s stage context. The study of the specifics of ballet as a dramatic phenomenon seems to be a fundamental research task, because, more than any other theatrics genre, it is the ballet that provided extremely diversified artistic samples of space and stage creativity in the heritage of the 20th century, and probably, will continue to do so in the 21st. The question of dance interpretation in the architectural space is a significant independent subject of research in connection with the structure and evolution of the artistic image in contemporary choreographic art. Against the background of postmodernist modern style trends as a global creative principle of post-culture, this topic includes broad general aesthetic associations. It is vital to the understanding of the artistic process in contemporary art in general.
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Inshakov, Alexander N. "Monumental Painting by Sergei Romanovich: Former and Unfulfilled." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.
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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theater and exhibition spaces, new public buildings in Moscow and other cities of the country. Romanovich turned to monumental art largely forced, unable to seriously engage in easel painting and exhibit his work in the 1930s. The author of the article analyzed the main works performed by Romanovich in the field of monumental art. Special attention is paid to Romanovich’s interest in painting by outstanding masters of the Renaissance and modern times, which had a certain influence on his monumental works: among the most important artists are Raphael, Michelangelo, and Delacroix. The article also reveals the connections and mutual influences between the easel work and the monumental painting of Romanovich. In his work, there was also a “counter” influence: the artist’s interest in outstanding monuments of monumental art of the past influenced his search in the field of painting. The author demonstrates this influence by referring to an analysis of several famous works by Romanovich in the late 1940s. The most important place in the artist’s heritage is occupied by religious painting. In the conditions of the USSR of the 1940s–1950s, Romanovich could not depict and fulfill his talent as a muralist in religious art.
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Toro-Vaca, Omar A. "SNØHETTA Architecture—Landscape—Interior." Journal of Architectural Education 64, no. 1 (September 2010): 147–48. http://dx.doi.org/10.1111/j.1531-314x.2010.01111.x.
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Yoshizawa, Tatsuya. "Color for interior architecture." Color Research & Application 27, no. 3 (April 15, 2002): 217–18. http://dx.doi.org/10.1002/col.10054.
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Mothorpe, Chris, and David Wyman. "Collapse: the decline and fall of master planned golf course communities." Journal of Property Investment & Finance 35, no. 6 (September 4, 2017): 638–51. http://dx.doi.org/10.1108/jpif-04-2017-0030.
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Purpose The purpose of this paper is to examine the pricing of vacant lots in master planned golf course communities (GCCs) over the period of 2000-2016. The authors compare the longitudinal pricing behavior of different lot types during this economic cycle and examine the causes of the property bubble and subsequent deterioration of the business model with the arrival of the Financial Economic Crisis (FEC). Design/methodology/approach The authors construct spatial hedonic models for three master planned GCCs in Pickens County, South Carolina and use interaction dummies to examine the pricing of different types of vacant lots before and after the FEC. Findings The authors find that there is a collapse in value for interior lots in the GCCs compared to interior lots in the county. As interior lots comprise over 50 percent of inventory in a typical master planned GCC, this loss of real estate value threatens the viability of such communities in the aftermath of the FEC. Practical implications The research results inform real estate investors, real estate developers, current homebuyers and potential homebuyers of the impacts of the FEC on master planned GCCs and some of the risks associated with such developments. Originality/value This is the first paper the authors are aware of that indicates the financial viability of master planned GCCs is associated with the pricing fragility of interior lots during cyclical markets. While demand for premium quality lots suffers, there is a collapse in demand for interior lots during the crisis.
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Maturakarn, Charlie, and Chumporn Moorapun. "Design Thinking: Interior Architecture and Interior Design in Thailand." Environment-Behaviour Proceedings Journal 2, no. 6 (November 6, 2017): 71. http://dx.doi.org/10.21834/e-bpj.v2i6.980.
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This research aims to explore the aspects of design thinking of students from two different curricula: Interior Architecture (five years) and Interior Design (four years) to see what different aspects of design thinking. The research method is a survey based on quantitative approach. A questionnaire is developed from Perry scheme of intellectual development and Kolb’s Experiential Learning Theory (ELT) model. Then, both aspects were compared to see the difference. The findings indicate that the pattern of design thinking and learning style from two curricula are different and can be improved the thinking and learning styles of design students in Thailand.
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Tyler, Linda. "Transforming an Edwardian boarding house into an urban marae at Auckland University College in 1954." Architectural History Aotearoa 12 (October 1, 2015): 27–33. http://dx.doi.org/10.26686/aha.v12i.7687.
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In writing the history of art in Aotearoa/New Zealand, much attention has been focussed on the exhibitions and activities of painters and sculptors of the Māori Renaissance in the 1950s. Equally significant was the impetus given to reviving customary crafts through the Adult Education movement associated with the University of Auckland. The Maori Social and Economic Advancement Act of 1945 positioned the responsibility for preservation, revival and maintenance of "Māori arts, crafts, language, genealogy and history" with iwi, and led to the formation of the Maori Women's Welfare League in September 1951, with its agenda to perpetuate women's skills in Māori arts and crafts, and for these to be practised within an architectural context.
A Māori advisory committee was established in the Adult Education Centre at Auckland University College in 1945, tasked with mitigating Māori urban alienation through the teaching of Māori arts and cultural history to establish "pride of race and cultural achievement." In 1949, the first tutor for the Maori Adult Education Extension Programme was appointed, Maharaia Winiata (1912-60), followed by a graduate of the Rotorua School of Māori Arts and Crafts, Master carver Henare Toka (Ngāti Whatua) and his wife Mere. They recruited students from the Auckland University College Māori Club and pupils from Māori secondary schools to decorate the entrance hall of Sonoma House, 21 Princes Street, with kōwhaiwhai and tukutuku. Thus an Edwardian building was reborn as the University's Adult Education Centre, and was acclaimed for its biculturalism in the spring issue of Te Ao Hou in 1954.
Now 60 years old, the tukutuku panels have been preserved by present day Deputy Vice Chancellor Jim Peters in the ground floor of the University's Clocktower following the disestablishment of Adult Education. Seven of these tukutuku panels have recently undergone extensive conservation treatment, and they are recognised as highly significant examples of twentieth century weaving, exemplifying the approach to reviving customary tukutuku at mid-century in terms of the materials and techniques as well as patterns: muumuu, or purapura whetuu roimata toroa), waharua koopito, whakarua koopito, niho taniwha and nihoniho. They have now gone on display in pride of place in the University Clocktower. This paper will contextualise the changing meaning of these tukutuku panels from interior décor to historic design within the evolving narrative of customary Māori weaving practices.
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Chainey, W. E., and W. R. Block. "Recent advances in master station architecture." IEEE Computer Applications in Power 7, no. 2 (April 1994): 24–29. http://dx.doi.org/10.1109/67.273784.
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Kim, Myungshig. "The Fusion of Interior/Architecture/Landscape Architecture/Urbanism - Focused on the Conception of Urban Interior -." Korean Institute of Interior Design Journal 23, no. 5 (October 31, 2014): 67–75. http://dx.doi.org/10.14774/jkiid.2014.23.5.067.
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Ulusoy, Begüm, Nilgün Olguntürk, and Rengin Aslanoğlu. "Colour semantics in residential interior architecture on different interior types." Color Research & Application 45, no. 5 (May 21, 2020): 941–52. http://dx.doi.org/10.1002/col.22519.
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Cervi, Murilo, Douglas Pappis, Alexandre Campos, and Ricardo Nederson do Prado. "Omnibus interior lighting system using LEDs and automotive communication network." Sba: Controle & Automação Sociedade Brasileira de Automatica 17, no. 2 (June 2006): 205–12. http://dx.doi.org/10.1590/s0103-17592006000200008.
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This paper presents an intelligent lighting system for bus interior environment using LEDs (Light Emitting Diodes) controlled through an automotive communication network. The system consists of a master central control and slave lighting modules, using a LIN protocol (Local Interconnect Network) to perform communication. This network is a low cost alternative to the proposed system requirements, due to its low bit rate and physical needs. Each slave is an independent lighting module that supplies a group of LEDs and measures the environment lighting level. The master sets LEDs module parameters (slaves), such as the state (on/off) and desired lighting level. Besides, the master makes the user interface and establishes communication with other bus systems through a CAN (Controller Area Network) gateway. This paper presents a complete logical description, including block and state diagrams, a physical description and some relevant experimental results of the proposed system.
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El-Ghobashy, Shaimaa, and Gihan Mosaad. "Nature Influences on Architecture Interior Designs." Procedia Environmental Sciences 34 (2016): 573–81. http://dx.doi.org/10.1016/j.proenv.2016.04.050.
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