Relevant bibliographies by topics / Sculptural architecture

Academic literature on the topic 'Sculptural architecture'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Sculptural architecture"

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Faulkner, Katie, and Ayla Lepine. "Architectural sculpture, sculptural architecture: an interview with Sam Jacob." Sculpture Journal 25, no. 3 (December 20, 2016): 433–40. http://dx.doi.org/10.3828/sj.2016.25.3.10.

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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (June 1, 2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.

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As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically informed adoption of clay sketching, which is used to develop and inform an experimental polychromatic ceramic practice and virtual reality modelling techniques, my activities as a sculptor-architect critique the corporeal dismissals that marked the codifications of the Renaissance. Central to this is the capacity of disegno, which as a term was paramount for the era’s repositioning of architecture, painting and sculpture as liberal arts, to suggest broader approaches to design than an immediate reliance on drawing.
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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (December 1, 2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.

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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.
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Asma Hasan Al-Dabbagh, Dr. "Sculptural Architecture : The Zaha Hadid's Approach." AL-Rafdain Engineering Journal (AREJ) 19, no. 1 (February 28, 2011): 49–69. http://dx.doi.org/10.33899/rengj.2011.27818.

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Sazonov, Vadim V. "THE UNITY OF MONUMENTAL SCULPTURE AND THE ENVIRONMENT IN THE MONUMENT “TO THE FIRST BUILDERS OF KOMSOMOLSK-ON-AMUR”: TO THE QUESTION OF THE PROBLEMS OF THE EARLY WORK OF V.E. GOREVOY." Articult, no. 1 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-1-18-24.

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The article deals with the problem of synthesis of sculpture with natural and architectural spaces. Attention is drawn to the peculiarities of human perception of this cultural phenomenon. Already in the 1960s, there was considerable interest in the effect of including the surrounding landscape in the figurative structure of an architectural and sculptural ensemble. The author reveals how the creative method of V.E. Gorevoy, one of the largest sculptors of Leningrad-St. Petersburg over the past fifty years, was formed against the background of a powerful rise in monumental sculpture and memorial architecture. His early work reflected the artistic problems of the era in the history of Soviet monumental art. The sculptor was involved in the process of solving complex creative tasks, mainly the task of creating a special environment by means of sculpture that affects the emotions and patriotic feelings of the viewer.
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Suresh Kumar, P. "Architecture of Kalyana Pasupatheswarar Temple, Karur." Shanlax International Journal of Arts, Science and Humanities 8, no. 1 (July 2, 2020): 180–86. http://dx.doi.org/10.34293/sijash.v8i1.3205.

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Karur Kalyanapasupatheswarar temple is one of the most remarkable temples of the Chola period. The temple stands majestically on the western bank of the river Caveri, the gigantic structure drawing the attention of the visitors. The Kalyanapasupatheswarar temple, Karur, has been attempted in the succeeding pages. There is nothing special in such legends, which are associated with many religious centers of the country. But in the present context, what is noteworthy is the fact that such legends seem to have gained currency in a much early period, say that of the Cholas, for some sculptures depicting these stories are found carved on the gopuras, walls, and pillars which had come into existence by then. The sculptors were making use of such stories for the depiction of sculptural art. But later, these stories were collected, and with additions and distortions, they came to be associated with the place.
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Lau, George F. "Feasting and Ancestor Veneration at Chinchawas, North Highlands of Ancash, Peru." Latin American Antiquity 13, no. 3 (September 2002): 279–304. http://dx.doi.org/10.2307/972112.

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The present article considers evidence for ancestor veneration and feasting in the North Highlands (Department of Ancash), Peru between A. D. 500-900. The study draws upon ethnohistorical, iconographic, and archaeological comparisons to better understand different lines of data from the ancient Recuay community of Chinchawas (3,850 masl), including public and mortuary architecture, ceramics, faunal remains, and stone sculpture. Two major programs of religious activity can be discerned: one situated within local Recuay traditions (Kayán and Chinchawasi phases, A. D. 500-800), followed by a suite of intrusive patterns associated with Wari expansion (Warmi phase, after A. D. 800). The study argues that, by A. D. 500, special public ceremonies combined ancestor worship and feasting as part of community politics at the site. Chinchawasi practices included subterranean tombs, special architectural enclosures with monolithic sculptures, and evidence for large-scale consumption. Warmi practices appear smaller in scale, focusing on aboveground mausolea, different stone sculptural forms and iconography, and increasing evidence for interregional interaction. The diachronic patterns reflect: 1) flexible sociopolitical arrangements at Chinchawas that accommodated group and entrepreneurial interests, and 2) local sociocultural transformations associated with Wari expansion (ca. A. D. 750).
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Dollens, Dennis, and AnneMarie Maes. "Dialectics of Nature: Metabolic Architectures Meet Intelligent Guerrilla Beehives." Leonardo 53, no. 5 (October 2020): 563–70. http://dx.doi.org/10.1162/leon_a_01770.

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Between realms of cellular life, city occupation and technology, AnneMarie Maes's Intelligent Guerrilla Beehive project and Dennis Dollens's metabolic architectures share a theoretical lineage and form-finding curiosity, subscribing to the view that species' intelligence and their built environments can contribute to experimental art and architecture. Microbe, plant, animal and machine intelligences then root our research considering bees, microbes and computational simulation as participants in generative design and technological communication, AI and community. The article discusses sculptural, architectural and theoretical logic/design as it draws from nature to hybridize types of intelligences spanning matter, phenomena and life.
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López-Bahut, Emma. "De los collages y maquetas de vidrio de Oteiza al hormigón de Sáenz de Oíza." VLC arquitectura. Research Journal 3, no. 1 (April 28, 2016): 55. http://dx.doi.org/10.4995/vlc.2016.4255.

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The Jorge Oteiza Foundation Museum in Alzuza (Navarra, Spain) was designed by the architect Francisco Javier Sáenz de Oíza, with the sculptor Jorge Oteiza intervening in the architectural decisions at particular moments. The building marked the conclusion of a series of collaborations between them, beginning in the early 1950s, marked by an intense convergence between art and architecture. The building contains and interacts with the artistic works in a powerful way, but at the same time with great care and awareness, demonstrating the extent to which Sáenz de Oíza understood the sculptural work of Oteiza. This article explores the connection between the museum (2003) and the artistic experiments of the sculptor in pieces called “Light Wall” (1956), made using glass models and collages whose main references are the Suprematist paintings of Malevich. Sáenz de Oíza made use of Oteiza’s artistic concept, which took shape in the fabric of the architecture. Le Corbusier’s chapel in Ronchamp serves as a bridge between their ideas, a reference found in Oteiza’s sculptural experiments and in his text <em>Experimental Proposal </em>(1957) and in the architecture proposed by Sáenz de Oíza for the museum.
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Lysenko, Ludmyla, and Olha Shpanko. "PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 52–58. http://dx.doi.org/10.33838/naoma.30.2021.52-58.

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Abstract. This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.
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Dissertations / Theses on the topic "Sculptural architecture"

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Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.

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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of   curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.
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Cilliers, Pieter Lafras. "Usurping architecture : sculptural resistance to the built environment." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8206.

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Usurping Architecture is a study in three parts. Part One explores the historical and theoretical basis that has informed my body of work. In this section, I explore the perfection of the depiction of the three-dimensional structure on a two-dimensional plane. This is specifically related to architecture. I then examine the role of geometric abstraction, as developed on the two-dimensional format, in sculptural strategies and their insertion in the lived, everyday environment.The role of geometric formalism is expanded on in the chapters on minimal art, where I explore the role of Gestalt psychology in creating a phenomenological response in the viewer. In the following chapters I indicate how the strategies employed by the minimal artists were used in subsequent decades as a response to the architectural environment. Part Two deals with the methodology related to my art-making processes. The first chapter of this section informs the reader about the general use of concrete as a material. The second chapter explains how I use this material in the construction of cast concrete sculptures. It describes the technical aspects of the process in detail. Part Three comprises a list of each work submitted for examination. The works are represented photographically and are accompanied by a short explanatory text.
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Ambielli, Lauren. "Hidden Transgressions: Louise Bourgeois's Early Sculptural Self-Portraits." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/479.

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During her early career as a sculptor, the French artist Louise Bourgeois (1911-2010) experimented with various methods of representing the female body in a state of dismemberment or fragmentation. Despite the transgression latent within such sculptures, critics and scholars alike interpreted Bourgeois’s oeuvre from a psycho-biographical angle. In doing so, they suggested that her art was rooted in a personal—as opposed to political—consciousness. This thesis analyzes some of the reasons behind this common method of interpretation, looking specifically at the personal myth that Bourgeois promoted in order to gain acceptance in the art world. In addition, this work questions the ways in which the artist masked the gendered transgression in two sculptural self-portraits through unique adaptations to Modernist traditions.
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Beresford, Richard Charles. "Domestic interior decoration in Paris, 1630-1660 : a catalogue based on the written sources." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312589.

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Green, Rachael M. "Facade of Many Faces: A Hybrid Skyscraper." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623169886133566.

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Zakanycz, Zena A. "Some Form Of Blue." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4195.

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Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.
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Baird, David A. "Architecture and art /." Online version of thesis, 1990. http://hdl.handle.net/1850/11313.

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Grataloup, Daniel. "Architecture-sculpture : théorie, projets et réalisations." Paris 1, 2001. http://www.theses.fr/2001PA010531.

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La création d'une nouvelle architecture est un phénomène rare puisqu'il ne s'est produit que quatre fois dans l'histoire de l'humanité : la première fois dans l'antiquité, la seconde au moyen-âge, la troisième au milieu du dix-neuvième siècle et la quatrième aujourd'hui. Après une étude approfondie de l'évolution architecturale, il m'est apparu que la réunion concomitante de quatre paramètres fondamentaux était indispensable pour créer une nouvelle architecture, à savoir : une nouvelle conception de l'espace, la création de nouvelles structures, l'apparition de nouveaux matériaux et l'utilisation de nouvelles technologies après une étude critique de l'architecture traditionnelle et en tenant compte de ces quatre paramètres, j'ai élaboré une nouvelle théorie architecturale fondée sur la courbe, expression de toutes formes vivantes, de toutes circulations, de toute gestuelle et génératrice de nouvelles possibilités structurelles. Sur le plan des réalisations, l'utilisation de nouveaux matériaux et des nouvelles technologies m'a permis de créer des prototypes architecturaux, véritables sculptures fonctionnelles, dont certains sont considérés comme des premières mondiales. Mes propositions, réalisables grâce à la haute technologie, offriraient un urbanisme permettant de résoudre pratiquement et économiquement l'ensemble des problèmes rencontres dans nos cites actuelles. En s'intégrant aux sites et en respectant les modes de vie et les cultures, mon architecture pourrait offrir d'excellentes solutions, utilisables sur les plans de l'habitabilité, de la sécurité, des isolations, du confort, de la résistance aux ouragans et aux séismes en répondant aux problèmes économiques mondiaux les plus complexes. Cette thèse sur travaux résume trente-cinq ans de recherches et de créations personnelles. Elle se veut aussi un plaidoyer en faveur de la recherche pour la création d'une nouvelle architecture au service des hommes d'aujourd'hui et de demain.
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Powell, John William. "Specific light in sculpture." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76873.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Vita.
Includes bibliographical references.
Specific light is defined as light from artificial or altered natural sources. The use and manipulation of light in three dimensional sculptural work is discussed in an historic and contemporary context. The author's work with metal arc light sources is presented and documented with developmental drawings and photographs. The use of light sources in space to define volume and mass is seen as the natural development of artificial light as a viable material in art.
by John W. Powell.
M.S.V.S.
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Hunter, Ian A. "Environmental sculpture as a contribution to landscape architecture." Thesis, Manchester Metropolitan University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315294.

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Books on the topic "Sculptural architecture"

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1934-, Hollein Hans, Zhongguo mei shu guan, and Guangdong mei shu guan, eds. Sculptural architecture in Austria =: Aodili jianzhu yishuzhan. Salzburg: Anton Pustet, 2006.

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Noguchi, Isamu. Isamu Noguchi: Sculptural design. Weil am Rhein: Vitra Design Museum, 2001.

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Water architecture of Patan Palace - conservation of sculptural stone: Patan Royal Palace complex : final report. Kathmandu: Kathmandu Valley Preservation Trust, 2011.

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Romanesque architecture and its sculptural decoration in Christian Spain, 1000-1120: Exploring frontiers and defining identities. Toronto: University of Toronto Press, 2009.

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1948-, Kennon Donald R., and Somma Thomas P, eds. American pantheon: Sculptural and artistic decoration of the United States Capitol. Athens: Published for the U.S. Capitol Historical Society by Ohio University Press, 2004.

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Sculptural art in early Buddhist (Hinayana) caves of western Maharashtra: A stylo-chrono study. Delhi: New Bharatiya Book Corporation, 2013.

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Stone, Lisa. Sacred spaces and other places: A guide to grottos and sculptural environments in the Upper Midwest. Chicago, IL: School of the Art Institute of Chicago Press, 1993.

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Grataloup, Daniel. Pour une nouvelle architecture: Architecture-sculpture, architecture modulaire. Paris: Bibliotheque des Arts, 1986.

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Grataloup, Daniel. Pour une nouvelle architecture: Architecture-sculpture, architecture modulaire. Paris: Bibliothèque des arts, 1986.

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Architecture and its sculpture in viceregal Mexico. Austin: University of Texas Press, 1997.

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Book chapters on the topic "Sculptural architecture"

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Bjone, Christian. "Sculptural Space Becomes Architectural Space." In Art and Architecture, 128–45. Basel: Birkhäuser Basel, 2009. http://dx.doi.org/10.1007/978-3-0346-0377-5_8.

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Van Loocke, Philip. "Counterpoint in the Visual Arts. A Perspective Based on my Graphical and Sculptural Work." In Architecture, Systems Research and Computational Sciences, 75–96. Basel: Springer Basel, 2012. http://dx.doi.org/10.1007/978-3-0348-0393-9_7.

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Schultz, Peter. "5. Architectural Sculpture." In Handbook of Greek Sculpture, edited by Olga Palagia, 91–122. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-005.

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Vodopivec, Aleš, and Rok Šnidaršič. "Architecture, Sculpture and Painting." In Edvard Ravnikar, 295–309. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-211-99204-3_32.

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Choi, Byoung K., and Robert B. Jerard. "A unified CAM-system architecture." In Sculptured Surface Machining, 311–17. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4615-5283-3_14.

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Rush, Fred. "Sculpture on the Verge of Architecture." In Philosophy of Sculpture, 130–48. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429462573-8.

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Steinfeld, Kyle, Titus Tebbecke, Georgieos Grigoriadis, and David Zhou. "Artificiale Rilievo GAN-Generated Architectural Sculptural Relief." In Towards Radical Regeneration, 133–48. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13249-0_12.

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Lindgren, Liisa. "Sculpture hand in glove with architecture." In Sculpture and the Nordic Region, 118–29. New York : Routledge, 2016.: Routledge, 2017. http://dx.doi.org/10.4324/9781315088242-9.

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Lulof, Patricia S. "Terracotta Architectural Sculpture in Classical Archaeology." In Encyclopedia of Global Archaeology, 10568–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_1440.

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Lulof, Patricia S. "Terracotta Architectural Sculpture in Classical Archaeology." In Encyclopedia of Global Archaeology, 7273–78. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_1440.

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Conference papers on the topic "Sculptural architecture"

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Marian, Ana. "Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.07.

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In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.
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Parfenov, Vadim. "Use of 3D laser scanning for documentation, digital reconstruction and physical replication of sculptural monuments." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2526163.

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Camporeale, Antonio. "Spanish ‘Plastic’ Architecture. A critical reading and design approach." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7594.

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The following critical text proposes a series of notes and reflections on the reinforced concrete architecture, not on the material itself. Since its invention, concrete has combined two potentialities, deriving from the two materials of which it is composed: the ‘elastic’ potential, which has been developed and has reached a consolidated form and tradition, and the ‘plastic’ one. The last one has been little experienced at the beginning and, in the course of recent history of architecture, has found space in architectural criticism in the meaning of "expressive", "brutalist", "sculptural", ending up to influence 'superficially' (related to the surface) of architecture. The 'plastic' architecture, instead, is three-dimensional and unifies the construction and spatial qualification in a single design gesture. This critical approach not only allows reconsidering the history of modern/contemporary architecture starting from the necessary collaboration between space and construction that unifies the final judgment on the works, but allows influencing the project, adhering to a formative process of those geographic-cultural areas that possess those certain characters, the masonry one. The Spanish "plastic" architecture is, in that sense, a clear example: in many buildings this "masonry" character is clearly identified, due to the architectural exploitation of the reinforced concrete plastic potential.
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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.

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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Taibi, Giacinto, Rita Valenti, Mariangela Liuzzo, and Tiziana Patanè. "The Cultural Duality between Coastal Fortifications and the Sea." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11531.

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Sicily’s coasts are studded with fortifications, a few which are still intact and serve as a testimony of the island’s thousand year old history. Their original function of defence and control was closely linked to aspects of formality and strategic positioning in the Mediterranean. For this reason, they once constituted strong holds on the territory and represented important elements of symbolic connotations. They have been transformed through the centuries, by man’s actions as well as natural occurrences, and have therefore lost their original significance. Regardless of this fact, they are still capable of giving a strong sense of identity to the topos and of recognition to the collective imagination. The fortifications’ emerging masses seem tightly linked to the cliff and the sweeping expanse of the sea which have the duty, still today, of evoking the identifying character of the area. The grandeur of the fortified walls speaks to the vastness of the sea and the depths of the abysses. The material and chromatic aspects of the stones, in contrast with the transparency of the water, tend to melt, taking on qualities of agility and sculptural composition. These aspects take on an identity of their own to the point of affecting the surfaces of the walls, highlighting the more rugged and uneven edges while softening those that are smoother. The three castles of Syracuse, Catania, and Aci are clear examples of unique systems that are environmentally integrated and interrelated with each other because of their peculiarity.
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Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.

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Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
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Viar Fraile, Iñigo De. "Bajo la Luz. Buscando la luz." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.610.

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Resumen: Le Corbusier fue un gran buscador. Un buscador de luz. Tras un primer periodo de búsqueda halló su arquitectura cúbica y blanca y luego, después de la Guerra y quince años sin construir, Le Corbusier inició un nuevo camino, una nueva búsqueda de la luz en su arquitectura; mucho más plena. En este segundo periodo el trabajo con la luz y con la sombra, sobre todo con la sombra, como mecanismo plástico, escultural, es muy intenso. Trabajó con la luz por medio de dos sistemas: la” interposición” y la “captación” (captura). El sistema de la “interposición” lo realizó mediante los Brise-Soleil, en un principio y luego, con mucha mayor contundencia, mediante los “edificios parasol” construidos como fachadas interpuestas. El sistema de la “captación”, más reducido, lo realizó por medio de lucernarios y grietas, buscando la luz, siempre con diferentes orientaciones. Por último decir que un arquitecto tan material como Le Corbusier construyó con lo inmaterial, con la luz, tejido de sus obras. Los edificios tratados son unos pocos, los principales, todos ellos de su segunda época. Abstract: Le Corbusier was a great searcher. A light searcher. Afterwards a first period of searching he founded his cubic and white architecture and after the Word War II and fifteen years without erecting up a building, Le Corbusier restarted a new path, a new search for the light in his architecture, much broader. In this second age, the work with the light and with the shadow, mostly with the shadow, as plastic and sculptural mechanism is very deep. He worked with the light via two systems: “interposition” and “capture”. The mechanism of “interposition” was developed by Le Corbusier by means of the BriseSoleil, at the beginning, and later, much more strongly, by means of the “parasol-sun shade buildings”, erected like front façades. The “catching” system, done on a smaller scale, was made by the construction of several skylights and gaps, searching for the light and always with different orientations. Finally say that a material architect as Le Corbusier was, he constructed with the immaterial light, weave of his works. The buildings studied are a few, all of them part of second period and they are the core of Le Corbusier´s buildings. Palabras clave: Luz, Sombra, Buscar, Interposición, Captación, Silencio. Keywords: Light, Shadow, Search, Interposition, Capture, Silence. DOI: http://dx.doi.org/10.4995/LC2015.2015.610
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Zheng, Chun hua, Joseph Doll, Emily Gu, Elizabeth Hager-Barnard, Zubin Huang, AmirAli Kia, Monica Ortiz, et al. "Exploring Cellular Tensegrity: Physical Modeling and Computational Simulation." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192407.

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The term tensegrity was first coined by Buckminster Fuller to describe a structure in which continuous tension in its members forms the basis for structural integrity. Fuller most famously demonstrated the concept of tensegrity in architecture through the design of geodesic domes while his student, artist Kenneth Snelson, applied the concept of tensegrity to create sculptures that appear to defy gravity (Figure 1). Snelson’s tensegrity sculptures have minimal components and achieve their stability through dynamic distribution of tensile and compressive forces amongst their members to create internal balance [1]. It was upon viewing Snelson’s sculptures that Donald Ingber became inspired by their structural efficiency and dynamic force balance to adopt tensegrity as a paradigm upon which to analyze cell structure and mechanics. It has been 30 years since the premier appearance of the cellular tensegrity model and although the model is still much under debate, empirical evidence suggests that the model may explain a wide variety of phenomena ranging from tumor growth to cell motility [1–4].
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INAGAKI, Takuya. "ONSITE EXPERIENCE OF PAST EXHIBITIONS USING REALITY TECHNOLOGY AND DISPLAY OF SCULPTURE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.022.

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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