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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Yi, Zhong, and Cheng Zhi Yuan. "Mathematical Analysis on Helicoids Architectural Form." Advanced Materials Research 790 (September 2013): 273–77. http://dx.doi.org/10.4028/www.scientific.net/amr.790.273.
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In a sense, architecture may be called as a geometric figure. Although architectural forms are very different, the form from one kind of architecture to another kind of architecture is equivalent to one kind of mathematical transformation in view of mathematics; for example, the transformation between a cube architecture and a spherical architecture belongs to a topological transformation. Currently, many sculptural features appear in the architecture design, which may be called as the nonlinear architecture. Curves and curved surfaces are widely used in the architecture modeling. Moreover, functional spaces are divided inside the architecture shell according to requirements. Architects are inclined to use a mathematical theory especially the geometrical knowledge in an architecture design. However, architects can not imagine many artistic geometric figures in geometry. Besides, such wonderful geometric figures always include some miraculous mathematical and physical properties.
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Ferreira de Souza, Rafael. "Arte-arquitetura no abandono." Revista Prumo 4, no. 7 (November 15, 2019): 56–73. http://dx.doi.org/10.24168/revistaprumo.v4i7.1115.
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The present article intends to discuss the language contained in the abandoned architecture and the communicative potential originating from its particular aesthetics. Pondering a look at abandoned construction as an art-architecture, I intend to understand urban space and its architecture as a fragmented panel, a place that contemplates non-hegemonic language, especially in the possibilities of reading and interpreting this environment. The work begins with an introduction, followed by two sections, namely: (i) language and abandoned architecture; (ii) reflections on Berlin, and subsequently the final considerations. When proposing a double bias of the concept of art-architecture, I consider architecture as a sculptural volume decontextualized and in parallel I think architecture as a panel of representations of different visual arts, always with an approach of valuation of the abandoned architectural space. Keywords: Abandonment, art-architecture, aesthetics, subjectivity, city
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Gómez, Hannia. "The Dwellers: The Integration of Art and the Architecture in the Ciudad Universitaria de Caracas." Art and Architecture, no. 42 (2010): 46–52. http://dx.doi.org/10.52200/42.a.sbsuof7n.
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When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.
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Luo, Yu. "The Traditional Elements and Modern Architectural Design." Advanced Materials Research 243-249 (May 2011): 6562–65. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.6562.
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Architecture is not only functional, economic, and technical and other physical characteristics, but also closely related to human behaviors. Therefore, it also has originality, visual aesthetics and function to beautify the living characteristics. To keep interest in the exterior, with a strong modern style of "purity, geometry and sculptural architecture", should not be the best way. It is worth to integrate the traditional elements, symbols, with modern forms and ideas together to form the environmental and architectural modes with the cultural heritage and modern atmosphere, and their cultural patterns. To create an architectural culture in modern buildings that could keep the traditional cultural spirit and sustainable development may be our target to continually pursue.
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Gecas, Saulius. "BETWEEN SYMBOLISM AND METAPHOR." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 283–92. http://dx.doi.org/10.3846/20297955.2014.999432.
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The article provides a discussion of symbolic aspects and uses of metaphors in Massimiliano Fuksas architecture. Despite of the fact that his architectural projects are very different they are sculptural and abstract leading to ambiguous reflections. The author argues that each architectural project of Massimiliano Fuksas can be related to certain metaphors and level of symbolisation. His metaphors are often metaphors for our feelings, they are emotionally understandable and yet not so easy to name. The article is an attempt to expose and analyze them.
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Akande, Adeyemi. "The iconography of Saint Denis in early French Gothic architecture." Journal of Art and Architecture Studies 11 (June 15, 2022): 1–7. http://dx.doi.org/10.54203/jaas.2022.1.
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Of the many sculptures on the facades of cathedrals and churches all over France, the curious Head-carriers, also known as Cephalophores, are arguably some of the most thought-provoking sculptural pieces one will come across. This study is concerned mainly with the iconography of St Denis, the first Bishop of France, as articulated on the portals of the Basilica of St-Denis. The events that followed immediately after Denis’ martyrdom by decapitation is mostly regarded as mere fable. Consequently, the symbolic meaning of the unusual movement has evaded scholarship. This work will discuss the symbolism of the Head-carriers and the meaning it gives to the architectural space of the Basilica of St Denis. This study argues that the emblematic ideology behind the sublime interaction between the living and the dead in the Basilica of St Denis, epitomised by the statue of the martyr, is a visual representation of a central message in Christianity which presents death, not as the end, but as a transitory and glorious beginning of oneness with Christ. Through critical visual analysis and metaphysical discussions, the study places Gothic art and architecture in the centre of the enunciation of 16th century Christian doctrine.
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Dollens, Dennis L. "A System of Digital-Botanic Architecture." Leonardo 38, no. 1 (February 2005): 15–21. http://dx.doi.org/10.1162/leon.2005.38.1.15.
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Looking to historical precedents in Louis Sullivan's System of Architectural Ornament (1924) and to botanic inspiration derived from the TumbleTruss Project, the author aims to explain how visual biomimetics and digital production can present ways to conceive, visualize, generate, draw and model physical forms from natural elements such as shells, seeds, plants, rocks, etc. In particular, the author explains how designs “grown” in plant-generating software can be deployed in other software and built as stereolithography (STL) models to illustrate a new system of architectural and sculptural design and production.
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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Colle, Cécile, and Ralf Nuhn. "ParaSites: Initial Report and Research Context." Leonardo 45, no. 3 (June 2012): 290–91. http://dx.doi.org/10.1162/leon_a_00380.
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This research explores the potential for using behaviors and strategies of parasites as a model for sculptural propositions in the built environment, and investigates how these interventions might resonate with concerns in architecture, urbanism and sociocultural politics.
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KRIVOSHAPKO, S. N. "POLYHEDRA AND QUASI- POLYHEDRA IN ARCHITECTURE OF CIVIL AND INDUSTRIAL ERECTIONS." Building and reconstruction 90, no. 4 (2020): 48–64. http://dx.doi.org/10.33979/2073-7416-2020-90-4-48-64.
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Innovative spatial forms appear and develop at the joint of science, art, and architecture. Geometry is the most important, fundamental components of architectural forming. Now, having passed the stages of passion for the large-span shells, the sky-scrapers, typical inexpensive buildings, architectural bionics and ergonomics; pneumatic, membrane, wire rope and shrouds erections, the architects and designers payed attention at analytically non-given forms of erections and at the polyhedron. It is noticeably especially at the last 10-15 years. In a paper, the problems of application of the polyhedron and their modifications in architecture, building, and technics are analyzed. They consider prisms, pyramids, prismatoids, Platonic and several Archimedean solids, quasi-polyhedrons, and some figures constituted on their base. Polyhedral domes, umbrella shells, and hipped plate constructions are presented too. Large quantity of the illustrations devoted to the architecture of buildings and erections, to the landscape architecture and to the sculptural compositions is presented for the confirmation of increasing interest to these structures. 31 titles of the used original sources are given.
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Tombesi, Paolo. "Involving the industry: Gehry's use of ‘Request for Proposals’ packages." Architectural Research Quarterly 6, no. 1 (March 2002): 77–87. http://dx.doi.org/10.1017/s1359135502001495.
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A simple and now standardised method of project description linking architectural ideas to technical requirements enables sub-contractors to develop their proposals around their own proprietary technologies.Frank O. Gehry and Associates' (FOG/A) sculptural approach to building form is widely known. Their geometrically complex designs and frequently unorthodox use of materials, as in the Guggenheim Museum in Bilbao [1], the Disney Concert Hall in Los Angeles, the Experience Music Center in Seattle, and the Neue Zollhof office complex in Düsseldorf seem to have redefined the idea of what is possible in architecture.
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Greeley, Robin Adèle. "The Logic of Disorder: The Sculptural Materialism of Abraham Cruzvillegas." October 151 (January 2015): 78–107. http://dx.doi.org/10.1162/octo_a_00209.
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Two models of object experience dominate definitions of sculpture today. One argues that commodification is a universally uniform experience of relentless violence that frames all materialities everywhere within the demands of the globalized market. The second argues that the "unruliness of things" can still disrupt the "rule of the commodity." The autoconstrucción sculptural practice of Abraham Cruzvillegas, argues Greeley, marks a third position. Derived from the "self-building" architecture of the squatter settlement on the edge of Mexico City where he grew up, Cruzvillegas’s work is located in the dialectic between object experience in developing countries and object experience in the hegemonic 'centers' of developed countries and the market-driven international art circuit. Under the rubric of autoconstrucción, Cruzvillegas exploits this dialectic, not to claim any utopian redemptive space outside the world market system, nor to insist on a universally uniform experience of commodification within it, but rather to assert the asymmetries of object experience induced by global economic integration.
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Yeroulanou, Marina. "Metopes and architecture: the Hephaisteion and the Parthenon." Annual of the British School at Athens 93 (November 1998): 401–25. http://dx.doi.org/10.1017/s0068245400003543.
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The relationship of the metopes to the architecture of the peristasis of the Hephaisteion and the Parthenon is examined in order to ascertain the extent of planning which took place before the erection of a Classical Greek temple. All relevant published measurements are taken into consideration and critically compared. On the basis of the discrepancies of the corresponding architectural and sculptural members, it is argued that the working-out of the details of the plan was not the result of large-scale drawings, but was affected after the commencement of construction. While the Hephaisteion is built largely in accordance with the conventions of a Classical Doric temple, the Parthenon, due to its unique plan, provides indications of experimentation inferred from the extensive inconsistencies at its eastern end.
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Karakul, Özlem. "Sculptural reproduction of architectural ornamentation as a way for conservation of traditional craftsmanship." Global Journal of Arts Education 8, no. 1 (April 3, 2018): 17–27. http://dx.doi.org/10.18844/gjae.v8i1.3253.
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Traditional craftsmanship as a part of intangible cultural heritage needs to be conserved as defined in the UNESCO 2003 Convention and Living Human Treasures System. In architecture, traditional craftsmanship is embodied on architectural ornaments in historic buildings by local builders; and the conservation of it necessitates its transmission process from generation to generation. In the traditional building production period, the transmission process had been guaranteed by master–apprentice relation, but nowadays, it has been interrupted together with the drastic change in building technology; and the knowledge, skills of building craftsmen and cultural expressions This creates problems both in the conservation of traditional craftsmanship in building activities and in the restoration process of historic buildings. This study aims to develop a specific conservation approach by revitalising the methods of study of building craftsmen through the reproduction process of architectural ornaments in monumental stone buildings by sculptures in the Faculty of Fine Arts in Selcuk University.
Keywords: Traditional craftsmanship, architectural ornamentation, reproduction, intangible heritage, conservation.
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Kukil, Lidiya. "Female mascarons in the architecture of the Lviv secession." Linguistics and Culture Review 5, S4 (November 12, 2021): 1049–69. http://dx.doi.org/10.21744/lingcure.v5ns4.1744.
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An important role in the formation of the architectural style of Lviv was played by the beginning of the twentieth century. As the capital of Galicia, which at that time belonged politically to the Austrian Empire, Lviv was strongly influenced by the Austrian Secession and the head of the Vienna School of Architecture O. Wagner. Nevertheless, Lviv architecture, to a certain extent, has preserved its originality and uniqueness. Secession is a phenomenon of the Lviv architecture of the early twentieth century. It determines the definition of sculptural decor as one of the main components of the “newest” artistic image of a building. Among the various types of plastic decoration, an important place is occupied by relief masks – mascarons, which are the most mysterious, attractive, and bizarre elements of the architecture of the Lviv Secession. The article notes the influence of various factors on the formation of new typological groups of mascarons not found in the architecture of previous eras. The artistic images of secession arise at the intersection of two key symbols and constant themes of art nouveau – eternal femininity and fabulous nature. In almost all cases, female mascarons are accompanied by plant motifs of the local flora.
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Kostuch, Bożena. "Among Prestigious Edifices – on Ceramic Decorations and Mosaics in Poland Post-WWII." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 81–98. http://dx.doi.org/10.18778/0208-6107.30.06.
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Ceramic materials may have multifarious applications, the visual arts being one of them. Furthermore, they have been often used in architecture for decorative purposes. In Poland, the application of ceramics in architecture reached its peak of popularity in the post-WWII period. It was used in mosaics, reliefs, architectural and sculptural details, as well as combined with other materials, like glass or stone. Ceramics was applied for creating various small decorative forms but also large compositions that covered even several dozen or several hundred square metres, in buildings that served various functions, and were situated either indoors or on their external facades. Amongst these, there are buildings which were both important for local communities and became landmarks for particular sites, like modern hotels, railway stations, theatres, museums or academies. The paper is focused on compositions executed for such prestigious edifices.
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Borovaya, E. L., T. V. Zommer, S. N. Chernyshev, R. Ch Bartsits, and P. D. Chistov. "Reconstruction and restoration of monuments of white stone architecture on the example of the church of the Image of Edessa in Abramtsevo." E3S Web of Conferences 263 (2021): 05050. http://dx.doi.org/10.1051/e3sconf/202126305050.
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The article deals with the topic of preserving the historical appearance of objects during the reconstruction and restoration of architectural masterpieces. The analysis of the historical experience of recreating samples of ancient Russian architecture with elements of sculptural white stone reliefs is carried out on the example of the group method of work of members of the Abramtsevo art circle, imitating the activities of the national art collective. Based on the analysis of historical experience in the framework of the Abramtsevo Art Circle and their own research, the authors have established the basic principles of reconstruction and restoration of architectural monuments. When conveying of white stone works as masterpieces of ancient Russian architecture, technological techniques must be based on the ideological basis of creating an emotional and artistic atmosphere of collective creativity of folk masters. During the reconstruction and restoration of white stone architecture, it is also necessary to reproduce the natural irregularities of the walls themselves as a stylistic and functional feature of the historical time, designed to give originality to ancient buildings, taking into account the specifics of the perception of the relief of the walls of the monument as a similarity to the terrain.
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Driscoll, John. "Resonance: From the Architectural to the Microscopic." Leonardo Music Journal 22 (December 2012): 25–33. http://dx.doi.org/10.1162/lmj_a_00088.
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The author's work has focused on the use of acoustical phenomena, as opposed to electronic and computer-based sound synthesis, for sound generation. His approach to sound generation and processing utilizes a number of self-built instruments, including resonant sculptural objects, ultrasonic instruments and robotic rotating loudspeakers. The author illustrates the development and implementation of these instruments for the creation of a sonic architecture.
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Yeh, Chih-Kuo, Thi-Ngoc-Hanh Le, Zhi-Ying Hou, and Tong-Yee Lee. "Generating Virtual Wire Sculptural Art from 3D Models." ACM Transactions on Multimedia Computing, Communications, and Applications 18, no. 2 (May 31, 2022): 1–23. http://dx.doi.org/10.1145/3475798.
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Wire sculptures are objects sculpted by the use of wires. In this article, we propose practical methods to create 3D virtual wire sculptural art from a given 3D model. In contrast, most of the previous 3D wire art results are reconstructed from input 2D wire art images. Artists usually tend to design their wire art with a single wire if possible. If not possible, they try to create it with the least number of wires. To follow this general design trend, our proposed method generates 3D virtual wire art with the minimum number of continuous wire lines. To achieve this goal, we first adopt a greedy approach to extract important edges of a given 3D model. These extracted important edges become the basis for the subsequent lines to roughly represent the shape of the input model. Then, we connect them with the minimum number of continuous wire lines by the order obtained by optimally solving a traveling salesman problem with some constraints. Finally, we smooth the obtained 3D wires to simulate the real 3D wire results by artists. In addition, we also provide a user interface to control the winding of wires by their design preference. Finally, we experimentally show our 3D virtual wire results and evaluate these created results. As a result, the proposed method is computed effectively and interactively, and results are appealing and comparable to real 3D wire art work.
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Linda, Svitlana. "Symbolism of the renaissance sculpture: Aedicule of Sholts-Volfovych townhouse in Lviv." BUILDER 293, no. 12 (November 24, 2021): 23–25. http://dx.doi.org/10.5604/01.3001.0015.5120.
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The specific conditions of architectural development in Lviv promoted the expansion of the Renaissance traditions in the architecture in the XVI century. The local traditions considerably influenced the classical forms as well as techniques suggested by the Italian architects. As a result, the architecture of Lviv had taken the peculiar features that reflected the character of an indigenous revival. A significant feature of a Renaissance townhouse in Lviv lies in its abundant decoration. as it was created according to the symbolic ideas and was filled with the philosophic content. The façade of Sholts-Volfovych apartment house situated in 23, Rynok Square in Lviv deserves special attention. The abundant exterior design includes the composition «Epiphany», located in the aedicule of the second floor. Using the principle of hermeneutics the article presents the author’s interpretation of a symbolic meaning of this sculptural composition, based on the Gospel texts and is connected with the Renaissance meditations about a human place in the world and his/her relationship with God.
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Yanovitskiy, Еvgeniy, and Kateryna Galak. "АPPLICATION OF ELEMENTS OF MONUMENTAL ART, MODERN SCULPTURE AND SMALL ARCHITECTURAL FORMS IN THE FORMATION OF GARDEN AND PARK LANDSCAPE AND URBAN ENVIRONMENT." Current problems of architecture and urban planning, no. 64 (August 31, 2022): 218–38. http://dx.doi.org/10.32347/2077-3455.2022.64.218-238.
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The article examines the issue of identifying the artistic image of the landscape environment, which is achieved by using the techniques of architectural composition with the use of small architectural forms, modern sculpture and elements of monumental art. The means of landscape composition are highlighted, as the art of placing various elements on the park territory to create a comfortable environment according to functional, ecological and aesthetic requirements. On the example of the implementation of project work on the improvement of the recreational area near the office center in Kyiv, recommendations are provided for the design of small architectural forms and the integration of elements of modern art into the canvas of landscape design. The functional features of landscaping elements are determined. Rational use of various types of small architectural forms and open structures in the urban environment, taking into account the economic components of the modern construction process. The importance of using and highlighting the philosophical and cultural significance of elements of material art in the urban design of the urban environment is considered. The publication highlights the creative search and ways of solving architectural problems when designing the reconstruction of a small square near the office center at Saperno-Slobidskii Proezd, 30. The implementation of this design work was completed in the fall of 2021. The authors of the sculptural compositions are the famous Ukrainian artists Yehor and Nikita Zigura. Architectural solutions, Yevhen Yanovitskyi. An analysis of design solutions is provided with an emphasis on general compositional techniques and architectural solutions that can be used in the design of open landscape spaces.
The purpose of the publication is to reveal the topic of creating small architectural forms, objects of landscape architecture with the integration of park sculpture and elements of monumental art to recreational urban areas, and to provide recommendations for designing park architecture as an element of landscape design based on knowledge and skills in architectural composition and experience real design. The publication also reveals the main architectural and planning parameters and requirements for the design of territory improvement and landscape design and highlights the creative idea of the authors of the project of reconstruction of the improvement of the recreational landscape area in the public environment, translates intuitive artistic solutions into the professional language of architectural composition.
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Chitishvili, Natalia. "General Overview of the Three-dimensional Architectural Models as Acroteria in Medieval Georgia." Studia Ceranea 11 (December 30, 2021): 531–48. http://dx.doi.org/10.18778/2084-140x.11.27.
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Medieval architecture of the South Caucasus developed a unique tradition of making acroteria shaped as three-dimensional models of churches. Since the church-shaped acroteria have never been thoroughly explored in Georgia, this paper focuses on examples surviving in the region. Special attention is paid to analyzing the architectural and sculptural aspects of the acroteria, as well as their function. This paper aims at discussing both the formal and functional aspects of the church-shaped acroteria from Georgia. It is intended to explore what kind of church models were usually created in Georgia, how they were designed, and to what extent they resemble or differ from the real architecture. Typically, the model erected on the top of the gables of a church was made of stone, though glazed ceramic acroterion can be found as well, such as that of the Alaverdi Cathedral in Georgia. As the research has shown, the models do not replicate real architecture; they represent abridged images of actual buildings, repeating only their general layout (cross-domed or, rarely, single-nave structure) and a selected number of elements that were evidently considered essential or were typical elements of the architectural repertoire of the period in which the acroterion were created.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Polubok, Andrii, and Oksana Pylypchuk. "REGULARITIES OF RELATIONSHIP OF MONUMENTAL-DECORATIVE SCULPTURE AND OPEN PUBLIC SPACE." Urban development and spatial planning, no. 78 (October 29, 2021): 435–44. http://dx.doi.org/10.32347/2076-815x.2021.78.435-444.
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Taking into account the peculiarities of the relationship between the open public space of the architectural environment and the monumental and decorative sculpture, the article examines the main patterns of the relationship between sculpture and urban space. It also identified and analyzed the importance of taking into account the main factors that affect the perception of a sculptural composition in any type of urban space: scale ratio, methods of placement, formation of the environment, generalization of the silhouette, detailing and perception of the expressiveness of the silhouette of a sculpture in specific spatial situations. The analysis and systematization of information sources of a theoretical and practical nature regarding the designated topic highlighted the current state of the problem of the relationship between sculpture and the open public space of the architectural environment, revealed the importance of taking into account the main factors in the perception of sculptural plastic in space. In the process of studying the main existing theories, methods, scientific approaches, techniques, historical and practical experience of the relationship between sculptural sculpture and the open public space of the architectural environment, general patterns of perception of sculpture – its scale relationship with space, ways of placing sculptures, shaping the environment, as well as individual regularities – generalizations of the silhouette, detail and plastic quality, expressiveness of the silhouette, depending on the directions of perception of the sculpture when it is introduced into the architectural environment.
As a result of research and analysis, a general conclusion was made: monumental and decorative sculpture, which is introduced into the urban environment, is inextricably linked with public space and therefore has special qualities and means of expression that allow you to create a general synthetic architectural and artistic image of space at a new qualitative level to create general compositional integrity and the formation of a single spatial-plastic ensemble in the architectural environment.
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Molina, Jesús. "El hormigón como materia moldeable en la construcción de esculturas." Informes de la Construcción 48, no. 443 (June 30, 1996): 35–41. http://dx.doi.org/10.3989/ic.1996.v48.i443.1005.
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Cotter, Suzanne. "Architectonisation: The Spatio‐Temporal Rhythms of Contemporary Sculptural Practices." Architectural Design 92, no. 2 (March 2022): 22–29. http://dx.doi.org/10.1002/ad.2789.
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Skibiński, Franciszek. "Uwagi na temat gdańskiego budownictwa publicznego drugiej połowy XVI i pierwszej połowy XVII wieku pod kątem zaopatrzenia w materiał kamieniarski." Porta Aurea, no. 17 (November 27, 2018): 5–32. http://dx.doi.org/10.26881/porta.2018.17.01.
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Works of architecture and stone sculpture would never have been created without the existence of a supply network enabling access to assets crucial for their production, including stone. Based on archive quarries and analysis of existing works of architecture and stone sculpture, this article focuses on the importation of stone for the building and stonecutting industry in early modern Gdańsk. In the second half of the 16th and the first half of the 17th century the city was experiencing an era of economic prosperity and became a major center of architecture and stone sculpture in the Baltic region and the Polish-Lithuanian Commonwealth. The Gdańsk authorities put much effort into securing suitable stone necessary to carry out their ambitious projects. Builders and sculptors based in the Baltic metropolis applied various kinds of stone imported from abroad, including limestone from Oland and Sweden, sandstone quarried in Bückeburg and Bentheim, Belgian marble, and English alabaster. The kind of stone most commonly used in local architecture and sculpture was, however, the sandstone from the Isle of Gotland. To obtain this material the city authorities often approached the Danish king, as revealed by numerous letters preserved in Gdańsk and Copenhagen archives. Each year several shipments of Gotland stone would arrive in the city, the amount of stone reaching up to 10,000 cubic feet. Some of the material destined for the public building works was then prepared by workers supervised by the ‘Bauknecht’. He was an official appointed by the city authorities to support the public building industry and to facilitate the work of specialized building and sculpting workshops by overlooking low-skilled workers and supply of materials. Some of the local builders and stonecutters were also involved in the importation of stone from Gotland. Besides carrying out major architectural and sculptural works, at least some of the guild masters running large workshops were engaged in the supply of necessary materials. For this reason, they had to maintain a network of professional contacts within the Baltic region and beyond. The most prominent among them was Willem van der Meer, called Barth, a stonecutter from Ghent established in Gdańsk. Between roughly 1590 and 1610, he supplied the city with a large amount of Gotland stone, including that used for the building of the Great Arsenal. Other important members of the local milieu engaged in the stone trade were Willem and Abraham van den Blocke as well as Wilhelm Richter, continuator of Van den Blocke’s enterprise often engaged by the city authorities. These findings broaden our understanding of the professional practices of builders and stone sculptors in Gdańsk and the Baltic region in the late 16th and in the 17th centuries.
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Mohite, Ragini. "Henry Moore’s Narayana and Bhataryan: theatre of sacrifice." Sculpture Journal: Volume 30, Issue 3 30, no. 3 (November 1, 2021): 323–43. http://dx.doi.org/10.3828/sj.2021.30.3.5.
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Henry Moore’s unpublished play Narayana and Bhataryan (c. 1919) was first performed in 1920 at Castleford Secondary School. Moore wrote, performed in and designed the programme for this play. Despite timely theatrical returns to Moore’s only surviving literary creation, this play has not yet been the subject of in-depth critical study. Using archival research, this article engages with the play’s early indication of Moore’s sculptural tendencies. It traces the play’s parallels with another play produced in the early twentieth century: Rabindranath Tagore’s Sacrifice. Doing so highlights the cross-cultural echoes that exist in Narayana and Bhataryan, its relationship to early twentieth-century global modernist movements, the thematic presence of posture, architecture, ritual and trauma, and the emergence of Moore’s lifelong concerns with the mother and child and the human body. This article places Moore’s play in critical relationship to his sculpture and introduces his lone contribution to the fabric of modern drama as having cross-cultural relevance in the 1980s when an exhibition of his work toured India.
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SKJERVEN, ASTRID, and Clarence Burton Sheffield. ""Like a Sculptural Painting": Arne Korsmo's Interior Architecture in Norway after World War II." Studies in the Decorative Arts 6, no. 1 (October 1998): 2–31. http://dx.doi.org/10.1086/studdecoarts.6.1.40662660.
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Sanz, Alberto. "Torres Blancas: a Vertical Garden City." Housing for All, no. 65 (2021): 108–13. http://dx.doi.org/10.52200/65.a.r36xto0h.
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Torres Blancas, the building designed by Francisco Javier Sáenz de Oíza for the Huarte company, was built between 1964 and 1972. Its powerful sculptural form, the expressive use of bare concrete and its experimental nature make it an iconic example of Madrid’s architecture. Proposed as a vertical city with an organic emphasis, Torres Blancas is not the usual stack of flats, but a residential complex of independent housing units with garden terraces and the amenities of a small community. This building thus combines Le Corbusier’s unités d’habitation and Frank Lloyd Wright’s towers.
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Tourneur, Francis. "Global Heritage Stone: Belgian black ‘marbles’." Geological Society, London, Special Publications 486, no. 1 (October 15, 2018): 129–47. http://dx.doi.org/10.1144/sp486.5.
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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.
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Horste, Kathryn. "A New Plan of the Cloister and Rampart of Saint-Etienne, Toulouse." Journal of the Society of Architectural Historians 45, no. 1 (March 1, 1986): 5–19. http://dx.doi.org/10.2307/990125.
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A newly discovered plan of the medieval rampart of Toulouse in the vicinity of the Cathedral of Saint-Etienne includes a detailed plan of the Romanesque cloister of the Cathedral, which was destroyed in the early years after the Revolution. The plan, an official copy of an original drawn in 1780 by Jacques Paschal Virebent, indicates that the architecture of the cloister was similar to that which has been proposed for the contemporary Cluniac cloister of La Daurade in Toulouse, the model for which was the cloister of the nearby Abbey of Moissac, completed in 1100. Within the limited body of evidence that can be brought to bear on a reconstruction of the sculptural program of the cloister, the new plan is the most concrete and credible document. A much-cited 19th-century lithograph of the cloister and claims made about the provenance of its sculpture by the antiquarian Alexandre Du Mège are, on the other hand, shown to be highly untrustworthy. The plan also provides evidence for the original course of the Gallo-Roman city wall and of the medieval modifications to it in the vicinity of the Cathedral and Gateway of Saint-Etienne.
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Devetak, Tanja. "Space In Fashion Design – Ƒ2 (Fabiani Fashion) Case Study." South East European Journal of Architecture and Design 2016 (December 17, 2016): 1–6. http://dx.doi.org/10.3889/seejad.2016.10027.
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TThese research inquiries into the transformation of complex architectural spatial objects into contemporary garments by implementing creative pattern cutting as an integrated part of the fashion design process. From the architecture design process, a creative process of generating ideas using the human body as the centre point of the creative process, and an understanding of the envelope around that space were implemented and researched in fashion design. A creative construction method evolved using the standard matrix of basic blocks and implementation of the sculptural work by creating three-dimensional paper garment forms. In this way, garment design is created inside - outside. The resulting garment forms visually articulate meanings arising from the architectural design works of Maks Fabiani regarding structure, historical context, content from within the premises and personal sensory experiences. The envisaged results are highly applicable, but, with a theoretical significance, they also open different views on a fashion design development process. The Ƒ2 (Fabiani Fashion) case study was carried out in 2015 by the author Tanja Devetak.
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Umberger, Emily, and Casandra Hernández Faham. "MATLATZINCO BEFORE THE AZTECS: JOSÉ GARCÍA PAYÓN AND THE SCULPTURAL CORPUS OF CALIXTLAHUACA." Ancient Mesoamerica 28, no. 1 (2017): 1–19. http://dx.doi.org/10.1017/s0956536116000419.
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AbstractThis article studies the sculptural corpus of the Matlatzinca state before it was conquered in the mid-1470s by the Aztec Empire. Previously, Matlatzinco had been an independent polity in the northern part of the Valley of Toluca surrounding the traditional center of government, which was also called Matlatzinco. After invading the area, the Aztecs renamed this city Calixtlahuaca and established their own provincial capital at nearby Tollocan (modern Toluca). Making Calixtlahuaca a symbol of control over the area, the Aztecs raised new architecture phases in the ancient city center and installed Aztec-style deity images.
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Kim, Hyon-Sob. "Representing Korean architecture in the modern West: two Korean Pavilions from 1960s international expositions." Architectural Research Quarterly 21, no. 2 (June 2017): 155–70. http://dx.doi.org/10.1017/s1359135517000288.
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The Korean Pavilions for the 1964 New York World's Fair and the 1967 Montreal International Exposition were designed by Chung-Up Kim (1922-88) and Swoo-Geun Kim (1931-86) respectively, two pioneers of modern architecture in Korea. Both pavilions’ designs raise a widespread architectural question about the modern representation of tradition. In contrast to earlier pavilions in Chicago (1893) and Paris (1900) that replicated poorly supposedly ‘authentic’ Korean architecture, these 1960s entries modernised traditional architecture from their architect's creative viewpoint. While Chung-Up Kim noted the formal qualities of the Korean sloped roof, especially its curvilinearity, Swoo-Geun Kim emphasised the traditional timber structure underneath the roof, exaggerating its horizontal layers. In other words, the former's pavilion was more expressive and sculptural, which reflected the architect's Corbusian and even Aaltoesque tendencies. Conversely, the latter pavilion was more logical and systematic. However, Swoo-Geun Kim's interpretation of tradition was also ultimately about the form, though he soon became more interested in space. With regard to the form, the two Kims shared the fundamental idea that the past must not be imitated as it was, but re-created in a modern sense. This underlying argument is reflected in the contemporary ‘debate on tradition’ ignited by the design competition for the National Museum of Korea in 1966. It also relates to to the ‘Japanese-Style Scandal’ of 1967 in which Swoo-Geun Kim suffered for his design of the Buyeo National Museum, 1965-68, due to the inclusion of Japanese nuances in the design of the Montreal Pavilion. Swoo-Geun Kim's later high-tech style pavilion for the 1970 Osaka Expo, alongside recent projects by Minsuk Cho in Yeosu (2010) and Venice (2014) has more recently suggested alternative ways to represent Korea in architecture. Therefore, these two pavilions from the 1960s can be understood as unique inflection points in Korean architectural history.
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Alfirevic, Djordje, and Sanja Simonovic-Alfirevic. "Urban housing experiments in Yugoslavia 1948-1970." Spatium, no. 34 (2015): 1–9. http://dx.doi.org/10.2298/spat1534001a.
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In the period from 1948 to 1970 urban housing architecture in Yugoslavia had a distinctly experimental character as it strived intensively towards research and establishment of new architectural patterns and values that would mark the period of economic growth of the country. In conditions of mass housing construction, initiated by the devastated urban housing fund after the Second World War, significant influx of population to towns and the state directed its socialist aspirations at alloting every family acceptable living space. The period of the so-called ?directed housing construction?, whose imperative was to establish the limits of existential minimum in collective housing, maximal space ?packing? and optimal functionality of flats, at the same time represents the most significant period in the development of housing architecture in Yugoslavia. The architects focused their interests in housing in mainly three directions: a) the creation and application of new prefabrication systems, b) innovative application of modernistic patterns in aestheticization of architecture and c) experimenting with space units which will enable a higher level of privacy in high-density housing conditions. The first direction of research emerged in the context of post-war housing construction of a wide scope, which encouraged the advance of technological research in areas of prefabrication and practical application of achieved results on the whole territory of Yugoslavia. The second direction dealt with architectural planning which was strictly subordinated to social and ideological sphere with domineering socialist monumentalism and artistic and sculptural approach to architecture. The third was related to experimental tendency with new urban housing patterns which aimed to search and find more pragmatic, humane solutions within mass high-density housing constructions which were the first to utilize and show examples of ?double-tract? buildings. These were primarily realized in Serbia, as continuation of tendencies first expressed in activities of ?Belgrade School of Housing?.
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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.
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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies.
This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.
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Lochhead, Ian. "Unbuilt Sixties: The Unsuccessful Entries in the Christchurch Town Hall Competition." Architectural History Aotearoa 2 (March 16, 2021): 23–31. http://dx.doi.org/10.26686/aha.v2i0.6708.
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The completion of the Christchurch Town Hall in 1972 marked the end of a process which had begun in 1964 with a national competition, the largest and most prestigious of the post-war era in New Zealand and one of the major architectural events of the 1960s. Although Warren and Mahoney's winning design has assumed a prominent place in New Zealand architecture, unsuccessful designs by among others, Pascoe & Linton; Lawry & Sellars; Austin, Dixon & Pepper; Gabites & Beard and Thorpe, Cutter, Pickmere, Douglas & Partners, are virtually forgotten. These designs deserve to be better known since they offer an invaluable insight into the range of architectural approaches being employed during the mid sixties. Standing apart from the short listed designs is Peter Beaven's more widely published entry, which was singled out by the jury as being especially meritorious. The paper will examine unrealised designs for the Christchurch Town Hall in the context of contemporary attitudes towards concert hall and civic centre design. Approaches ranged from the Miesian international modernism of Lawry and Sellars to the sculptural forms of Beaven's proposal in which influences as diverse as Aalto, Scharoun and Mountfort are strikingly integrated. The paper will also assess Warren and Mahoney's unbuilt civic centre design within the framework of the competition entries as a whole. Such unbuilt designs constitute an important, but largely invisible part of the architecture of the 1960s and deserve to be re-inscribed within in the history of the period.
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Amalia Ningsih, Tria, Dalhar Susanto, and Intan CHairunnisa. "Mix Concrete: Combining the Composition to Create New Surface of Architectural Building." E3S Web of Conferences 67 (2018): 04021. http://dx.doi.org/10.1051/e3sconf/20186704021.
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Concrete has been transfigured from the object of mass production at twentieth century to advancing technology of building a new formation of contemporary architectural design. Concrete has evolved in ranging aggregate particles, to push the boundary the concept of reinforcing concrete with high-performance quality the thinness or elasticity. There are several conditions of concrete construction based on assembling this material towards architectural buildings. In the architectural practice, the issue of structure underlines the combination of concrete system which resists the tensile strength. Concrete also reflects on surfaces of architectural elements and potentially reshaped as a vehicle for sculptural form. Mixed concrete is a preliminary idea of mixing concrete composition with other materials such as gravel, ceramic and plastic which then discovers different form or texture. The forms of expression which have emerged alongside the technical developments reflect aesthetic value with various surfaces. This exploration is a part of learning activities in building technology class which aims at directing students to utilize concrete through mixing technique. It is developed in order to create a sustainability process of concrete and discuss the possibilities of future environmental impact by using concrete. Reshaping the visible face of concrete reveals the astonishing achievement of architecture.
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Lorenc, Marek W., and H. Lorenc. "Stone in architecture and sculpture – source material for reconstruction." Acta Geoturistica 9, no. 1 (July 1, 2018): 1–8. http://dx.doi.org/10.1515/agta-2018-0001.
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Abstract Stone is the oldest, natural material, which was (and still is) used as both building and sculptural material. The most commonly used for these purposes are: granites, marbles, limestones and sandstones, representing the three main genetic groups of igneous, metamorphic and sedimentary rocks. All of them are permanently being destroyed in result as well of natural weathering as microbiological activity and anthropogenic pollution of atmosphere, known as deterioration. The speed of such decay depends on both environmental conditions and mineral composition of the stone and it can lead to such intensive destruction that conservation may require partial replacement. Smaller damages are refilled with appropriate mineral masses, whereas in case of bigger damages refilling with natural stone is necessary. Professional conservation practice demands the selection and use of the same rock or the rock that is, in so far as is possible, identical to that originally used. It can be done only after previous detailed petrographical studies of the original material. Only then the stone material used for reconstruction will be appropriate and stonework performed properly will not (or almost not) leave marks. In many cases the ancient quarries do not exist and original source material is not available. Then petrographical studies of numerous rock-samples, which are recently available from other existing and/or working quarries, will allow the indication the most similar material. In many cases, unfortunately, the stone used for replacement is not identical to the original but only macroscopically similar. In such a case results might be visible sooner or later. These will be differences in colour, differences in structure and in some cases even crystallization of secondary minerals in the newly inserted fragments.