Literatura académica sobre el tema "Architectural criticism – history"
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Artículos de revistas sobre el tema "Architectural criticism – history"
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Fasheun-Motesho, Yetunde Olajumoke, Victor Adeyemo, Oludare Obaleye y Oluwatosin Dorcas Ayanleke. "Architectural criticism: A review of types and context". Caleb International Journal of Development Studies 06, n.º 01 (31 de julio de 2023): 218–28. http://dx.doi.org/10.26772/cijds-2023-06-01-15.
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Given its wide scope, architectural criticism as a discipline has had a long history of discussions and debates over its uses, contexts, methods, and even boundaries. Authors have alluded to its complex and virtually indefinable nature. The term architectural criticism itself is diverse in its usage, as it is used to describe the activities of critics, academic architectural treatises, and the architectural design decision-making process. Beyond its architectural origins, architectural criticism itself also approaches architecture from an interdisciplinary standpoint, often blending and adapting the methods and ideas of other disciplines to architecture. Despite its long history, not too many review papers approach the subject from a broad and general perspective. The majority of previous works have tended to focus on gaps or more specialized matters within the subject area. This thematic review therefore focuses on the amalgamation of existing literature on the nature of architectural criticism. A keyword search, followed by a filter using inclusion criteria from the Google Scholar Database, identified 52 articles. After a review of these articles, only 26 were found useful. This paper synthesizes and discusses the works of different authors in the areas of types and contexts of architectural criticism. The discussions will benefit future studies on the general nature or characteristics of architectural criticism and can be used as a guideline for highlighting and understanding the key issues in architectural criticism. Keywords: Architectural Criticism, Criticism Context, Criticism Types
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory". Architectural Research Quarterly 8, n.º 2 (junio de 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Tavernor, Robert. "Architectural history and computing". Architectural Research Quarterly 1, n.º 1 (1995): 56–61. http://dx.doi.org/10.1017/s1359135500000105.
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This paper is based largely on a document presented at a conference celebrating the 25th anniversary of the Martin Centre, held at the University of Cambridge in October 1992. It takes as its point of departure Sir Leslie Martin's essay, ‘Architects’ approach to architecture' (Martin, 1967). Commencing with his argument that ‘intentions and processes’ in architecture are more fundamental than form, this paper questions past attempts at relating history to architectural process, and outlines the potential offered by more recent advances in technology – especially, photogrammetry and the computer – for achieving a more objective and broader base for architectural criticism and consensus.
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Grigas, Algimantas. "Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals". Journal of Sustainable Architecture and Civil Engineering 33, n.º 2 (31 de octubre de 2023): 58–71. http://dx.doi.org/10.5755/j01.sace.33.2.33419.
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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomena of architecture criticism are explored using the theoretical framework of W. Attoe from his book “Architecture and Critical Imagination” (1978). The results of the research brought several understandings. Despite the common belief among professionals that architects should be predominantly the creators of architecture criticism, architects by profession make up only half or less of the total number of texts in the specialized press. The dominating types of architectural criticism are normative and descriptive (excluding the texts that would describe the context of an architectural idea or particular building). There are very few examples of interpretative criticism encountered (except in the thematic group of criticism around interior design). Further discussion of prevalent thematic groups led to the conclusion that architectural criticism in Soviet Lithuania alongside the official “politically allowed criticism” has been using disguised forms of texts. There has been an underlying narrative to promote modernist or simply, new architecture principles using photography with little to no text, indirect speech, and other forms of non-explicit communication. One of the wider goals of this paper is to initiate wider research into the subject of architectural criticism of Soviet Lithuania and also validate the existence of the neglected phenomena using the specific material of professional and academic architectural publications.
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Holly, Michael Ann y Tina Waldeier Bizzarro. "Romanesque Architectural Criticism: A Prehistory." American Historical Review 99, n.º 3 (junio de 1994): 889. http://dx.doi.org/10.2307/2167811.
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Ding, Guanghui, Jonathan Hale y Steve Parnell. "Constructing a place for critical practice in China: the history and outlook of the journal Time + Architecture". Architectural Research Quarterly 17, n.º 3-4 (diciembre de 2013): 237–52. http://dx.doi.org/10.1017/s1359135514000062.
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This paper investigates the history and programme of the Chinese architectural journal Time + Architecture (Shidai Jianzhu). As one of the newly established architectural periodicals in post-Mao China, the journal was launched in 1984 by academics Luo Xiaowei, Wang Shaozhou and their colleagues at the Department of Architecture in Tongji University, Shanghai. The journal's close association with academic institutions and commercial design firms shaped its dual nature; that is, both scholarly and professional. At the turn of the millennium, the journal's substantial reform of editorial policy redefined its character from a ‘presenter’ of received materials to a ‘producer’ of selected collaborative work, and enabled it to maintain editorial distinctiveness in the Chinese architectural publishing scene.This paper argues that Time + Architecture constructed a significant place for critical practice in contemporary China through the presentation of critical architecture and architectural criticism. Over the past few decades, the journal, under the editorship of Zhi Wenjun, published a number of special issues on the work of emerging independent architects such as Yung Ho Chang, Wang Shu, Liu Jiakun and others. The thematic topics, projects and criticisms presented by the journal exemplified an editorial agenda to publish innovative and exploratory work and demonstrated the editors' and contributors' collective endeavours to develop a critical discourse that confronted the dominant ideology of architecture.
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Petrulis, Vaidas. "Architectural Criticism in Lithuanian Interwar Press: Preconditions of the Phenomenon". Art History & Criticism 17, n.º 1 (15 de noviembre de 2021): 59–70. http://dx.doi.org/10.2478/mik-2021-0005.
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Summary The main goal of the article is to find out whether a specific genre of architectural criticism was formed in the public discourse of interwar Lithuania (1918–1940), and if so, to define the main tendencies of this phenomenon. After defining the critique of architecture as a public discourse in which, based on theoretical knowledge, reflections on the essence of architecture or evaluations of ongoing urban development and buildings are popularly presented, the article discusses such texts in interwar Lithuania. The publication will acquaint readers with the most creative reviewers of architecture and the thematic variety of publications attributed to architectural critics. The article will also reveal personalised, unexpected assessments of buildings that have already become objects of heritage.
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Zakharyna, Yu Y. "Architectural images of history and culture: contemporary interpretation". Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, n.º 1 (25 de febrero de 2021): 87–96. http://dx.doi.org/10.29235/2524-2369-2021-66-1-87-96.
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The problem of recreating historical and cultural events and phenomena in architectural images is raised for the first time in Belarusian art criticism. The work is devoted to the scientific understanding of images of modern architectural objects that reflect the theme of history and culture in the context of the simulated environment of society. Images of modern architecture are interpreted from the point of view of reflecting the world picture in their content and visualizing the memory of peoples about the historical past and cultural assets of human civilization. The research is based on an artistic and imaginative concept that allows us to interpret objects of modern architecture in the unity of three principles – as a cultural phenomenon of the digital age, as a cultural and historical phenomenon, as well as a way, form and product of mastering and reflecting reality. The article reveals the peculiarities of interpretation of historical and cultural themes in the imagery of modern buildings. The research focuses on the technological aspect of building modeling in the context of figurative architecture of the digital age. Through the deciphering of parables, the ideas of a person and society about spiritual values are revealed.
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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena". Journal of the Society of Architectural Historians 58, n.º 2 (1 de junio de 1999): 146–69. http://dx.doi.org/10.2307/991482.
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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.
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Dukić, Anđela. "Branko Popović as a contemporary and critic of Belgrade's architecture scene". Nasledje, n.º 24 (2023): 183–98. http://dx.doi.org/10.5937/nasledje2324183d.
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The activity of Branko Popović is primarily defined in historiography through valorizations of his artistic oeuvre and his role as an art critic, one that he continuously undertook during the first half of the 20th century. Given that Popović's contributions to architectural criticism and the interpretation of contemporary architectural phenomena and problems have often lain outside the main scope of particular research endeavours, instead often being presented in summarial form within monographs and anthologies, there is an acute need for elaboration of this area of his outputs. Popović primarily received his higher education at the Technical Faculty in Belgrade, where he later held the role of professor of history of art and architecture, and during the Second World War he held the position of Dean. The aim of this work is to present, through the review and analysis of articles published in pre-war and inter-war periodicals, another aspect of Popović's interpretations and criticisms, based on perceptions of and participations in contemporary events in the field of architecture, which would complete his contribution to the shaping of artistic thought.
Tesis sobre el tema "Architectural criticism – history"
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Samalavičius, Almantas Liudas. "Ideas and structures in architectural history". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
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The history of architecture in Western countries and Lithuania is researched from various points of view. Such significant elements of architecture as light, color, sound, and water so far have been studied as far as their relation to the architecture of certain specific historical periods is concerned. However, up till now research of this kind was limited to deep, yet narrow, fragmented and specialized views of certain historical periods, or research projects were concerned with certain specific aspects of connections between works of architecture and metaphysical beliefs. Because of this, research of architectural history still lacks a thorough account of how metaphysical, religious, and philosophical worldviews affected the artistic expression of architecture of different periods. Without a sufficient amount of research of this kind, it is impossible to reconstruct a thoroughly consistent and more or less total view of the historical development of architecture. On the other hand, it strikes one as obvious that while the history and theory of architecture is being studied in Lithuania, we witness a lack of research work on the concepts of light, color, sound, and water that dominated during certain historic periods. Their impact upon the development of architecture needs to be analyzed and evaluated synthetically in a way that is consistent with a generalized approach, and with the help of research methods applied in the history of ideas and principles of analysis... [to full text]Architektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
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Orth, Michael D. "Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District". DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Merwood, Joanna. "Towards the architecture of the future : César Daly and the science of expression". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23202.
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The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process.Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.
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Anderson, Jennifer K. "Dogtrots in New Orleans: An Urban Adaptation to a Rural House Type". ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1604.
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The dogtrot house type is an important type of vernacular architecture in the American landscape, particularly in rural areas of the southern United States. Little is formally written or known about the dogtrot type houses in New Orleans, which appear to be a unique evolution of the rural dogtrot form specifically adapted for the urban environment. This thesis examines the existing literature regarding the dogtrot house type and analyzes the architectural history of the remaining dogtrot type homes in New Orleans in order to establish that they are correctly classified, and also to investigate any possible links with rural dogtrots. The findings promotes awareness of the dogtrot house type in the urban setting, and contribute to the larger picture of vernacular architectural adaptation in the United States. Further, this thesis lays the foundation for landmarking the 16 remaining dogtrots in New Orleans.
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Reynolds, Craig A. "Thomas Jefferson’s Designs for the Federal District and the National Capitol, 1776-1826". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3779.
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This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design.
This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders.
Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.
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Muhidine, Eléonore. "Reconstruire la ville par les mots : trajectoires et engagements des critiques d’architecture berlinois des années 1950 à 1980". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20055.
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L’émergence, dès la seconde moitié des années 1950, de deux milieux de la critique architecturale à Berlin-est et à Berlin-ouest, révèle, malgré les contraintes politiques qui pèsent sur ses acteurs, une volonté partagée de réflexion sur l’identité urbaine de la ville divisée. En effet, la Reconstruction des villes allemandes après la Seconde Guerre mondiale désigne un vaste projet de remise en service des infrastructures matérielles, mais aussi, de redéfinition d’un champ culturel et intellectuel profondément marqué par le nazisme. Adoptant une perspective d’histoire culturelle et des intellectuels, cette thèse explore les carrières, écrits et réseaux d’Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm et Nikolaus Kuhnert à Berlin-ouest, et de Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl et Wolfgang Kil à Berlin-est. Architectes ou historiens de l’art de formation, auteurs dans la presse spécialisée, et journalistes dans la presse généraliste écrite et radiophonique, mais aussi, parfois, éditeurs et professeurs dans les universités et écoles d’art, ces critiques d’architecture et de la ville s’engagèrent, entre les années 1950 et 1980, pour la reconnaissance d’une culture architecturale [Baukultur] berlinoise au XX ͤ siècle. Ils furent aussi, à bien des égards, les initiateurs d’une redéfinition des enjeux de la critique architecturale et urbaine dans l’Allemagne d’après 1945Both in East and West Berlin, as soon as the mid-fifties, architecture critics have come to the fore and shown that in spite of political pressures imposed on them, they shared a will to reflect upon the urban identity of the divided city. Indeed, the Reconstruction of German towns after WWII refers to a vast project of restoration of the material infrastructures but also the redefinition of a cultural and intellectual landscape bearing the heavy mark of Nazi ideology. Choosing a perspective of cultural and intellectual history, this thesis explores the careers, writings and networks of Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm and Nikolaus Kunhert in West-Berlin and of Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl and Wolfgang Kil in East-Berlin. Whether architects or history of art specialists, writers in the specialist press, journalists in the general press but also sometimes publishers and teachers in universities and art schools, those critics committed themselves to making the Berlin architectural culture [Baukultur] known in the XXth century. To a large extent they initiated a redefining of the stakes of architectural and urban criticism in post 1945 Germany
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Morgan, Peter Alexander. "The Apparition of Transference". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430915081.
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Fried, Spencer J. "Pursuing the Preservation of Place: The Automobile’s Significance to Los Angeles’ Physical Character and the Opportunity for its Continued Existence". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1152.
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Transportation is a discussion of the utmost concern in Los Angeles. The automobile poses great detriment to the environment, people’s economic stability, and the health and safety of the community. A conversation that has, however, been absent from the discussion on transportation is the particular cultural and historical significance and value of the automobile to Los Angeles; it has been seldom discussed that the automobile has been extremely influential to the physical character of the city deems it an object worth preserving. Unlike the literature that exists, this thesis specifies and details ways in which the automobile has influenced and continues to influence the urban context and architecture of Los Angeles. Simultaneously, this thesis discusses the means by which the automobile can be preserved and repurposed into an object contributory to the city’s plans for a sustainable future. By the reevaluation and reinterpretation of the car and car culture, the city would be in effect capable of reclaiming its title as the model future city, a title it achieved and also eventually lost during the 20th century in large part because of the automobile. This thesis further contributes to the greater comprehension of the context of Los Angeles and revives a conversation about the city’s potential to be a precedent for other cities.
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Guo, Yuqiao. "Post-disaster Transitional Housing for Displaced People". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/124.
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Post-disaster displacement, with the increasing frequency and intensity of natural disasters, is quickly arising to become one of the most serious humanitarian challenges in the 21st century. As post-disaster housing spans several phases, the transitional housing phase is equally crucial as emergency sheltering and permanent housing: as dwellers remain in transitional housing projects up to years, their physical and emotional wellbeing is directly influenced by their surrounding built environment. Existing literature and practice have not paid enough attention to the built structures of post-disaster transitional housing. This thesis revisits past practices world-wide and architectural theory in the 20th century. Arguing that current transitional-housing design methodology is still deeply rooted in early 20th century Modernist ideologies, this thesis ties the missing link between architectural theory and humanitarian built environment design. Through examining theories and case studies, this thesis stresses the importance of approaching post-disaster transitional housing through the lens of architectural design, and makes suggestions for future improvements.
Libros sobre el tema "Architectural criticism – history"
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Bizzarro, Tina Waldeier. Romanesque architectural criticism: A pre-history. Cambridge: Cambridge University Press, 1992.
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Georgia, Bizios, ed. Architectural theory and criticism, urban design theory, architectural history. Durham, N.C: Eno River Press, 1991.
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1960-, Linder Mark y Bergren Ann, eds. Scogin, Elam, and Bray: Critical architecture/architectural criticism. New York: Rizzoli, 1992.
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Joan, Ockman, ed. Architecture, criticism, ideology. Princeton, N.J: Princeton Architectural Press, 1985.
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Eggener, Keith. American Architectural History. London: Taylor & Francis Inc, 2004.
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Georgia, Bizios, ed. Architectural design, architectural theory, history, and criticism, human behavior, professional practice, special topics, urban design theory and history. Chapel Hill, NC: Eno River Press, 1998.
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Scheffler, Karl. Stilmeierei oder Neue Baukunst: Ein Panorama Berliner Architektur. Berlin: Transit, 2010.
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Sandaker, Bjørn Normann. Reflections on span and space: Towards a theory of criticism of architectural structures. Oslo: Arkitekthøgskolen i Oslo, 2000.
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Marco, Diani y Ingraham Catherine, eds. Restructuring architectural theory. Evanston, Ill: Northwestern University Press, 1988.
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1937-, Fischer Heinz Dietrich y Fischer Erika J, eds. Cultural criticism, 1969-1990: From architectural damages to press imperfections. München: K.G. Saur, 1992.
Buscar texto completoCapítulos de libros sobre el tema "Architectural criticism – history"
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Bowring, Jacky. "History of landscape architectural criticism". En Landscape Architecture Criticism, 9–18. Milton Park, Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429450983-2.
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Leatherbarrow, David. "Crafting Architecture Criticism". En The Routledge Companion to Contemporary Architectural History, 241–52. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781315674469-15.
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Sandalcı, Sema. "The Architectural and Artical Criticism of the Movie Troy". En Architecture in Cinema, 292–98. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010036.
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This study is about how the 2004 American movie Troy reflects the Iliad and Aeneid, which it was adapted from. First of all, it is a cultural duty to treat important historical events in visual arts such as cinema. It also is a vehicle to not forget history because there is a true-life reality in which many people died in pain. Subjects can be treated with different perspectives based on historical realities. It is possible to enrich the film or artwork (with fantasies) on the condition of making an explanation at the beginning. The thing to be emphasized is to present the historical texture to the audience as simply and as impartially as possible and to consolidate their knowledge. However, while doing this, the single issue that needs to be avoided is propaganda. Since propaganda is a trick, it is impossible to put it in the same position as emphasizing the truth. Therefore, we endeavored in this study to express how faithful the producers were to the architecture, religion, and art of the period, especially to the main themes highlighted in the Iliad. Throughout history, Troy was the most famous of the cities with its indestructible walls, smooth streets, beautiful houses, wealth, and fair administration. Characters such as Achilles, Hector, Paris, Agamemnon, Menelaus, Odysseus, Priam, and Helen have impressed people and also have been an inspiration to people for centuries. The movie Troy had no difficulty in winning the audience's appreciation with its action, costumes, and rich cast, just because its fame is based on an endless saga. Moreover, this film has particular importance for Turkey and Greece in terms of a common history and social values. For this reason, we accept as a duty to point out some sensitivities and present them to readers.
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Kartal, Semiha. "The Journey Of Love(Before Sunrise/Before Sunset/Before Midnight)". En Architecture in Cinema, 159–64. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010020.
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In the Richard Linklater film series, one of the examples of independent cinema, the journeys of two American and French young people who met on the train during their European trips are described with architectural details. In the film series featuring the same director and actors, the architectural identities of Vienna, Paris, and Greece are presented with their natural and built environments. The intensity of emotion that can be called “First Love” in this work was experienced in Vienna. It is possible to see the relationship established by culture, art, and architecture with its buildings, avenues, streets, palaces, squares, cemeteries, fountains, and sculptures in this city. Various styles of the history of art and architecture, ranging from a Gothic cathedral to Baroque buildings, have been visualized through this film. It is possible to say that these styles differ from each other in terms of form and content, as well as the aesthetic values they add to the city. In the city, traces of eclecticism can be seen, reflecting the complexity of the intellectual environment, which is the subject of criticism by architects. In this context, the story of two young people presenting the history and texture of the city with a visual feast on the streets of Vienna also showed the relationship established by architecture and cinema. While describing 'Love', the frames in which the unique architectural beauties of the city are exhibited have presented how the art of cinema uses the architectural elements that are the language of the city in a visual dimension. In this context, it is possible to say that the art of cinema, which visualizes the stories of cities as living organisms, effectively uses architecture to contribute to its memory.
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Shasore, Neal. "Manners". En Designs on Democracy, 263–326. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192849724.003.0006.
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Abstract The chapter considers the writing and campaigning of the Welsh architect-planner and critic Arthur Trystan Edwards in order to unpack the perceived need for public propriety, decorum, and manners, alongside a developing sense of a proprietary public. For Trystan Edwards manners was a foundational principle of civic design. ‘Manners’ became intrinsic to a neo-Georgian, and neo-Regency, approach to urban design which aspired to be contextualist, restrained, and nationalistic; it related not only to the quotidian but also to the ideal of public service. The first sections of the chapter look more closely at Trystan Edwards’s architectural thought and writing, placing his ideas about ‘manners’ and public propriety in the broader context of his principles of civic design. In his socio-political vision of civic life—in which design and architecture were central—manners had a bearing not only on criticism but also on practice, through campaigning and voluntary activity. The remainder of the chapter turns to Edwards’s campaigning vehicle, the Hundred New Towns Association (HNTA), established in 1933, which advocated a national programme of low-rise, high-density house-building and associated public amenity. It was a vision of a good-mannered and well-ordered society, in which urbanity was celebrated and fostered through a civic spirit. The HNTA provides an almost anti-history of mainstream planning and architectural approaches to the housing question in this period. The chapter explores Edwards’s surprising connections to movements in heterodox economics, liberal Anglicanism, and positive eugenics—discourses which were intrinsic to liberal intellectual culture, and posed fundamental questions about community need and benefit, as well as social control. For Edwards, they were a means of bolstering a well-mannered physical and social public realm.
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Shasore, Neal. "Introduction". En Designs on Democracy, 1–48. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192849724.003.0001.
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Abstract The Introduction nuances our familiar conception of interwar architectural history as fundamentally split between ‘Modernism’ and ‘Traditionalism’ by exploring the German Expressionist Erich Mendelsohn’s first visit to Britain in 1930. It uses this occasion to look at common critical concerns for both ‘camps’ and proposes an alternative explanatory framework that captures prevalent anxieties, dynamic attempts at problem-solving, and new modes of criticism and practice, especially civic design and the emergence of the interwar ‘architect-planner’. The second part of the Introduction reframes the 1920s and 1930s in terms of post-war reconstruction. From 1917, the energies of the state, industry, and institutions were turning towards reconstruction—economic, social, and physical. The professions and their corporate bodies were also prompted to reflect. Architects anxiously seized the opportunity to engage with bold and radical ideas to strengthen, or even remake, their own profession and definitively resolve tensions which had dogged them for decades. They began to think more corporately and to champion a professional ideal which ultimately overrode the sometimes internecine rhetoric of architectural discourse—the ‘battle of the styles’—which has been overemphasized in existing accounts of the period. All architects had designs on democracy; they sought to shape and co-opt it, and to preserve the precarious privileges of professional status. This is the driving thesis of the book and the Introduction ends with an overview of its structure.
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Wight, Martin y DAVID S. YOST. "The Principles of Historiographical Criticism". En History and International Relations, 56–67. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192867476.003.0005.
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Abstract Wight noted that there are two “stock answers” in assessing the greatness of historical writing: “literary power” and “accuracy and reliability.” W. K. Hancock suggested three virtues for the historian—“attachment, justice and span.” Attachment, “the opposite of detachment,” calls for involvement in people and situations, while “justice or fairness is born to redress the balance between varying attachments.” Span shows “an awareness of background: it places the object of immediate and intense study in its proper perspective with the other objects, near or distant, to which it is necessarily related.” In Wight’s view, these three virtues are not “quite comprehensive enough.” Wight proposed that historical works be critically “considered under at least four headings: Mastery of the Sources, Historical Imagination, Historical Architecture, and Philosophical Depth.” The minimum requirement for a historian is mastering the relevant sources. Historical Imagination enables the scholar “to enter into the past, to understand it from the inside, to re-experience it.” Historical Architecture provides for “an apprehension of the passage of time.” Historical Reflection, which Wight also calls Philosophical Depth, concerns “fundamental beliefs about the nature of man and history.” The philosophical import of a work of history may be formulated as “concealed” or “implicit” theory. In Wight’s judgment, “The highest task of historiographical criticism would be to discriminate the kind of historical reflection which is not itself subject to decay”—works of the calibre of Thucydides and Ranke.
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"Deconstruction: The Project of Radical Self-Criticism". En A Critical History of Contemporary Architecture, 97–118. Routledge, 2016. http://dx.doi.org/10.4324/9781315263953-11.
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"10. From Public Scene to Private Space: Architecture as Culture Criticism". En Thinking with History, 157–71. Princeton: Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400864782.157.
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Akarsu, Hikmet Temel. "Intellectual Criticism and Space in Cinema; Winter Sleep". En Architecture in Cinema, 112–19. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010015.
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Winter Sleep is a movie that won the Palme d'Or at the Cannes Film Festival in 2014. It is directed by Nuri Bilge Ceylan who has a worldwide reputation and prestige. Let us also add that this movie won the FIBRESCI award, and it has more accomplishments at the box office than the director’s other movies, which have more stable cinematic language. In regard to the narrative of Winter Sleep, although the preference for space is made effortlessly, through common sense and intuition, it is the right choice for sure. The reason for that is that Cappadocia and the Turkish intellectuals have identical attributes. Rough life climbing up a magnificent history, structures in which makeshift lives with a profound past reside as well as a sophisticated spatial formation that undertakes the duty of reflecting the silence that mocks its miserable people, and a generation that has been brought up incorrectly, corruptly mediating the vulgarized use of a magnificent architecture. Winter Sleep is filled with these, and it is truly a film of melancholia. Because the director went about his creation in a place where the psychopathology of the space and the problems of our intellectual intersect, paradoxically, the work has found a strong structural foundation. That is to say, the success of Winter Sleep comes from the fact that it approached the architecture of Cappadocia, which had been used as a gallery of cliches and antiquity until then, with a negative commentary. The significance of the movie lies in the fact that it judges, or rather dissects, our intellect through the mistreated, hurt, and pessimistic appearance of Cappadocia. On the one hand, corrupted intellectuals, who are looking for a remedy for their hopeless spiritual wounds in suffocating hazy, narrow rooms and in depressing spaces that are engaged with mazes, make their games central to their lives.
Actas de conferencias sobre el tema "Architectural criticism – history"
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Bedford, Joseph. "On the Uses of History, Theory, and Criticism for Architecture". En 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.47.
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It has been nearly two decades since Sarah Whiting, Bob Somol, Michael Speaks and Stan Allen, declared that architectural design practice should break from what they described as a design culture bogged down with theory, and restrained by what they called the “critical project.” This paper returns to the twin problematic of post theory and post critique. Yet it approaches the topic from a more institutional perspective, developing a new diagnosis based on the fate of institutional arrangements within schools of architecture involving the creation of “history, theory, and criticism” in the mid-1960s and its relation to design practice. It returns to papers delivered by Peter Collins, Bruno Zevi, Sibyl Moholy-Nagy, and Stephen Jacobs at the 1964, ACSA-AIA Cranbrook Teachers Seminar in order to revisit a number of arguments about why schools of architecture should develop a particular relationship to history within their own institutional context, different from art history and uniquely tied to theory and criticism; and how this development would enable studio design practices to be critical. Despite this institutional settlement, which gave birth to a new form of history inside schools of architecture that promised to transform practice into a new critical mode, larger processes of academic growth during the 1980s and 1990s have led to a severance of this relationship and a return to something close to what Collins, Zevi, Moholy-Nagy and Jacobs criticized when they challenged architectural education’s derivation of its history from the independent field of art history, which they deemed too disengaged from creative practice. The paper argues that our posttheoretical and post-critical situation within the culture of architectural design has more to do with the changing institutional configuration within education: namely the professionalization and thus polarization of history and design, and the erasure of the mediating field of theory and criticism.
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age". En 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.56.
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Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination methods, a choice fraught with challenges like exacerbating students’ exam anxieties and promoting rote learning. Alternatively, we could embrace progress, acknowledging the inevitable influence of these tools on student work, and pivot assessment strategies towards elements that currently elude these technologies – metacognitive and soft skills.This investigation acknowledges the ethical dilemmas of tool-assisted work, from blurred boundaries of authorship to potential inequities as students with access to superior tools gain an advantage. Yet, amidst these considerations, the study emphasises the enduring importance of a robust grounding in history, theory, criticism, in crafting socially meaningful, utilitarian, and life-enhancing architecture, even in the face of these tools’ transformative influence.Drawing on firsthand experience and empirical data from a restructured History, Theory, and Criticism course at a tertiary institution, this paper explores student feedback and how their perceptive and expectations of working with generative tools might be better aligned within an academic context within a supportive, ethical and transparent framework. This perspective offers a glimpse into the potential of a pedagogical model that incorporates these tools while preserving the primacy of critical thinking and research skills. As we navigate this evolving educational landscape, this study underscores the imperative of preparing our students not just for the architectural challenges of today but for the tool-enhanced realities of tomorrow.
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Brand, Anthony. "The ChatGPT Effect: Rethinking Architectural Pedagogy in the AI Age". En 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.55.
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Can the architectural classroom harness the power of advanced text-generating tools? This paper delves into the dramatic shifts spurred by these tools in architectural pedagogy, with a particular focus on OpenAI’s ChatGPT. It underscores the pressing need to reconfigure our pedagogical strategies as we grapple with the profound implications of such technologies for traditional essay-based assessments.The advent of these text-generating tools in the academic realm presents two distinct paths for the future of architectural pedagogy. We could revert to traditional, invigilated examination methods, a choice fraught with challenges like exacerbating students’ exam anxieties and promoting rote learning. Alternatively, we could embrace progress, acknowledging the inevitable influence of these tools on student work, and pivot assessment strategies towards elements that currently elude these technologies – metacognitive and soft skills.This investigation acknowledges the ethical dilemmas of tool-assisted work, from blurred boundaries of authorship to potential inequities as students with access to superior tools gain an advantage. Yet, amidst these considerations, the study emphasises the enduring importance of a robust grounding in history, theory, criticism, in crafting socially meaningful, utilitarian, and life-enhancing architecture, even in the face of these tools’ transformative influence.Drawing on firsthand experience and empirical data from a restructured History, Theory, and Criticism course at a tertiary institution, this paper explores student feedback and how their perceptive and expectations of working with generative tools might be better aligned within an academic context within a supportive, ethical and transparent framework. This perspective offers a glimpse into the potential of a pedagogical model that incorporates these tools while preserving the primacy of critical thinking and research skills.As we navigate this evolving educational landscape, this study underscores the imperative of preparing our students not just for the architectural challenges of today but for the tool-enhanced realities of tomorrow.
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Camporeale, Antonio. "Spanish ‘Plastic’ Architecture. A critical reading and design approach." En 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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Casas Cobo, Francisco Javier. "Ronchamp in the spotlight. The feature of a shocking building in the 50s journals". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.942.
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Abstract: Although currently it is largely accepted that Chapelle Notre-Dame du Haut at Ronchamp is one of the milestones in Le Corbusier’s works, there is no less agreement in saying that it was one of the most controversial of his works and one turning point in modern architecture, not only in terms of digging a grave for functionalism but to opening a window to a wide bunch of architects and works that would have been excluded from history and maybe forever otherwise. In order to recall its importance, we must look back to how architectural journals featured Ronchamp in the mid fifties as, on one hand, Le Corbusier was not a young architect but a very well known and respected one with an international reputation and therefore, it was not easy to criticize his works and, on the other hand, Ronchamp was such a shocking building for many colleagues who had no choice but writing about it that somehow they were between the Devil and the deep blue sea. Keywords: Ronchamp; debate; journals; historiography, contemporary; criticism. DOI: http://dx.doi.org/10.4995/LC2015.2015.942
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Xinting, Liang. "The Trajectory of Collective Life: The Ideal and Practice of New Village in Tianjin, 1920s-1950s". En The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4026pt85d.
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Originated from New Village Ideal in Japan, New Village was introduced to China in the early 1920s and became a byword for social reform program. Many residential designs or projects whose name includes the term “Village” or “New Village” had been completed in China since that time. This paper uses the Textual Criticism method to sort out the introduction and translation of New Village Ideal theory in China, and to compare the physical space, life organization and concepts of the New Village practices in ROC with in early PRC of Tianjin. It is found that the term “New Village” continued to be used across several historical periods, showing very similar spatial images. But the construction and usage of New Village and the meaning of collective life changed somewhat under different political positions and social circumstances: New Village gradually became an urban collective residential area which only bore the living function since it was introduced into modern China. The goal of its practice changed from building an equal autonomy to building a new field of power operation, a new discourse of social improvement and a new way for profit-seeking capital. With the change of state regime, the construction had entered a climax stage. New Village then became the symbol of the rising political and social status of the working class, and the link between the change of urban nature and spatial development. Socialism collective life and the temporal and spatial separation or combination between production and live constructed the collective conscience and identity of residents. The above findings highlight the independence of architecture history from general history, help to examine the complexity of China’s localization New Village practice and the uniqueness of Tianjin’s urban history, and provide new ideas for the study of China’s modern urban housing development from the perspective of changes in daily life organization.
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Casais Pérez, Nuria. "Feeling (at) Home". En Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11642.
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The course is based on a Learning by Design and Project-Based Learning methodology, on which the project is the basis of the student’s education. The design course –architectural design– aims to offer critical reflections on the current social challenges in relation to housing and ecological issues. It integrates inquiry and study of the conditions and qualities that make a specific place inhabitable; skills on how to implement and develop building systems and techniques; and a rigorous knowledge and avid curiosity of architectural history, theory, and criticism that can operate within a particular cultural context while contributing meaningful improvements to it. In this sense, the course reflects on new residential fragments built in Aarhus through housing and domestic space in its different typologies, formats, and contexts, and the study of building systems, materiality, and tectonics. El curso se enmarca en una metodología de Learning by Design y Project-Based Learning, en la que el proyecto es la base de la educación del estudiante. El curso de proyectos –diseño arquitectónico– pretende ofrecer reflexiones críticas sobre los retos sociales actuales en relación a cuestiones habitacionales y ecológicas. Se promueve el indagar y estudiar las condiciones y cualidades que hacen que un lugar sea habitable introduciendo en la reflexión conocimientos sobre cómo implementar los sistemas constructivos y la técnica operando con un conocimiento riguroso y una curiosidad por la historia, la teoría y la crítica en arquitectura. En este sentido, el curso reflexiona sobre nuevos fragmentos residenciales construidos en la ciudad de Aarhus a través de la vivienda y el espacio doméstico en sus diferentes tipologías, formatos y contextos, y el estudio de sistemas constructivos, la materialidad y la cultura tectónica.
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Christie, Robyn. "The Great Debate: Campaigns and Conflicts in London in the 1980s". En The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5016p9v9h.
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In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.
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McQuisition, Lauren A. "The Charlottesville Tapes Revisited". En 112th ACSA Annual Meeting. ACSA Press, 2024. http://dx.doi.org/10.35483/acsa.am.112.48.
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In the fall of 1982, Dean Jaquelin Robertson of the University of Virginia’s School of Architecture staged a two-day conference on the state of architectural practice. Held in UVA’s Rotunda, the closed-door conference included twenty-four invited architects. The group, although ideologically diverse, was notably entirely male and overwhelmingly Euro-American. Those in attendance included established and emerging architects Philip Johnson, Paul Rudolph, Tadao Ando, Peter Eisenman, Robert Stern, Michael Graves, Frank Gehry, and Rem Koolhaas among others. Organized much like a studio review, each architect presented a single, unpublished project which was then critiqued and debated by the group. The full transcript of the proceedings, was later published by Rizzoli. The Charlottesville Tapes, was intended as the first in a recur-ring series of conferences and publications of “architects on architecture” emphasizing the role of designers, rather than critics, historians, or journalists in establishing the discourse of contemporary practice.Organized at a critical moment in the early 1980s, the disci-pline was caught between competing claims and shifting ideological viewpoints on innovation and tradition, history and theory, and modern and post-modern aesthetics. Rather than resolve these tensions, the event intended to explore the pluralistic state of contemporary practice through a series of open debates, a democratic format, further reinforced by the auspicious setting of Thomas Jefferson’ Academical Village. Frequently referenced as an early moment of recognition for the younger generation of invited architects, many of the conference’s participants later served in prominent leader-ship roles in practice and academia, receiving international recognition for their work. As a result, the conference has had lasting repercussions for architectural practice and pedagogy, particularly in the US context.
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Serreli, Giovanni. "Il castello di Marmilla (Las Plassas, Sardegna) e il Museo MudA: una proficua esperienza di valorizzazione e le sue criticità". En FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18050.
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As part of the study of the medieval castles of Sardinia, since 1997 I studied the Castle of Marmilla (Las Plassas, Sardinia), one of the border castles of the Kingdom of Arborèa. After having published a monograph and various scientific articles on the castle and the historical landscape, in agreement with the municipal administration we have studied, conceived, designed, and built a museum, the MudA multimedia museum of the Kingdom of Arborèa. Built at the foot of the Castle, it was inaugurated in 2013 and immediately met with considerable success among specialists and enthusiasts, obtaining important funding and recognition. In fact, thanks to a multimedia, multi-sensory and playful approach, particularly suitable for school-age children, the visitor is invited to immerse themselves in the daily life of a medieval castle thanks to the most recent technologies; he thus discovers how a medieval castle worked, how people lived inside it, how people lived in the small villages around it and what its historical context was. The archaeological finds from the excavations of the castle conducted in 2007 are exhibited in a corridor of the museum, that gives them back their shape, function, and existence. The finds speak to the visitor in first person in the language of the Mediterranean place of production and tell of their construction, life, and use. A cook then invites visitors to participate in the medieval banquet offered by the castellan to his king, with the tasting of all the products of that landscape in the Middle Ages. Various interactive games enliven the course.The difficulty in creating thematic and territorial networks with other homologous cultural sites, due to short-sighted local policies and the inconsistency of the new administrators, risks nullifying the existence of a small jewel of cultural enhancement in a territory rich in history but which currently risk depopulation.