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.
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Loerke, William C. "A Rereading of the Interior Elevation of Hadrian's Rotunda". Journal of the Society of Architectural Historians 49, n.º 1 (1 de marzo de 1990): 22–43. http://dx.doi.org/10.2307/990497.
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The Pantheon, in particular the interior of the Rotunda, has posed a paradox: unrestrained praise for its overall effect; severe criticism for its interior elevation. The criticisms were rooted in a Renaissance perception of Roman imperial architecture, a perception based too heavily on a Vitruvian view of Hellenistic trabeate architectural design, largely irrelevant to the Rotunda. This view of the critiques of San Gallo the Younger, Michelangelo, Desgodetz, and Viollet-le-Duc leads one to the Roman aims of the Roman architect who designed this interior. I wish to show how the Hadrianic state of the Rotunda may be taken as a projection of the Roman idea of the templum mundi.
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Gao, Yuanben. "Commentary and Reflection on Contemporary Graphic Architecture through Kant's Aesthetic Critique Theory". Journal of Smart Cities 8, n.º 1 (30 de noviembre de 2023): 64. http://dx.doi.org/10.26789/jsc.2023.01.003.
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Since the beginning of the 21st century, a wave of innovative graphic architecture has emerged. However, these architectural works seem to have failed to inherit the profound aesthetics and sense of beauty associated with classical graphic architecture from history. Instead, they often exhibit superficial and exaggerated qualities, sparking widespread debate and criticism. This paper aims to integrate Immanuel Kant's aesthetic critique perspective, as presented in his work "Critique of Judgment," into the discourse on contemporary graphic architecture. By incorporating Kant's analyses and arguments regarding "agreeable," "beauty," and the "sublime" into discussions of contemporary architectural aesthetics, we seek to analyze and compare the similarities and differences between these new graphic architectural works and their classical predecessors. Ultimately, we arrive at the conclusion that these contemporary graphic architectural works, which often appear superficial and clichéd, are not deserving of admiration. At the same time, we propose recommendations for the design of future graphic architecture based on these insights.
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Dianat, Alborz. "Nationalizing the International Style". Journal of the Society of Architectural Historians 81, n.º 4 (1 de diciembre de 2022): 495–512. http://dx.doi.org/10.1525/jsah.2022.81.4.495.
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Abstract In Nationalizing the International Style: The Formation of British Identity in the Architectural Criticism of P. Morton Shand, Alborz Dianat considers the critical role played by architectural journalist P. Morton Shand (1888–1960) in the debate that took place in the interwar period as British architecture grappled with the seemingly irreconcilable ideas of nationality and modernity. Drawing on an archive of correspondence only recently made public, Dianat shows how Shand assumed a position of leadership in efforts to nationalize architectural modernism in Britain. Shand’s journalistic output contributed to a broader movement calling for a return to Georgian precedents alongside international models, and British architects heeded that call. Shand promoted a new identity for British architecture internationally through his formal and informal networks, and Britain’s leading role in architectural discourse into and beyond World War II was bolstered by his work.
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McParland, Edward. "A bibliography of Irish architectural history". Irish Historical Studies 26, n.º 102 (noviembre de 1988): 161–212. http://dx.doi.org/10.1017/s0021121400009640.
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What follows is a list — covering items published between 1900 and 1986 — of serious accounts of the history of important architectural projects undertaken in Ireland between the late seventeenth and early twentieth centuries. It is intended to be comprehensive in respect of monographs, collective works and articles in non-Irish periodicals, but in respect of Irish periodicals it is a supplement to Richard J. Hayes, Sources for the history of Irish civilisation: articles in Irish periodicals (9 vols, Boston, 1970). None of the above definitions is rigidly adhered to: much is included which falls outside their limits, but an attempt has been made to include everything that falls within them. The following have not been comprehensively included: (1) Monographs on non-resident architects whose careers, notwithstanding Irish commissions, were mainly abroad, e.g. Robert Adam, G.E. Street, Edwin Lutyens. This is partly because such architects are so numerous (there is evidence of over a hundred British architects having professional contacts with Ireland between 1750 and 1850) and partly because they are already well served bibliographically, e.g. by Howard Colvin, A biographical dictionary of British architects, 1600–1840 (London, 1978); (2) studies of the foreign careers of Irish architects, e.g. James Hoban, Eileen Gray; (3) studies of vernacular architecture (but see entry under this heading in the index); (4) contemporary reviews or criticism of buildings; (5) reviews of books; (6) printed primary sources, such as J.T. Gilbert, Calendar of ancient records of Dublin… (19 vols, Dublin, 1889–1944).
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Lopez Melendez, Miguel. "90 years of solitude". Paranoá 17 (1 de abril de 2024): e47929. http://dx.doi.org/10.18830/1679-09442024v17e47929.
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This paper shifts its attention from “South-South” relations to the absence of “South-South” relations in a culturally blind chapter of architectural criticism. It focuses on the postwar debate on architectural autonomy whose disciplinary reduction, especially in the United States, prevented an urban interpretation of a culturally sensitive autonomy. The paper argues that the dogmatic architectural criticism of the twentieth century and the post-critical discourse of the twenty-first century have failed to recognize that critical sensibilities other than Eurocentric and North American approaches exist in other regions such as Latin America. The paper is structured in four phases: a brief history of architectural autonomy; its disciplinary reduction; its overlooked cultural dimension; and its urban potential. The goal is to highlight the cultural blindness of critical and post-critical architectural discourses through a theory sensitive to cultural and urban solitudes based on a revision of the interdisciplinary interpretations of the term autonomy.
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Batubara, Muhammad Aziz, Hasan Asari y Muhammad Faishal. "Studi Historis dan Analisis Arsitektur Masjid Jamik Silalas Sei Deli, Kecamatan Medan Barat". Warisan: Journal of History and Cultural Heritage 4, n.º 2 (12 de noviembre de 2023): 63–73. http://dx.doi.org/10.34007/warisan.v4i2.1924.
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The integration of Islamic and cultural values, as well as local values in the Medan Barat Subdistrict, is marked by the emergence of new architectural representations in mosque design within the sacred realm of religious activities. This article examines the historical trajectory and architectural development of Jamik Silalas Sei Deli Mosque in the Medan Barat Subdistrict, encompassing its historical establishment, construction, and changes in the orientation of Islamic architectural styles over time. This study falls under the purview of Islamic architectural history and is a qualitative research endeavor employing historical research methods, including source collection, source criticism, interpretation, and historiography, with a specific focus on the Islamic architectural arts. The study reveals that the evolution of Islamic architecture at Jamik Silalas Sei Deli Mosque is influenced by the changing eras and local values in determining the mosque's development model. Furthermore, from a sociological perspective, the values embodied in this architectural art serve as a representation of the social and religious climate, which tends to be integrative within the community.
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Fernie, Eric. "Romanesque Architectural Criticism: A Prehistory. Tina Waldeier Bizzarro". Speculum 69, n.º 4 (octubre de 1994): 1120–22. http://dx.doi.org/10.2307/2865615.
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Carpov, Victor V. "Type-Antitype in Architecture". Journal of Interdisciplinary Studies 5, n.º 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Carpov, Victor V. "Type-Antitype in Architecture". Journal of Interdisciplinary Studies 5, n.º 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Fernie, Eric. "Three Romanesque Great Churches in Germany, France and England, and the Discipline of Architectural History". Architectural History 54 (2011): 1–22. http://dx.doi.org/10.1017/s0066622x00003981.
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(This is the text of the SAFIGB Annual Lecture, delivered at the Courtauld Institute of Art, London, on 29 November 2010)This is a lecture about architecture and politics in the eleventh century. First, however, I would like to say a few words about another aspect of architectural history, namely style, because it does not feature in the body of the lecture and because of the criticism it currently faces and has faced for some time. I shall append my comments to two recollections. The first of these relates to a presentation in the 1990s at which the speaker identified the different kinds of expertise needed to understand a building, including that of the palaeographer for the documentary history, of the petrologist if it was a masonry structure, and so on to the architectural historian, who was given the task of dealing with style. The second recollection concerns a conference a few years later at which one of the participants said they wished that discussion of style could be banned. The two remarks taken together lead to an amusing conclusion, but they were separate utterances and so should be considered separately. As to the first, there are of course many other contributions that the architectural historian can make, not least in terms of social history, but I am pleased to see the task of assessing the relevance of style assigned to them because, if they do not undertake it, it is unlikely that anyone else will. On the second, I have some sympathy with the speaker, because style can be such a slippery concept that at times one might think it better to do without it. But, however justified such criticism, the varying stylistic characteristics found in objects carry so much information about the choices made by innumerable individuals in the course of human history that it would be counterproductive to abandon them, regardless of the difficulties.
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Hutton, Jeremy M. "Upon the Roof of the Temple: Reconstructing Cognitive Aspects of Ancient Levantine Small-Scale Altar Usage". Journal of Ancient Near Eastern Religions 22, n.º 2 (24 de mayo de 2023): 161–223. http://dx.doi.org/10.1163/15692124-12341331.
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Abstract Among the ritual practices denigrated through explicit or implicit criticism levied by the biblical writers is the worship of a deity or deities on the rooftops – sometimes of royal architecture, and at other times on private houses. In the present study I interpret this practice using concepts derived from the cognitive science of religion (CSR) and cognitive linguistics. I summarize previous typologies of objects employed in the sacrificial cult of the ancient Southern Levant, confirming prior arguments for understanding shaft-type limestone altars as stylized models of architectural precursors. From a cognitive perspective, these stylized architectural models prompted offrants to run a conceptual blend that replaced the modest small-scale vegetable or incense offering of the offrant’s small-scale input space with the more sumptuous small-scale offering – or even large-scale animal sacrifice – of the monumental-scale input. This cognitive explanation provides explanation for Deuteronomistic and Priestly attempts to limit the practice, and occasions insight into the temporal aspects of “sacred space.”
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Vaneyan, S. S. "The Apocalypse of John: the architectural symbolism of visual exegesis". Russian Journal of Church History 2, n.º 1 (16 de abril de 2021): 53–70. http://dx.doi.org/10.15829/2686-973x-2021-1-51.
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A hermeneutic literary criticism of the last text of the New Testament canon can be complemented by an architectural criticism of metaphorical and rhetorical structures and plots, presented as an ultimate resolution to fundamental problems, posed both by the kerigma and by the Hellinised religious experience of the Old Testament (apocalyptic and epistolary genres). The text of the Revelation has staging structures that imply its performative reading, and suggested radical eschatological ways of resolving conflicts allow for equally radical exegetic methods, with a feminist orientation, for example. Analytical metaphors that we have employed, taken from the arsenal of art history, such as ‘polyptich’ or ‘non-figurative painting’, prompt us to use an experimental paradigm of diagrammatics: a visualization of compositional schemata as the equivalents of a cognitive apparatus. The hearer/reader has the opportunity to set off on an eschatological journey with the author of the Revelation but also to have an epistemological walk with its exegetes and commentators.
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Veres, Mariia y Olena Oliynyk. "Architecture of small Ukrainian and Mexican schools between XIX-XX centuries". E3S Web of Conferences 164 (2020): 05003. http://dx.doi.org/10.1051/e3sconf/202016405003.
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This article reports scientific and typological analysis of Ukrainian and Mexican architecture of small school buildings of the late XIX - early XX centuries in domestic art criticism in the context of comparative analysis. It analyzes national examples of small school buildings of Ukraine and Mexico which are of primary importance for understanding the architectural and artistic processes which took place in our territories at the end of the XIX - early XX centuries. The requirements that were met by this new architecture were significant progress in construction that addressed social needs through school buildings that allowed political action of the new regime. A new, relevant system was formed in the context of education policy and the pedagogical program, which justified its use in the post-revolutionary movement. Therefore, construction projects took into account the needs of working classes, agricultural and urban population. In these projects, interiors and typical designing of preschool areas are provided, advanced engineering, constructive and hygienic solutions are used, therefore they are a rather interesting phenomenon of Ukrainian and Mexican architectural design and are of great significance for the world architectural history.
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Vittorio Aureli, Pier. "Intellectual Work and Capitalist Development". Materia Arquitectura, n.º 01 (8 de mayo de 2021): 76–83. http://dx.doi.org/10.56255/ma.v0i01.439.
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“Intellectual work and capitalist development” is a long article published in 1970 by Manfredo Tafuri. It does not exactly contain references to architecture and is, rather a dense reflection of a philosophical character on the nature of intellectual work as such, seen within the conditions established by the system of capitalist production. Tafuri s contribution coincided with the second year of his position at the University Institute of Architecture of Venice (IUAV) and it was expected that his reflections would define the focus of its recently founded Institute of History. In addition to analyzing the political context in which it was written, this article intends to recover Tafuri s concept of intellectual work as a great force in his argument, and as the reason for his radical criticism of architectural ideology.
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Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010". New Theatre Quarterly 27, n.º 4 (noviembre de 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.
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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.
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Ruiz Colmenar, Alberto. "“Tendencias y guerrillas en la arquitectura española”. Arquitectura y Prensa". VLC arquitectura. Research Journal 4, n.º 2 (24 de octubre de 2017): 149. http://dx.doi.org/10.4995/vlc.2017.7708.
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<p>Architecture critique has historically used specialised publications as a dissemination channel. These publications, written by and for architects, have been of seminal importance in the creation of architectural culture in Spain. Nevertheless, this type of publication leaves out the non-specialised public, mistakenly considering them alien to these matters. In this case, the mass media has filled this space, carrying out a very important educational role. Its task has not been that of a mere dissemination of contents, but it has also provided a platform for criticism and analysis of some of the main events in Spanish architecture over the course of the 20th Century. In this study we analyse the years preceding and following the Spanish Civil War. A review of the issues that the main papers addressed—ABC and La Vanguardia—allows us to grasp what the general reader perceived during a key period in our history of architecture.</p>
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Nurfalina, Yuliana, Budi Darmawan, Muhammad Alhuzaini, Nur Anisah Hasibuan y Riri Anggraini. "Traces of History, Spirituality, and Architecture: A Study of Surau Cerobong, Padang, West Sumatra". Journal of Philology and Historical Review 1, n.º 2 (23 de diciembre de 2023): 100–114. http://dx.doi.org/10.61540/jphr.v1i2.63.
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This research is a scientific article carried out in the field with the aim of studying the relationship between society and the Surau Cerobong (surau can be referred to as a small mosque), from historical and archaeological views. This study covers the history, social and religious activities carried out at Surau Cerobong, and the shape of the building. This research uses historical research methods as the main method and is reinforced by archaeological research methods. The historical method is used through the steps of heuristics, source criticism, synthesis, and historiography. While the archaeological method is used to analyze the physical building of the surau. The results of this study found that Surau Cerobong was built on the initiative of Imam Karim in 1941, as a place to develop Islamic teachings. Aside from being a place to perform the obligatory prayers, the surau is also used as a place to teach tariqah and conduct suluk. In architectural aspects, there are parts that have similarities with the Persian architectural style during the Seljuk Dynasty.
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Fuadi, Ahmad, Hayatun Sabariah Abdullah Hamid y Muhammad Sufawi. "Hayatun Sabariah The Urgency of Knowledge of The History of The Langkat Sultancy Social Revolution for The Youth of Langkat". Ilomata International Journal of Social Science 3, n.º 3 (31 de julio de 2022): 360–66. http://dx.doi.org/10.52728/ijss.v3i3.508.
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History in the form of material during the Langkat Sultanate with an important instrument in tracing an event and as tangible evidence of the history that occurred. Sultanate of Langkat which was established on 12 Rabiul Awal in 1320 H. Coinciding with June 13, 1902 AD The research technique that the author did was through a historical approach with research methods in the form of heuristics (data collection), criticism (external and internal), interpretation, architectural analysis (morphology, stylistics, technology, environment, cultural acculturation) and historiography (historical writing). The data collection technique that the author uses is through interviews, literature studies and direct observation to the location of the research object. Based on the research that the author did, it was found that the Langkat Sultanate Revolution for young people was more characterized by modernity as evidenced by the more attractive style of Malay dress. Various architectural arts of the Langkat Sultanate and have officially become cultural heritage objects in 2010 with the mosque identity number 01.5.02.05.11.00000.
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Shulenina, Yulia D. "Pre-Revolutionary Trends of Industrial Architecture: Moscow Power Plants". Observatory of Culture 19, n.º 6 (30 de diciembre de 2022): 574–83. http://dx.doi.org/10.25281/2072-3156-2022-19-6-574-583.
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The article explores the evolution of the architectural style and artistic and aesthetic features of the first Moscow power plants (Georgievskaya (1888), Raushskaya (1897) and Tramvainaya (1907)) during the period of active industrial development at the turn of the 19th and 20th centuries. The article aims to identify trends in the pre-revolutionary industrial architecture of Moscow, as well as to supplement the history of architecture with new information about the architecture of power plants.The main advantage of the article is a comprehensive art history research of the power plants’ architecture, undertaken for the first time. The author compares the Russian practice with the design experience in Europe and the USA and examines the issues of historical modernizations and modern reconstructions of objects. There are applied the methods of comparative and typological analysis, as well as the art criticism method of stylistic analysis. The article establishes that there was a gradual transition from the “brick” style to the functional design method in industrial architecture: new buildings were characterized by a reduction in decor, the use of metal trusses, an increase in the area of glazing and its use as an expressive component. The results of the research show that, by the example of the first Russian power plants’ architecture, it is possible to trace the formation of industrial practices in the country and analyze the prerequisites of the GOELRO Plan, subsequently developed by the avant-garde architects. Nowadays, the power plants, being significant architectural monuments, remain an important part of the urban infrastructure, often acquiring a new format of life after revitalization: Raushskaya is the oldest operating plant in Russia, and Georgievskaya and Tramvainaya continue their existence as cultural spaces. The study of the heritage of industrial architecture helps to determine the historical and cultural value of the buildings around us, which is necessary for their preservation.
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Cellauro, Louis. "IN QUEST OF COMFORT: CARLO LODOLI, THEORIST OF ORGANIC ARCHITECTURE AND FURNITURE DESIGNER". Papers of the British School at Rome 87 (26 de febrero de 2019): 267–307. http://dx.doi.org/10.1017/s0068246218000405.
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Lodoli's subversive doctrine of truth-to-material was the most original and influential aspect of his approach to architecture. His concept of organic architecture, the main focus of this paper, has been less studied and is accordingly less well understood, although it was an important facet of his design theory. Lodoli applied his novel approach most obviously to the design of furnishings, particularly of chairs, but also extended it to architecture in a project for the refurbishment of the pilgrims’ hostel at San Francesco della Vigna, in Venice, the only instance in which he put his architectural ideas into practice. In Lodoli's thinking, great importance was given to the notion of comfort, and in this respect he shared new concerns common among French architects and furniture makers of the Enlightenment. Indeed, his ideas about architecture and design owe much to the influence of the Enlightenment, with its emphasis on reason, truth and universal criticism.
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Saragih, Hakimi Arsya, Fauziah Lubis y Khairul Jamil. "Sejarah Peninggalan Rumah Adat Bolon di Desa Pematang Purba, Kabupaten Simalungun". Warisan: Journal of History and Cultural Heritage 1, n.º 3 (6 de marzo de 2021): 88–93. http://dx.doi.org/10.34007/warisan.v1i3.577.
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This article discusses the architectural history of Rumah Bolon in Pematang Purba Village, Simalungun Regency. Rumah Bolon is a typical Batak traditional house which is usually the residence of the king and his entire extended family. This research uses qualitative research methods, with a historical approach. In the historical approach, there are four writing steps, namely: heuristics, verification or criticism, interpretation, and historiography. Bolon's house is a symbol of the greatness and beauty of Simalungun's distinctive architecture. In its construction, it must go through various kinds of long and strict ceremonies. Not all wood can also be used as raw material for dast in its manufacture. In the Rumah Bolon architecture, the design from top to bottom, has been arranged in great detail. In addition, in the Rumah Bolon building there are also Simalungun colors; red; white; and black. There are also several carvings in Rumah Bolon that symbolize the meanings of greatness, mutual cooperation, and togetherness.
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Tombesi, Paolo. "Back to the future: the pragmatic classicism of Australia's Parliament House". Architectural Research Quarterly 7, n.º 2 (junio de 2003): 140–54. http://dx.doi.org/10.1017/s1359135503002100.
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Until the launch of Federation Square in Melbourne, in 1997, Australia's contribution to the history of international architectural competitions consisted essentially of two buildings: the Sydney Opera House, won by Jørn Utzon in 1957, and the Federal Parliament House in Canberra, won by Mitchell/Giurgola and Thorp (MGT) in 1980. While Utzon's building is widely acknowledged as a daring piece of innovative design and one of the architectural icons of this century, MGT's winning scheme for Parliament House drew heavy criticism from the moment the proposal was unveiled: neo-Classicist lines, a Beaux-Arts parti, and the building's occupation of Capital Hill – at the top of the Griffins' 1912 scheme for Canberra – were seen by many as displaying a lack of sensibility towards Australian landscape, culture, and ingenuity, and as the result of a conservative approach to contemporary urban design.
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Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral". Resourceedings 2, n.º 3 (12 de noviembre de 2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.
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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.
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دانایی فر, مطهره y زهره تفضلی. "The main Theories of Architectural Criticism in the West: Its history from the 19th Century to the Present". Sofeh Journal 31, n.º 1 (21 de marzo de 2021): 5–14. http://dx.doi.org/10.29252/soffeh.31.1.5.
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Pedersen, Claus Peder. "The Hydra drawings: digital imperfection". Architectural Research Quarterly 12, n.º 3-4 (diciembre de 2008): 223–30. http://dx.doi.org/10.1017/s1359135508001152.
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The Hydra drawings are the result of a research-by-design project involving architectural students. The drawings have been produced during intensive work sessions organised in March for the last four years on the Greek island of Hydra. The project has been run by architects Cort Ross Dinesen and Claus Peder Pedersen in close dialogue with contributors from other fields such as art history, literary criticism and philosophy: Henrik Oxvig, Fredrik Tygstrup, Steen Nepper Larsen and Malene Busk. The drawings that accompany the text published here were done by Tove Rosén, Emelie Saltas, Guro Sollid and Flemming Rafn Thomsen.
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Turner, Olivia Horsfall. "‘The Windows of this Church are of several Fashions’: Architectural Form and Historical Method in John Aubrey’s ‘Chronologia Architectonica’". Architectural History 54 (2011): 171–93. http://dx.doi.org/10.1017/s0066622x00004032.
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Thomas Rickman has been credited, perhaps for too long, as the first figure to ‘discriminate’ the styles of medieval architecture and create a chronological analysis of Gothic architectural forms. Not only were there several authors who published on the subject immediately before Rickman, but there was also, as early as the mid-seventeenth century, considerable interest in the discernment and classification of periods in medieval architecture. One of the chief figures in this was John Aubrey, who pioneered a method for deducing the date of a medieval building by analysing the shapes of its windows. This intellectual initiative, 150 years before Rickman, has been either overlooked or interpreted as a ‘false start’ in Gothic revivalism. It is, however, worthy of fresh appraisal as a significant development in historical method and as an indicator of one way in which architecture was understood in the seventeenth century. Aubrey’s idea was that objects of a given type, in this case medieval windows, had a particular shape during a particular historical period, and that their morphology could be used to create a system for establishing the date of any given building. The context for this scheme was the innovative proposal of several early modern antiquaries that shapes in themselves could convey historical information, and that specific historical periods had their own distinctive forms. These scholars, many of whom were associated with the Royal Society, took faltering steps towards taxonomies of historical form which foreshadowed the methods of analysis that became — and arguably remain — central to the discipline of architectural history. That their interest focused upon medieval architecture at a time when the Gothic was largely rejected as irregular and barbarous is also notable. Examining the origins of a technique for dating historic buildings through visual analysis reveals how an intellectual circle of the seventeenth century perceived and understood architecture at a time when in England architectural commentary and criticism were still in their infancy.
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Czapelski, Marek. "Towards Socialist Architecture: Architectural Exhibitions at the Zachęta in the Years 1950–1955". Ikonotheka 26 (26 de junio de 2017): 31–61. http://dx.doi.org/10.5604/01.3001.0010.1672.
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Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to ideological and aesthetic issues, and the reactions of the architects participating in the debates, who generally tried to avoid the aggressive tone of the polemic. In addition, the primacy of technocratic economics, which was later to become one of the key elements of policies concerning the construction industry in the People’s Republic of Poland, was fi rst revealed at the OPA, if only still in the background. The exhibition at the Zachęta, treated as a production meeting in progress, was to be a preparatory stage for a sweeping exhibition that would present an all-inclusive vision of both historical and contemporary Polish architecture. Such an event accorded with the universal schemata of rituals of social life structured in keeping in line with Stalinism, but the path to the First General Exhibition of Architecture in the People’s Republic of Poland (PWA, 8 March – 22 April 1953) turned out not to be easy. Problems concerning its fi nancing and venue, as well as the lack of political support, resulted in its opening, in the Zachęta building, soon after Stalin’s death. In general, the exhibition’s arrangement followed regional divisions, i.e. both the historical and contemporary material were arranged according to region. An analysis of this plan reveals that it was profoundly ill-suited to the realities of producing architecture in the state-owned design offi ces when the emphasis on typicality was increasing. The initial stage of the critique of Socrealism is also inseparably linked with the PWA; the essay appraising the exhibited designs as delivered at the First National Council of Architects in April 1953 must be considered the fi rst text of this kind. Both the OPA and the PWA are, above all, reminders of the practice of institutional coercion and of the ideological approach to history that were typical of Stalinism. At the same time, however, it should not be forgotten that the exhibition of 1953 resulted in the publication of a series of valuable publications concerning history and art, while the Regional Architectural Shows, instituted in order to select designs to be exhibited at the PWA, evolved into recurring events which in some centres are still organised today.
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Lindfield, Peter. "HERALDRY AND THE ARCHITECTURAL IMAGINATION: JOHN CARTER’S VISUALISATION OFTHE CASTLE OF OTRANTO". Antiquaries Journal 96 (14 de julio de 2016): 291–313. http://dx.doi.org/10.1017/s0003581516000226.
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Horace Walpole (1717–97) is well known for two important Gothic projects: his villa, Strawberry Hill, Twickenham (1747/8–80), and his novel,The Castle of Otranto(1764). These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill,Otrantoand manuscript illustrations visualisingOtranto’s narrative has, on the other hand, received far less attention. This paper brings together a number of important and hitherto overlooked sources that help address this imbalance. In particular, it examines two large-scale watercolours by John Carter (1748–1817) that narrate some ofOtranto’s pivotal scenes, allowing critically overlooked subtleties in their iconographies to emerge. The work establishes how Carter’s pre-existing interests – in particular, in Gothic architectural forms and heraldry – are harnessed to govern his representations ofOtranto. These paintings, together with Carter’s other illustrations, demonstrate Walpole’s authorship ofOtranto, expressed through codes hidden in plain sight. Unlike the frequently touted link between Strawberry Hill andOtrantoin secondary criticism, Carter’s illustrations, the argument reveals, do not explicitly make this connection.
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Bellini, Amedeo. "Conservazione e fruizione del patrimonio architettonico: un problema etico". TERRITORIO, n.º 64 (febrero de 2013): 9–17. http://dx.doi.org/10.3280/tr2013-064002.
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Critical thinking still today addresses the issues of the conservation and reuse of our architectural heritage from different viewpoints which are not compared, as if the recognition of historical, communicative and formal values and thinking on how it is used and on the inevitable changes needed to satisfy vital needs belong to totally different spheres of thought and work. More specifically, time is lost within that disciplinary area traditionally defined as history and criticism in advancing hypotheses to summarise the debate that has taken place in recent decades, with no acknowledgement of the radical change that has taken place, caused by new historical and aesthetic perspectives of the relative nature of all value judgements and of the extension of protection to unofficial building, which inevitably highlight political and economical aspects, which in the final analysis are ethical questions.
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Benelli, Francesco. "Antonio da Sangallo the Younger's Reactions to the Pantheon:". Journal of the Society of Architectural Historians 78, n.º 3 (1 de septiembre de 2019): 276–91. http://dx.doi.org/10.1525/jsah.2019.78.3.276.
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In Antonio da Sangallo the Younger's Reactions to the Pantheon: An Early Modern Case of Operative Criticism, Francesco Benelli looks at three annotated drawings by Antonio in which he analyzed features of the Roman Pantheon. The architect's analysis of this ancient monument drew on both his close, methodical, and pragmatic investigations of the building and his deep knowledge of Vitruvian theory. Together, the drawings and text represent an unprecedented critique of a building then almost universally admired. Yet Antonio's dependence on Vitruvius, who belonged to a different period of Roman history than did the Pantheon, led to certain discrepancies within his conclusions. Nonetheless, Antonio's study marks a new level of professional confidence, objectivity, and critical detachment among Renaissance architects, as ancient monuments were no longer seen as perfect and unquestionable, but as sources to be praised, criticized, utilized, adapted, or ignored according to the specific needs of modern architectural practice.
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Sintya, Dinda y Junita Yosephine Sinurat. "Sejarah Islamisasi dan Pengaruhnya Terhadap Kebudayaan Masyarakat Jambi". Prabayaksa: Journal of History Education 4, n.º 1 (31 de marzo de 2024): 1. http://dx.doi.org/10.20527/pby.v4i1.12132.
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The Islamization process that occurred in Jambi coincided with the growth and development of the Islamic kingdom of Jambi around the 15th century AD. This article explains the history of Islamization which has had an influence on the culture of the Jambi people to this day. The method used in this research is a historical research method which is divided into four parts, namely Heuristics, Source Criticism, Interpretation and Historiography. The entry of Islam into the Jambi community was brought by adherents of the Islamic faith who came from Arab ethnicity, through trade that passed through waterways by sailing along the Batanghari river. The Islamization process in Jambi has had a big influence on the cultural development of the local community. The influence of Islamization on culture in Jambi can be seen from religious ceremonies commemorating Islamic holidays, marriage practices, art, social systems and architectural styles.
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Kušić, Aleksandar. "West(ern urbanism): A part of social fantasy space". SAJ - Serbian Architectural Journal 3, n.º 3 (2011): 226–53. http://dx.doi.org/10.5937/saj1103226k.
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New Belgrade represents one of the most intensively built and criticized settlements of the socialist Yugoslavia. Its contemporary criticism is shaped, like most of Serbian architectural historiography, by a belief in the clear distinction between selfness and otherness, contemporariness and out-datedness. The question of a contemporary approach is set, within this discourse, as a matter of the ability or will to see clearly the development of the Other, in whose reflection one's own development (through the elimination or acquisition of inner Otherness) can flourish. This paper is dedicated to the exposure of the essential limitation of these distinctions. By pointing to the way that the West and western urbanism were envisioned within three moments of New Belgrade socialist history, this paper tends to point out that these visions are nothing more but parts of a wider Lacanian social fantasy space, i.e. that the realism of their gaze is based on the possibility of a placement within the fantasy space of the current or desired social order.
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Perfilieva, I. Yu. "Architectural Motifs in Jewellery Art of the 20th — the First Quarter of the 21st Century". Art & Culture Studies, n.º 4 (diciembre de 2023): 310–43. http://dx.doi.org/10.51678/2226-0072-2023-4-310-343.
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Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.
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Bourdon, Valentin. "Does the Homogeneous City Belong to the Past?" Urban Planning 4, n.º 3 (30 de septiembre de 2019): 315–25. http://dx.doi.org/10.17645/up.v4i3.2009.
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As the case of Paris embodies, a whole culture of the European city has built its identity and organized the collective life of its inhabitants on the idea of homogeneity. The homogeneous city has thus significantly contributed to the collective self-representation through housing architecture. The strong degree of homogeneity of the nineteenth-century European city undoubtedly represents one of the most vivid examples of an architectural self-celebrating collective moment. This singular urban coherence is one of the few attributes of the traditional city spared by the Avant-gardes in the early twentieth century, for its ability to absorb a large number of variations without compromising the expression of continuity. A careful reading of their three main housing models—the Siedlung, the Hof and the Garden City—could confirm such a perspective, as do Existenzminimum standards. This long-standing tradition now seems to have been broken, since the homogeneous city is no longer considered as a current operating principle for urban planning. In order to understand—and perhaps overcome—the reasons for such resistance to one of the prime elements of European urban history, this article proposes to review its evolution over the last two centuries, focusing on the importance given to housing in the establishment, and the criticism and potential renegotiation of homogeneity as a malleable and latent principle.
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Stevanović, Vladimir y Aleksa Ciganović. "Metaarchitecture of Predrag Ristić: Bridging non-philosophy and hypermetaphysics". Zbornik Akademije umetnosti, n.º 11 (2023): 84–105. http://dx.doi.org/10.5937/zbaku2311084s.
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This paper aims to research, critically interpret and synthesize the metaarchitectural work of Dr. Predrag Ristić, a Serbian and Yugoslav architect and artist (1931-2019). The focus is on Ristić's production of meta-architecture, exploring his role as an engaged individual who intervenes in an intellectually dissident manner beyond official academic institutions, while contributing to the cultural liberalization within the social context of the Yugoslav paradigm during the second half of the twentieth century. Metaarchitecture, in this sense, can be seen as a broader semiological construct encompasing the ability and will to create ontological signs, epistemological events or methodological objects that extend beyond the architectural domain into the realms of art and culture, shaping forms of social history and criticism. The analysis of Ristić's work will be carried out in two distinct directions, reflecting two phases of his creative activity, each associated with specific theoretical paradigms. Ristić's earlier phase during the 1960s and 1970s, marked by a techno-pessimistic and techno-critical observation of the world (from the Kajmakčalan church to several Thanatopolis projects), is analytically linked to non-philosophy as an anti-dogmatic phenomenological concept. On the other hand, his later creative aspirations from the 1980s are interpreted through his semioanthropological approach to the Mesolithic culture of Lepenski Vir, a subject of his PhD thesis, which connects to hypermetaphysics as a comparative conceptual formation.
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Erine, Khamaliyah Nur, Sakafitri Rimasari y Ari Sapto. "Eksistensi bangunan gaya kolonial Belanda di kawasan Kayutangan, Kota Malang pada tahun 1900-2021". Historiography 2, n.º 4 (31 de octubre de 2022): 588. http://dx.doi.org/10.17977/um081v2i42022p588-602.
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The history of the city of Malang has a long journey until the presence of the city of Malang is rapidly as it is today. Judging from its history, in 1914 the Kayutangan area to the Malang city square was used as the center of Malang city at that time. This is because the geographical location of Kayutangan is very strategic for trade and service routes and is used as a connecting route between Malang and Surabaya. The pattern of settlements is formed around the square with the pattern following the grouping of a plural society. Most of the colonial buildings in Malang adhere to Dutch architecture. Colonial buildings built before the 1920s have an "Indische Empire" architectural style which is an old European model building. In the years after the 1920s the colonial building had an architectural style of "Nieuwe Bouwen" which had been adapted to the climate and building techniques of the Dutch East Indies. The existence of the Dutch colonial style building at this time can still be enjoyed by the facade of the building. Contextual buildings are designed based on the existing environmental and climate systems to realize buildings that adopt Dutch colonial architecture and the system of structuring the routes prioritizes users' comfort and safety when passing through these routes. The author uses the historical method which has four stages including heuristics, source criticism, interpretation and historiography. The purpose of writing this article is to find out the historical background of the architectural development of the Kayutangan area, Malang and to analyze the existence of Dutch colonial buildings in the Kayutangan area, Malang in 1900-2021.Sejarah kota Malang memiliki perjalanan yang cukup panjang hingga hadirnya kota Malang yang pesat seperti saat ini. Ditinjau dari sejarahnya, pada tahun 1914 kawasan Kayutangan hingga alun-alun kota Malang dijadikan sebagai pusat kota Malang pada saat itu. Hal ini dikarenakan letak geografis Kayutangan sangat strategis untuk jalur perdagangan dan jasa serta dijadikan sebagai jalur penghubung antara Malang dengan Surabaya. Pola pemukiman terbentuk di sekeliling alun-alun dengan polanya mengikuti pengelompokan masyarakat majemuk. Sebagian besar bangunan kolonial di Malang menganut arsitektur Belanda. Bangunan kolonial yang dibangun sebelum tahun 1920-an memiliki gaya arsitektur “Indische Empire” yang merupakan bangunan model Eropa lama. Pada tahun setelah 1920-an bangunan kolonial memiliki gaya arsitektur “Nieuwe Bouwen” yang telah disesuaikan dengan iklim dan teknik bangunan Hindia Belanda. Eksistensi bangunan gaya kolonial Belanda pada masa kini masih bisa dinikmati fasade bangunannya. Bangunan kontekstual yang dirancang berdasarkan sistem lingkungan dan iklim yang ada untuk mewujudkan bangunan yang mengadopsi arsitektur kolonial Belanda dan sistem penataan jalur-jalur lebih memprioritaskan para penggunanya nyaman dan aman ketika melewati jalur tersebut. Penulis menggunakan metode sejarah yang memiliki empat tahap diantaranya heuristik, kritik sumber, interpretasi dan historiografi. Tujuan penulisan artikel ini adalah untuk mengetahui latar historis perkembangan arsitektur kawasan Kayutangan, Malang serta untuk menganalisis eksistensi bangunan kolonial Belanda di kawasan Kayutangan, Malang pada tahun 1900-2021.
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Molotkova, E. G. "Architecture and resource management. The development of the Palace Embankment in the Petrine era". Вестник гражданских инженеров 20, n.º 3 (2023): 5–15. http://dx.doi.org/10.23968/1999-5571-2023-20-3-5-15.
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For many years, historical and artistic heritage of St. Petersburg has been the main object of researchers` scientific interest. New information about the architectural and urban development of the city has been provided by studies related to the protection of surviving historical buildings. Information about the initial stage of the urbanization of the city appeared during developments in related fields of science (history, economics, literary criticism, soil science and hydrography, etc.), but the data revealed are not systematized and are scattered among individual publications. In this article, taking into account the provisions of economic geography, the formation of St. Petersburg development is considered as part of the process of improving the available infrastructure of the territories in the Neva Delta area. It is emphasized that the dynamic evolution of residential development was due to an increase in the level of investment and the impact of an evolving land use system. Specific examples demonstrate the transition from the pioneer stage of development to the reconstruction stage development, and the role of organizational and economic levers in the formation of the main morphotypes of residential development is considered.The features of urbanization in early period of St. Petersburg existence are considered on the example of the development of the southern bank of the Neva, where the target settings were clearly manifested immediately with the beginning of the development of the territory. The implemented analysis of the building development on the coastal strip to the East of the Admiralty reveals the main features of the period from 1703 to 1715 and shows that it can be considered a pioneer period in the development of the territory.
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Margaryan, Gayane S. y Yervand G. Margaryan. "Grigor Khanjyan’s Triptych as a Visualization of the Commemoration in the Context of the Armenian Ethnogenetic Myth". Vestnik of Saint Petersburg University. Arts 14, n.º 1 (2024): 142–64. http://dx.doi.org/10.21638/spbu15.2024.108.
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The article is devoted to the visualization of three key events in the history of Armenia in the work of the artist Grigor Khanjyan: the invention of the Armenian alphabet by Mesrop Mashtots, the Vardanid War for independence. To achieve ideological and aesthetic goals, the artist turned to the monumental genre. The final result was a triptych, now stored in the heart of Yerevan, in the architectural and monumental Cascade complex, in the Gerard Gafeschyan Art Center, in the hall named after the artist. The frescoes are united by cumulation and intentional atemporality of the characters. Another characteristic feature of the triptych is that Khanjyan turned to academic classicism to implement the idea. As an artistic technique, the master uses achrony, shifting the time frame for different characters, but at the same time, remaining faithful to the plot and the entourage of the depicted events. The central part of the triptych resembles a temporary dromos, separating and simultaneously connecting the first and third khorans, epochal events that changed the paradigm of the Armenian nation’s existence. Through the time portal, the Armenian ethnic group flows from the early Middle Ages to our days. A cross-cutting idea is the ideal of the social structure of the Armenian nation, which has gained sovereignty, sought by Khanjyan. The artist models the Golden Age according to the type of social structure of the early Middle Ages, extrapolating the medieval paradigm to the present and tomorrow. The ukhronia of the Reborn Armenia created by the artist is a projection of early medieval Armenia. Among the researchers who conducted an art criticism analysis of this work of Khanjyan, it is perhaps worth highlighting the names of such researchers as N. Stepanyan, N. Eyramjians, V. Gamagelyan, etc., whose works we refer to in our study. This article is intended to partially fill this obvious gap. The scientific novelty of the study lies in its interdisciplinary approach, due to the fact that one of the co–authors is a historian and the other is an art critic. This allowed the authors to conduct a diverse analysis using historical, cultural, semiotic, anthropological, ethnographic and, of course, art criticism approaches.
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Mirmoradi, Seyedeh Somayeh. "Recognition of the role of nature in the formation of fractal architecture". Organization, Technology and Management in Construction: an International Journal 9, n.º 1 (27 de enero de 2017): 1574–83. http://dx.doi.org/10.1515/otmcj-2016-0020.
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AbstractAfter a long period of one-way consumerist attitude toward nature, there have been some alternate perspectives on the systemic relationship between humans and nature, which have been again brought up during the past few decades. Since the late twentieth century, fractal architecture has been one of the most important themes discussed in architecture and it is based on the chaos and complexity theories. Critics often criticize this architecture due to its lack of architectural values, practicality, and attention to economy, culture, and history. The current study aims to clarify the scientific theories that are the theoretical foundations of this approach in contemporary architecture. By categorizing the practical examples of this architectural approach, they are analyzed in terms of their relationship with nature using the logical reasoning method to achieve a favorable architecture. In fact, the gap between this architecture and nature’s behavior is shown.
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Salimatuzzulfa, Lian y Ita Dwijayanti. "HISTORICAL IDENTIFICATION IN CULTURAL HERITAGE BUILDING LICENSES ONKAUMAN GREAT MOSQUE KEBUMEN 1838 AD". International Conference on Cultures & Languages (ICCL) 2, n.º 1 (12 de julio de 2024): 144–57. http://dx.doi.org/10.22515/iccl.v2i1.9587.
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Indonesia is the second country in the world which has 84.35% Muslim population of its total population. Moreover, in Java, almost every region has a Muslim village with the name Kauman. Kauman is synonymous with a mini santri city which is characterized by a community that carries out activities at the mosque, many people then call it the Kauman Mosque. The Kauman Mosque in each region has its own uniqueness and characteristics, one of which is in Kebumen. Kauman Kebumen Great Mosque is the largest mosque in Kebumen Regency, Central Java. This mosque was founded by KH Imanadi in 1838 AD. With almost 2 centuries of age, it is said that this mosque has not been included in the list of cultural heritage buildings. In general, the Great Mosque in several locations (for example in Solo or Yogyakarta) has a burial complex in the western part of the mosque, but this is different from the Kauman Great Mosque in Kebumen, where no traces of graves have been found. The founders of the mosque or religious figures were not buried in the mosque area. The Great Kauman Mosque in Kebumen has undergone several renovations, but during these renovations, it is said that it still maintained traditional Javanese architecture with similarities to the typology of the Great Mosque of Demak. This is what attracted researchers to identify and analyze the history, cultural acculturation and forms of architectural change at the Kauman Great Mosque, Kebumen. This research uses a qualitative historical approach method through stagesheuristics (data collection by means of interviews with related parties and also collecting sources of oral history of the Kauman Kebumen community and also takmir mosques), verification (source criticism, this is done by limiting research observations so that the focus is on the objectives of this research), interpretation (analysis is carried out by creating a structured narrative that can be accounted for in its truth and novelty), and historiography (carried out to convey the results of observations in three chapter discussions which will be completed in approximately 2-6 months). The results of the research are to find out the history of the Great Kauman Mosque, Kebumen, cultural acculturation which can be seen from the acculturation of Islamic and Hindu culture in the mosque building and the factors that cause this almost 2 century old building to not be included in the cultural heritage building in 2023. The reasons why the building renovation was influenced environmental factors, namely socio-cultural, religious, economic, political and legal that apply at a certain time. There have been renovations several times, but there are parts that are maintained and preserved in order to preserve historical evidence in the form of archaeological objects in the form of artifacts and features to convey information that has been passed down from generation to generation in an effort to maintain the existence of the glory of the past.