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In this article the author reviews the modern architecture and its visualising function of the collective idea.
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In this article the author reviews the modern architecture and its visualising function of the collective idea.
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This paper attempts to demonstrate and compare challenges and opportunities in virtual and direct education in architecture in Iran, specifically in fundamental courses. Two different programs (direct and virtual education) have been run in two different branches of Shiraz University, in Shiraz and Dubai, for two successive fundamental courses. Both cases were observed accurately by the authors during two semesters and the result qualities were collected and assessed. The main questions of this paper are: what are the advantages and disadvantages of virtual and direct education? And which method ends to a better quality in result in architecture fundamental courses? The query is based on the case study method using a combination of strategies and content analysis techniques. The information is collected through library and fields studies, and completed through questionnaire and analyzing it's components by the statistical software.
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The conference was opened by Antoine Picon (architectural historian), who compared the French Beaux Arts – state-financed since the founding of the Academy of Painting and Sculpture in Paris and of the Academy of Architecture in Paris in 1671 – with the French Academy in Rome in 1666 and the Prix de Rome (awarded for architecture since 1720). The Architecture Diploma existed in France only from the end of the 19th century, as until then the principle that artists needed no diploma had been followed. By contrast, the American Academy in Rome (AAR) is privately financed. In reinterpreting the Beaux Arts, the same point is reached, namely elitism, but there are also differences, for example in the building plan. Fellows in architecture have been ap-pointed since 1894.
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Exterior by definition, the balcony consists of a platform, railing and one or more doors through which it communicates with the interior. Profoundly exterior by nature, the Romanian balcony nevertheless finds itself as one of the most “internalized” living spaces. The balcony is a living room, the balcony is a bar, the balcony is a pantry, the balcony is a kitchen, the balcony is a bathroom, the balcony is a bedroom, the balcony is the workshop, the balcony is the greenhouse, the balcony is the garden, the balcony is an office, the balcony just is (ours, everyone's).Above all, the balcony is a versatile space and a special character in the story of Romanian housing, both in terms of public and private space. The balcony of the forced urbanization, avenged by numerous customizations and interpretations regarding spatial semantics, aesthetics and geometry ends up tracing the identities of a postmodern generation for which the act and the audience switch roles.
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Very often, architecture exhibitions feature representations of buildings and spaces. Drawings, pictures and models are exposed in order to show an absent entity: the building, the site and the users. This presents us with a paradox. The representation elements aim to present the piece of architecture and its essence, but the real, multidimensional, experience of architecture is absent. The major theme of this investigation is the use of models in architecture exhibitions. It explores the range of use and the application of models as a communication and simulation tool. Two exhibitions from the Portuguese context will be analyzed and compared. Until the Renaissance, drawings were not the central communication tool for architectural building concretion. Mostly, models were used to communicate the architectural design to the construction site. In a broad perspective, models assumed the double role of simulation and communication of architecture for construction purposes.
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The COVID-19 pandemic challenged the world and forced new changes in all of its institutions. The situation prompt-ed the need for realizing innovations especially in relation to space, both in order to control the outbreak, but at the same time to create new architectural developments and revolutions.
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The process of analyzing and proposing insertions in the Calea Moșilor protected area draws attention to the role that the urban block has or can have in urban development: is it a passive element or an active tool? Commenting on two projects carried out in the fourth year of studies under the framework theme “Conversion: expansion, rehabilitation, sustainable construction”, we will refer to the identity of this morphological element in terms of understanding the city as a body. To this purpose, the course of analysis will be considered as a study of process-based typology (the concept of Caniggia and Maffei) and the course of design as being oriented towards the integral object, rather than towards an integrated object (Ellin's concept of integral urbanism). These observations, which emphasize the importance of stages, reveal the need to define the term used for the urban block as a morpheme and not just as a constituent element, thus reaffirming its active role and creative potential in urban development.
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The present context, impacted by the pandemic, has emphasized during the last year a series of problems regarding the spaces where people engage in their daily activities. Envisaged at first as short-term changes in the daily routine, isolation, quarantine, social distancing and work from home have become common aspects of the present reality, changing the perception individuals had about the spaces they live in. One of the spaces most impacted by change during the last year is the home, in particular the urban home that has changed into a hybrid space, a surrogate for the activities that once took place outside of the house: work, education, leisure.
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In Instructiones fabricae et supellectilis ecclesiasticae published in Milan in 1577, in line with the tradition formed in the Middle Ages, the term capella was used to describe a part of the church interior, definitely designated as the place for altar. There, the term capella maior was referred to the church’s presbytery, and capelle minores – to the strings of identical chapels, adjacent to the sides of the nave, and sometimes also to the transept. Capella maior was already losing its spatial separateness as a result of liturgical reforms introduced after the Council of Trent. In Italy and in most European countries, it was then that great importance was attached to gathering the people at one solemn Holy Mass, at the same time striving to make its celebration as visible as possible to the gathered worshipers. Therefore, the choir partitions were removed, and the presbyteries were cleaned from elements emphasizing their spatial distinctiveness on the one hand (reliquaries, miraculous paintings, impressive tombstones), and on the other, distracting the attention of the worshipers from the celebration of the Holy Sacrifice. Such activities – strongly recommended in Instructiones – meant that the presbytery was very strongly (both spatially and ideologically) integrated with the body of the church, as a result of which in most languages it ceased to be called a chapel. On the other hand, in the documents of church factories such a term was applied to annexes connected very loosely with the space and body of the temple, to which the saints and tombstones from the presbytery were “transferred”. The construction of two such structures by the popes at the larger basilica of Santa Maria Maggiore in Rome became the confirmation of this practice by the highest authority in the Church. However, Instructiones and other Counter-Reformation texts on church shaping did not record the rapid spread of an “autonomous” chapel in sacral architecture. The Milanese work describes only the way of shaping the strings of capellae minores, so a solution present in the Italian architecturefrom the late Middle Ages. The reason for this choice was probably the fact that the chapels adjacent to the nave fulfilled a specific tradition in the liturgy in the church, and the role of autonomous chapels in this field remained insignificant.Due to the well-established local tradition in the South Netherlands, there was no integration of the spaces of presbyteries and churches in this area. In this area, Catholicism was restored after the period of violent Reformation, which meant that in the churches, first of all, elements destroyed by iconoclasts were reconstructed. Therefore, in the cathedrals and collegiate churches, with the consent of the Holy See, the partitions separating them from the corpus were reconstructed. Behind these partitions, imposing tombstones of bishops and canons were built, because only these spaces were supervised by higher clergy, while the corps were under the administration of municipalities. In Flemish, the presbytery was thus still described with the term (grote) kapel, while the side chapels, usually built between the buttresses of great Gothic churches, were called chapels (kapelletjes). Thus, in the modern era, the term “chapel” was associated with various spatial and functional solutions, both in construction practice and in texts on sacral architecture. Therefore, one should limit himself to noticing the complex presence of chapels in the history of modern architecture, and not try to formulate a precise and unambiguous definition of this type of building.
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The article presents a proposal for a new reading of the functions, history and formal transformations of the chapels of St. st. Peter and Paul and St. Nicholas. The chapels were added to the aisles of the romanesque cathedral, but during the construction of the present church (1320–1364) they were included in the new building, which lead to their extensive reconstruction and enlargement. The time and circumstances of the construction of the chapel of St. Nicholas are unknown. Chapel of St. st. Peter and Paul, according to the local tradition, in its original form, was founded by Bishop Prandota, most likely in connection with the cult of St. Stanislaus, canonized in 1253. Although, according to almost all the literature to date, a year later the saint’s relics were placed in the center of the nave of the cathedral, it seems more likely that they were placed in the aforementioned chapel. In the Gothic cathedral, the altar of St. Stanislaus was moved to its central point, but the chapel of St. st. Peter and Paul retained an important role in the worship of the martyr, as it included his arm reliquary, and from some point on also an old empty sarcophagus, in which, after canonization, the main particle of the remains were laid. In the 15th century chapel of St. Nicholas was the place where the reliquary of the saint’s head was presented. Fot this purpose, gallery was erected above its entrance. The chapels were extended so that they joined both the aisles and the transept, in the center of which the altar of St. Stanislaus was placed; thus, all three objects form a line that crosses the main axis of the church. It seems that the decision for such a sacral topography composition was made already during the construction of the cathedral, modifying the original project, assuming the erection of a narrow transept.
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In the collegiate churches in Warsaw and Łowicz (two particularly important residential cities of the Republic of Poland in the modern era), in the 18th century, chapels were erected for the exhibition of late Gothic crucifixes, famous for their graces. The chapels were distinguished by remarkable architectural forms and innovative artistic programs. Both were built on the extensions of the northern aisles and were under the care of chapters, although their creation was financed from funds provided by powerful patrons. In the case of Łowicz, the construction was the fulfillment of the volition expressed in the will of Primate Adam Ignacy Komorowski, who assigned this part of the temple for his mausoleum. In Warsaw, the the right to patronage was passed on to successive families – the patronage was granted to the Szembek and Branicki families, among others. The features connecting both investments were also: the connections of both collegiate chapters and the special status of said churches, associated with the most important people in the Republic of Poland – the king (and, in a broader sense, the Seym and court circles) and the primate, i.e. the interrex. Although the chapels’ architecture was developed almost half a century apart, one can see the mutual dependence of the forms used. The interiors boast even more analogies because the Warsaw chapel, built in the second decade of the 18th century, was transformed at the initiative of Jan Klemens Branicki in the early 1860s – while the mausoleum in Łowicz was being built. Probably both buildings employed the workshop of the Warsaw architect Jakub Fontana. In both chapels, influences of palace architecture are visible, manifested in the lightness of forms, rococo style and colors based on combining white with gold. The connection to residential interiors was enhanced especially by crimson wall coverings introduced by Fontana in the present St. John cathedral. The presented analysis, based on archival queries and in situ observations, made it possible to clarify the findings so far, as well as to show the construction process and transformations of the discussed objects. A look at their architectural form and decor details made it possible to identify sources of inspiration, probable contractors and to confirm the relationship between two particularly important examples of 18th-century collegiate chapels.
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If architectural heritage in cities is recognisable for the masses, it does not raise doubts as to its value. However, if the architecture is controversial, relatively young, or can be associated with a problematic legacy and difficult past, its valuation raises ambiguities. Unconventional valuation methods can help resolve these uncertainties, making it easier for local decision-makers to make sounder decisions. This paper presents a proposal for valuing Warsaw’s modernist WKD Ochota train station, using a combination of cost-benefit analysis and a Delphi panel. The study carried out for the purposes of this article revealed that such architecture, although ambiguous, is treated by the local community as valuable not only in economic terms, but also in social and cultural terms.
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The paper examines the edifice of the former school of building crafts (Baugewerkschule) in Katowice, Upper Silesia, which opened in 1901, and its decoration. The works of architecture, painting and sculpture were interpreted as carriers of a discourse calculated to construct Heimat, located within the borders of the Prussian Silesian Province. The building’s forms, reminiscent of the brick Gothic of northern Germany, were characteristic of the milieu of the Technische Hochschule in Hannover, where the designers of the edifice were educated. The city’s coat of arms was depicted on the facade, the vaulted ceiling of the auditorium was decorated with dragon and gryphon motifs of Scandinavian origin, and its walls painted with images of St. Hedwig ‒ the patron saint of Silesia, viewed here as a deconfessionalized personification of the land ‒ the Prussian eagle, and four iconic monuments of historic Silesian architecture. Thus, references were made to various levels of identity ‒ local, regional, national, and the mythologised Germanic North. The narrative constructed in this way fits into the cultural nationalism of the educated German bourgeoisie (Bildungsbürgertum), which grows out of the Romantic tradition. At the same time, the emphasis on the opposition of the North and South can be seen as a strategy for overcoming the peripheral status of Silesia in a world organised by the West-East axis. The school’s building in Katowice exemplifies how the elites of the German Empire used visual means to construct modern imagined communities.
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The paper analyses the reasons and concept of autonomous houses in Istria as well as the method of energy and material resources use. Elaborated is the principle of producing self-made photovoltaic system and solar collectors on the roof of the house, collecting and storage of water explained on an example of individual calabash system water tank, home wastewater system and composting of biodegradable waste. Analysis is made of industrial hemp as possible building material, explaining the reinforcement, composite making and insulation thereof. In elaborating hay bales house, the advantages and simplicity of construction are pointed out. Climate features of Istria are described which favour the deployment of autonomous houses, and integration of subject matter on autonomous houses into technical culture syllabus is proposed.
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A pleasant summer afternoon in London, some six years ago. Coffee with Mr Sherban Cantacuzino, the Romanian-born British architecture historian and critic, at Pâtisserie Valérie in Marylebone Highstreet. He liked the French touch of the place, and was himself born in Paris in 1928. “Matila Ghyka used to invite me here,” he said. Ghyka (1881-1965), a Romanian diplomat and prolific aesthetician during the two world wars (his writings inspired Le Corbusier to conceive his Modulor), was a distant uncle and mentor to Cantacuzino – as he had been to Sherban’s own father George Cantacuzino (1899-1960), the doyen of the moderate Romanian modernism in architecture.
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Reviews of: 1. Oliver Elser, Philip Kurz and Peter Cachola Schmal (eds.) „SOS Brutalism: A Global Survey Zürich“: Park Books / Wüstenrot Foundation, 2017, 535 pages, including illustrations, ISBN 978-303-8600-75-6; 2. Anette Busse and Dorothea Deschermeier (eds.) „Brutalism: Contributions to the International Symposium in Berlin 2012 Zürich“: Park Books / Wüstenrot Foundation, 2017, 180 pages, including illustrations, ISBN 978-303-8600-75-6
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Review of: S. A. Mansbach Advancing a Different Modernism Routledge, New York and Abingdon, 2018, 82 pages, 20 illustrations, ISBN 978-1-138-57493-9
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Jørn Utzon has had a significant influence upon contemporary architecture across the world, and his legacy has inspired many outstanding contemporary architects, particularly in Australia, Denmark and Spain. While Alvar Aalto is considered to be at the forefront of the Second Generation of modern architects, who responded to the orthodoxy of the Modern Movement and the earlier interpretation of functionalism in a humanistic-oriented architecture, Utzon is the central figure of the “Third Generation of modern architecture in the 20th century,” who reacted against the dogmas of modern architecture altogether, leading it into “a new phase of criticism, renewal and maturity.” As Christian Norberg-Schulz writes, “the First Generation of modern architects liberated space, the Second returned things to us, and the Third, with Utzon as the protagonist, has united it all as a down-to earth expression. In this way he has opened up the way for the future generations of the new tradition.”
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Although music and architecture have a stimulating relationship, we seldomly observe both in the same place and time. Different music genres have different correlations with architecture. This paper emphasizes and analyzes the connection between music and architecture, narrowing the investigation on hip hop genre and architecture. The correlation between these two is complex and rarely understood without a proper study. Nevertheless, these two disciplines, seemingly distant fields, share similarities that illustrate the same development path of creating. This study aims to extract and emphasize the most dominant characteristics of the affiliations between music and architecture. In contrast, this study provides a unique design and composing process by synthesizing qualitatively the gathered information. It converts music to an architectural model, a design that represents appealingly different architecture, or an architectural arrangement about collage, remix, and sampling, same as the challenging site and context of the setting, as an epitome of hip-hop music itself.
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