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The agrarian reform, promised by King Ferdinand during World War I and enacted shortly after its end, determined the introduction of the measure of allotment on a large scale, exceeding the rural context, as a specific instrument of interwar Romanian social policy. The introduction of the measure of allotment through the agrarian reform served as a precedent for the enactment of legislation regarding the distribution of building plots in the cities. Thus, in 1921, when the second phase of the enactment of agrarian reform was ending, another law that governed the distribution of building plots in all Romanian provinces was promulgated: The Law that Authorizes Cities to Sell Building Plots to Invalids, Widows with War Orphans, Public Servants, and All Ex-Servicemen. In Transylvania, its provisions overlapped some of those specified under the agrarian law of this province.The legislation regarding the distribution of building plots generated inevitable expansions of urban areas, leading to the territorial growth of more than 80 cities throughout the country. The extensions were produced at a very rapid pace, in a context of sustained attempts to introduce the systematization plan as an indispensable instrument of rational urban development. It was initially sustained by various specialists in the field and, after 1925, conducted through the administrative legislation of the country.Starting from these premises, this paper follows the legislative context of the distribution of building plots, its quantitative and qualitative impact on the development of cities during the interwar period, and the positions of various state authorities and specialists in relation to the issue of subordinating the inevitable expansions to a planned urban development.
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As far as all cities in today’s globalized societies are multilingual, multifaceted and multinational, they are a priori of particularly intense historical and cultural significance. Our study aims to illuminate the nature and effects of these interactions. The cities of Central Europe offer rich case studies – Chernivtsi, in particular, since its architecture shows this historical process thanks to a series of urban landmarks. A thorough investigation of architecture, language and culture can help provide a nuanced understanding of the nature of the entwined relations which prevailed throughout the Romanian period.In this article, we wish to contribute to the debate about the richness and diversity of the architectural styles and urban landscape of Bukovyna, specifically with regards to its capital, Chernivtsi, which can boast of a remarkable political and cultural vibrancy throughout the mentioned period. The present research differs in many respects from previous publications on the topic in scope, period and approach. By scrutinising the city as an object of interdisciplinary studies, we seek to provide a theoretical framework bringing together remembrance with research on heritage conservation under modernity of reality. The history of Chernivtsi’s built environment is a striking example of the effects of successive administrations’ approach to urban planning and design, influenced by the geopolitical realities of each of the historical epochs, while retaining the tolerance for the architecture of each era. Its interwar period architecture vigorously manifests Romania’s national aspirations to leave its impact on the European city.
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During the Communist regime, the Baroque architectural ensemble built in Târgu Mureş in the eighteenth century by the Franciscan Order was erased from the List of Monuments in 1966 and demolished in 1972. The purpose behind this was to clear the way for the erection of a National Theatre and the creation of a new “piazza” that preserved only the nineteenth-century tower of the former church. Our study, based on information gathered from documents in the archives of the National Heritage Institute (NHI), aims at presenting the unfortunate destruction of this monument and the restructuring of the city’s former market square.
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A general feature of the contemporary history of Romanian cities, owing especially to the ideological pressure during the communist regime, but also to the chaos characteristic of the post-communist period, is the difficulty in identifying urbanism trends, which is certainly valid in the case of Alba Iulia. The fact is to some extent paradoxical, because this town has self-identified over time as the “town of the Union”, since the act of 1 December 1918 gave it this identity more strongly than the similar declarations of union with the Kingdom of Romania on 27 March 1918 for Chișinău and 15/28 November 1918 for Cernăuți. More recently, the local government transformed the aforementioned phrase into the motto “the other capital”, based on the Vauban fortress’s tourism development, dating, in its current form, back to the 18th century. However, the history of the town, in particular the modern one, has little in common with the history of the fortress, and the need to create a more coherent link between the fortress and the modern habitation area (the “lower town” or “center”) and the post-War settlement on the “Romans’ Plateau” has represented the great problem of urban development projects in the city since 1918.The present study addresses three eras of urban project: 1. in the interwar period and during the Second World War, in relation to the construction regulations developed during that period; 2. in the period of “popular power” (1948-1965); and 3. in the first decade of the “Golden Age” (1965-1975). The sources utilized come from the archives of local and regional administrative authorities. The projects mainly focused on the systematization of the “Romans’ Plateau” area, where the collective habitation assemblies built in the post-war period first used the “quartal” model, then the “micro-raion” one, both of Soviet inspiration; and on the “Lower City”, whose reorganization has become stringent since Alba Iulia regained the status of an Alba County habitation in 1968. The investigation stops at the time of the destruction caused by the earthquake on 4 March 1977, which led to a radical restructuring of this area of the town.
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In 2018, an emblematic and important year for all Romanians, marking 100 years of the Union of Bessarabia, Bucovina and Transylvania with Romania, a special place is given to the buildings where the famous events surrounding Unification took place.The purpose of this article is to present historical and certain architectural aspects of the Residence of the Metropolitans of Bucovina and Dalmația in Cernăuți, where, on 15 November 1918, the Union of Bucovina with Romania was decided, and comparing it to building no. 3 of the former Gymnasium for boys “Alexandru Donici” in Chișinău, where, on 27 March 1918, the Union of Bessarabia with Romania was voted upon.Today, the Metropolitan Palace building, designed according to the proposals of Czech architecture Josef Hlávka, is part of the National University of Cernăuți Iuri Fedikovici. In Chișinău, the aforementioned Gymnasium building (designed by V. Țâganco) has been adapted to the requirements of another educational institution – the Academy of Music, Theatre and Plastic Arts – and is on the waiting list for restoration. The artistic, historical and architectural value of Cernăuți’s Metropolitan Palace was recently confirmed by its inclusion on the UNESCO cultural heritage list.
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The Union Hall in Alba Iulia intensively imposed itself on the collective mentality of the Romanians as the main evocative monument of the union of Transylvania with Romania. It is also related to the crowning of King Ferdinand I as a sovereign of the Romanian state resulting from the Union Acts of 1918. As a consequence, it occupies a special place in the historical geography of Alba Iulia.The Union Hall has been the venue for various events, some positive, some prejudicial, that have marked its area of significance and architecture. The present study attempts to identify and characterize these events, distributed over the course of a century, relating them to government policies and regime changes. One of the ideas pursued in the article is that the alternative to democracy – totalitarianism – not only marked the events that took place in Alba Iulia, but also the monuments evoking these events. From this point of view, pursuing the history of the Union Hall can be a useful methodological approach.
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The idea that architecture speaks its own nonverbal language is a relatively recent thesis developed in the late twentieth century, yet architecture has been "speaking" and transmitting messages for millennia. While Postmodernists see architectural language as composed of building elements that make the architectural vocabulary, their composition rules leading to phrases endowed with the ability to impart various meanings, architecture traditionally speaks the same language music does: it is not the musical notes carefully written on the sheet music, the ones who make a masterpiece. The notes are the alphabet. Proportional composition, tones, accents, and tempos are the "solid" structures of the piece: they are to music what the solid building, with its openings, differentiated planes and volumes, proportional composition, is to architecture. And while composition alone can make the masterpiece, the way it is played and the tonality of the particular instruments brings the piece of music to life: each time, a slightly different life, creating a different atmosphere. Both music and architecture are atmospheric in essence: to be meaningful, music and architecture have to create emotions and determine feelings. Architecture is what happens between the world of utilitarian rationality and artistic existential expression. It is dual, for it is inhabited art. Schelling called architecture "frozen music" and it became one of the famous definitions of architecture. Later on, Le Corbusier turned music into architecture, in La Tourette, and the meanings for doing so were the archetypal ones: proportional composition of geometrical volumes and light. In architecture, light is what gives spaces their meaning. When masterly used, light becomes to architecture what a skilled violinist with a Stradivarius brings to a famous concerto. Without light, spaces remain in oblivion. Light is the most subtle of the means of architecture; it can express joy and happiness, as well as melancholy and sorrow. This paper is interested in analyzing the interplay of light and matter in Daniel Libeskind's "Between the Lines", also known as the Jewish Museum of Berlin, a place where immaterial light become transubstantiated into displayable, meaningful substance. Light becomes both meaning and artifact. Museums usually control light very strictly, in order to ensure the proper maintenance and visualization of the displays, but in the Jewish Museum, spaces become symbols through lighting, and the symbols - as well as their deconstruction - are the representation of a specific history. Light fills the space as an exhibit and becomes a part of it. It is and is not hope, it is - and is not - emptiness, but rather what is left after presence becomes abolished. It is memory; and anguish. Light becomes the materialization of emptiness, as well as an experience of inherent pain, solitude, mute despair and uncertainty. As Anthony Vidler wrote in the “Architectural Uncanny”, [this] is for Libeskind the stuff of architectural experience.” Light is paradoxical, in the spaces of the museum. It is unsettled in its stillness and transcends the uncanny described by Vidler, in the sense that the spaces Libeskind creates are already imbued with meaning. In their emptiness, there is more than a projection of the visitors’ fearful expectations of what they might find in the museum. In fact, Libeskind is a modern Eupalinos: he knows how to compose and play with human emotions and spatially acoustic modulations and vibrations. His spaces are musical, in either their utter silence or their white noise. Light recreates the anguish, the agony, and finally, the silence. The silence of death, of disappearance. The Void.
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Piraeus, Greece’s capital port city since the ancient times, is now home to many abandoned industrial sites that present an opportunity for revitalization through regeneration. This article presents applications of brownfield regeneration policies from the United States Environmental Protection Agency and the EU Brodise Program for the case of Piraeus, Greece. The paper includes a theoretical framework that introduces the historical patterns of development through globalization and changing economic systems that led to the presence of brownfield sites around the world. The research utilizes field work at major brownfield sites in Piraeus including site visits and stakeholder interviews, alongside literature review. The ultimate goal of the article is to exemplify areas of proven brownfield regeneration success internationally that can be applied to future policies to support efficient, transparent, and sustainable regeneration projects in Greece.
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Abordarea temei manipulãrii poate pãrea un lucru firesc pentru un cetãţean a cãrui perioadã de formare cuprinde ultimii ani ai regimului comunist împreunã cu primii ani de dupã acesta, vremuri atinse de manipulãri pe cât de spectaculoase, pe atât de grosolane. Dar, pentru a contempla splendoarea acestui curcubeu al formulelor de manipulare nu este nevoie de analiza schimbãrii raporturilor de putere la nivel global. Experienţa trecerii succesive prin cele douã forme ale manipulãrii, cea paranoidã (specificã totalitarismului) și cea histrionicã (specificã democraţiei), este un fapt mult mai banal sau mai puţin condiţionat istoric decât am putea crede la prima vedere. Acel tip de melodramã, în care fata ajunsã în pragul maturitãţii scapã din cleștele autoritãţii pãrintești aruncându-se în braţele unei iubiri neîmpãrtãșite, ilustreazã la fel de bine succesiunea de rece - cald - rece atât de utilã în cãlirea caracterului celor aflaţi la început de drum. Chiar și aceia pe care soarta îi va fi ferit de cutremure mai mari sau mai mici, pot experimenta succesiunea celor douã forme ale manipulãrii atunci când, terminând ultimele pagini ale Vechiului Testament vor începe sã citeascã primele pagini ale Noului Testament. Ceea ce poate pãrea mai puţin firesc pentru același cetãţean (dar nu și pentru unul de formaţie mai recentã) este stabilirea unui raport relaxat între eticã și manipulare.
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The article considers selected issues from the field of the philosophy of architecture and design and attempts to scrutinize the problem of what the human home (as opposed to ‘house’) is, which, despite its significance, has only seldom been placed at the center of philosophical deliberations. While tackling the topic, the author brings up the ideas advanced by Martin Buber, Ulrich Schrade, and Boguslaw Wolniewicz. According to Buber, ages of settledness and homelessness are intertwined in history. However, in any epoch, one’s home and its interior may either contribute to one’s balanced psyche or undermine one’s sense of ontological security. The concept of home as a secure place in a hostile world was introduced by the Puritans as part of their affirmation of ordinary life. Alongside the types of interior design that enhance man’s rootedness in the world, there are those that remove any reference to the past or any symbolic content from the spaces of human life. Instances of the latter can be seen in the non-places characteristic of the modern world, which are designed in an uncharacteristic way, with a view to their pure functionality, as well as in interiors whose creators followed the rules of the minimalist aesthetic. Their opposites are interiors which, by embodying a theater of memory, may become inspirational to their occupants. An outstanding example of the latter is the house of the writer Mario Praz in Rome.
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The purpose of the article. Identify prospects and summarize the characteristics of conceptual design in architecture and design in the context of project thinking at the present stage for scientifically sound use of the principles of conceptual design. Research methodology. It is based on the integrated use of general scientific research methods: analysis of literary and archival sources, field research and fixation, analysis of project materials, analysis of the development of the functional structure of architectural space, generalization of previously proposed ideas and proposals. Scientific novelty. On the basis of the conducted scientific researches and the analysis of the existing literature data in the field of conceptual designing in architectural and design creativity: generalized general principles of conceptual design; characteristic features of design concepts in architecture and design are revealed; generalized and systematized the experience of existing approaches to the formation of project concepts in architectural and design practice; it is proved that the project concept is the starting point for the formation of architectural and design projects; the basic principles of formation of conceptual design in architectural and design work in the context of expression of the basic idea of the future project are defined. Conclusions. As a result of the research, the characteristic features of design concepts in architecture and design are determined, methodological principles of conceptual design formation in architectural and design are formulated, the main platforms of design of modern architectural and design creativity are revealed. In addition, when creating a design and creative concept of projects in modern design (artistic) design must be based on the following integrated categories: image, function, form, aesthetics, harmony, innovation, style. In the context of this study, the characteristic aspects of the concept are highlighted, namely: the concept in the design project ensures the unity of the idea and ways of its further implementation; all elements of the design project are interconnected through the design concept; in the process of design and implementation, the components of frequent design concepts can be expanded and modified; the design concept is influenced by the beliefs and thinking of the designer; the concept of the project is the result of the creativity of the designer (architect); the concept is characterized by individuality. Conceptual design is the most creative part of architectural and design activities. The project is dominated by the ideas of forming spaces, objects and images. Conceptual design in design plays such an important role that it is impossible to overestimate even theoretically, because it is not just about some important component of the project, but about its main idea. It is the conceptual design in the design that largely determines the appearance of the future object.
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Whether you work in an architecture office or manage your own firm, you are likely to be confronted with complex challenges, tight deadlines, massive workloads, and a variety of tasks. Therefore, stress will almost certainly enter the picture. However, the idea of becoming an architect and working in the industry may appear to be at odds with traditional notions of work-life balance. Long commutes, tight deadlines, and the need to make quick judgments, mixed with potentially poor pay and a morass of thorny working relationships and red tape make architecture to be widely regarded as one of the most stressful professions. However, despite the topic’s great importance, not many studies attempted to explore the stress level among the architects, especially in Macedonian context. Therefore, the purpose of this study is to explore the stress level of the architectural professionals and to study whether there is a difference in stress based on the demographic variables, such as gender and age. For this reason, quantitative research on 32 respondents has been conducted, whose results can serve as a reference for designing adequate human resource policies in architectural industry. The research results have indicated that there is a high level of stress among the architects, yet there is not statistically significant difference among the age and gender groups.
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For us, the architecture of the 1980s is usually associated with a wash of brown, leatherette furniture and bleak grey concrete apartment blocks. But is this picture complete? Wasn’t there perhaps something different, something more interesting happening outside the purview of our personal recollections? After all, every era has a considerable proportion of more ambitious artists striving to rise above the everyday average
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An underground line in Prague had been seriously considered since the time of the so-called First Czechoslovak Republic. However, it took four more decades for the construction to start. It was not until the work was under way that the decision was made that it would not be an underground tram line but a real underground train line. The Czechoslovak-Soviet cooperation had a fundamental influence on the visual appearance of the first underground line. The next lines, however, were given an original design, and their architecture was tastefully incorporated into the city’s historical centre.
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3D printing, or additive manufacturing, is a technology or technique that adopts a layer-by-layer additive deposition process to create three-dimensional (3D) objects. Over the past decades especially the last ten years, 3D printing has attracted and gained more and more attention in the construction field. The future improvement and development of 3D printable cement materials for buildings and construction feild by controlling the basic inputs of materials to get the required structural performance is developing from day to day. This paper discussed 3D printing technology, explained the various applications of 3D printing techniques, the methodology of implementing 3D printing and the positive impact of 3D printing on the construction industry. According to the extensive and theoretical study that has been done in this paper, it has been seen that the technology of building with robots and 3D printing in the construction industry has a great positive effect on civil engineering.
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The content of the concept, which is characterized by words such as transparent, permeable, shows different characteristics according to different fields. Being transparent in attitude and behavior means being clear. Transparent administration means that there is nothing hidden, for example, the message of 'trust us' is given in the phrase transparent banking. Being transparent in architectural design ensures that different space connections such as interior-exterior or interior-interior can be established unhindered. Easy installation in high-rise buildings constructed with today's technology, a large space left towards a beautiful view makes transparency preferable. Addressing transparency in the context of materials in architecture with other concepts such as culture, society, function, need, and structure will reveal other expansions. Transparency may not always be a preferred method of application or choice of material. In this study, the architectural dimension of the state of being transparent will be examined, and attention will be drawn to multidimensional thinking and application by evaluating the criteria well.
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Workplace, warehouse, etc. of the ground floors in the buildings. Increasing the ground floor heights in order to be used in a suitable way leads to structural irregularity of the building, which is one of the important causes of serious earthquake damage. Buildings with this irregularity, which are caused by design and structural use, have been accepted by engineers as weaker structures against earthquakes. In terms of Turkish building earthquake code (TBDY2018), irregularity situations require the application of special conditions in structural design and analysis. When urban zoning regulations are examined, many buildings are designed in such a way that they do not require special considerations, and in some cases, buildings with structural irregularity are necessarily built. In this study, how the height of the ground floor and shear walls that are not designed as load-bearing shear walls affect the structural irregularities and the effects of these structural irregularities on the structure under the influence of earthquakes are investigated.
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The author attempts to describe the interplay between cinema and television, focusing on film and series as forms of communication characteristic of the respective media. The instances of competition and cooperation between the two media are presented in the technical and industrial context. The article focuses on the so-called new-generation TV shows, which are often described as displaying “cinematic qualities”. Even though such comparisons are usually rhetorical, they do have a certain analytical potential, which is revealed in the course of analysis of the rhetorics and mise-en-scène of productions such as The Sopranos, Six Feet Under and Lost, as well as older series, e.g. The Twilight Zone. The author concludes that “filmic” nature has been ascribed to both episodic series and highly serialized streaming shows, which are interpreted here – in accordance with Amanda D. Lotz’s argument – as instances of “Internet-distributed television” rather than a wholly new medium.
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The paper deals with the architectural evaluation of the Parish Church of Saint Anthony of Padua in Belgrade, Serbia, done by a Slovene architect, Jože Plečnik, in 1929. The study is based on a research of available historical sources with a critical approach to analysis and architectural evaluation, as well as a contemporary fieldwork and an on-site analysis. The paper offers a brief overview of Plečnik's engagements in various public projects throughout Europe, followed by an analysis of a wider historical and social context within which the site of the Franciscan convent and later parish church in Belgrade emerged. Furthermore, the paper provides an insight into the historical development of the site inside the framework of the Franciscan Province Bosna Argentina. It also gives a critical examination of the stylistic approach to the project for the church, and its later alterations made by Plečnik's successors. Moreover, its contribution to ecclesial architecture, significant structural novelties, interior decoration, furnishing and works of art produced for this project, according to Plečnik's ideas, are historically analysed and examined.
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