Piece Of Architecture Research Articles

A review is an artistic-analytical journalistic genre

A review is an artistic-analytical journalistic genre, which is written as a result of an avaluation of an artistic or scientific work. It is an author’s evaluation of a work of art (film, play, book, piece of architecture, fine art exhibition) that explores the question: “What did the author want to say and how did he express it?” As a work of art is a concentrated wywtem of forms that reflects the atists’s impression of the surrounding reality, the critic tries to understand what that reflects the artist’s impression of the surrounding reality, the critic tries to understand what the author wanted to say and how it was reflected in the work. This is the search for answers to the questions: “What did the author want to say?” and “How did he say it?” – all this helps us to create a unified idea of the reviewedsubject and determines the purpose of the journalistic text. The process of creating a text mirrors the course of thinking of a critic-publicist. The question of what to review is of paramount importance to the author. It is clear that the reviewer is simply not able to cover all the phenomena of cultural or scientific life with his attention, and this is impossible due to the limited capabilities of the media. Therefore, the most outstanding performances, books, films, including “scandalous” ones, are reviewed mainly. Works that have caught the attention of the public. The review, of course, should pursue some importante goal – to tell the audience about what really deserves its attention, and about what is unworthly of its attention, to help it better understand the issues of the area that the reviewed work concerns. The review should be clear in content anf form, accessible to addressees of different categories of readers, listeners, viewers. To do this, the reviewer needs to deeply study the work under review, taking into account the principles and rules that guided the writer, scientist or artist, be able to use analysis methods and be fluent in the language of the work under review.

Space-making and aesthetics: Adaptive restoration, new functions and their experience in architecture

In this study I investigate several questions related to adaptive restoration, i.e. when a functioning piece of architecture operates with a different purpose to its original one, as well as the role of aesthetics in re-purposing, and the importance of the special forms of experience such a conversion provides. The questions connected to these architectural projects are not only theoretically inspiring, leading to diverse and broad fields of research in architecture, art and aesthetics, but are also crucial on a practical level, and hence require caution and precise consideration, given the impact the final results of such projects may have, as well as in terms of the effect and efficiency of the new space. Creative and adaptive re-purpose, modification or complete change of function can have wonderful potential, as well as, obviously, presenting serious hazards to avoid. What is equally important, however, is that this will also contribute to a strengthening of awareness of architecture and its aesthetic qualities, hence further promoting the idea of safeguarding and care of edifices and of tangible heritage.

Reception of the Zagreb Traditional Wooden House in the Brick Residential Architecture of Zagreb’s Opatovina and Upper Town in the 18th, 19th and 20th Centuries

During the foundation period of Zagreb’s Gradec and Opatovina, a specific architectural type of wooden single-storey residential house emerged, the so-called purgerska hiža, based on the traditional wooden architecture of the wider Zagreb area, which has been defined, for the first time in this paper, as the Zagreb traditional wooden house. Features of this house type can be recognised in brick residential houses from the 18th century onwards, both in Opatovina and Gradec, and they became a staple piece of architecture commissioned by the economically less powerful and less educated. This paper describes the prominent features of this architectural type, as well as the specificities of a more elaborate type of two-storey house that developed therefrom. Here it is shown that this type continued in the brick form long into the 19th century, and that certain features occasionally cropped up even in the 20th century. All Upper Town and Opatovina houses that can be subsumed under this type have been identified in this paper, as well as houses derived from that type, which can be considered its modifications, and they have been analysed in order to determine where the influences on this type of architecture had come from, adopting a new thesis on Zagreb as a border zone that was influenced by two ethnographic regions: Turopolje and Hrvatsko Zagorje.

MOVING ARCHITECTURE

One of the primary and most typical features of a piece of architecture is its stability, its fixed and anchored state. It is therefore surprising and, at the same time, aesthetically inspiring and intellectually exciting when buildings are moved. In the present study I examine the agency of transportation and the aesthetic consequences of such translocations in three art projects. First, I analyse the work of the Norwegian Marianne Heske, the Georgian Vajiko Chachkhiani, and the Finn Anssi Pulkkinen. I lay out the aesthetic implications of the transformative decontextualization caused by the relocation of the original structure. In the second part of the paper, I present the main aspects that connect these otherwise different projects and explain why the complex and costly transportation of these pieces of architecture is relevant and justified.

About the Cover

At the iSchool, we study information. What information was traditionally perceived as is changing. Thus, our program has evolved to encompass the many domains information has branched into with its various concentrations. The changes should not come as a surprise, as information is all around us. The flowing design elements of the cover allude to the emerging connections and intersections of information between individuals and between other disciplines. The colour scheme is inspired by the colours of the Claude T. Bissell building at the University of Toronto, also home to the iSchool. The building was built in 1971 as part of Robarts Library—an iconic piece of Brutalist architecture in North America. The font used was Times New Roman. It is a classic font which alludes to our roots, contrasting with the curving line elements, which allude to the different directions the study of information can take us.

Tunisian works (1927–1936) of Joseph Hiriart: completing the architectural career of an Art Deco master

The Mediterranean Sea separates the French architectural works of Joseph Hiriart (1888–1946) from his Tunisian buildings in North Africa. Among the former are Villa Leihorra (1926) and other works of the late 1920s that were built on the French Basque coast. These were preceded by the La Maîtrise pavilion (1925), which was designed by Hiriart in collaboration with Georges Tribout and Georges Beau on the occasion of the ‘International Exhibition of Modern Decorative and Industrial Arts’ that was held in Paris in 1925. These pieces of architecture form the most published and recognised part of the career of Hiriart, a master of Art Deco and a key architect in the interwar period. However, the same is not true of his Tunisian works that span from 1927 to 1936 because, despite the obvious and consistent interest in them as they provide additional features which complement his French works, their dissemination has been incomplete and limited to brief mentions. The paper sets out Hiriart’s biography and best-known works, and then focuses on his time in Tunisia, providing an overview of the architectural projects he carried out there and framing them in the colonial context with the aim to fill this historical void and restore the Tunisian part of his architectural work.

Archaeological Landscape of Mayong in the Kalang-Kapili Valley of Assam

Mayong in Morigaon district of Assam is known as a land of black magic, witchcraft, sorcery and tantric practices, spiritual healing and indigenous medicinal system since the medieval period. The area is also extremely rich in terms of archaeological remains and sites of historical importance. With an objective of documenting and mapping the archaeological landscape of the region, an extensive field survey was undertaken during 2020–21. This survey has resulted in the discovery of diverse archaeological remains including polished stone tools, early and late medieval rock-cut sculptures and temple ruins, specimens of sculptures belonging to the Pala-Sena period, archaeological mounds with pottery, brick and terracotta architectural pieces, metal objects belonging to Vajrayana religious sect, inscriptions, engravings, mason marks, ancient stone quarrying, battle ground, ramparts, cannons and cannon balls, water tanks, manuscripts, bronze and bell metal sculptures, Vaishnavite <em>Satras</em> (monasteries), <em>Naamghars</em> (prayer halls) and <em>Thans</em> (sacred places). This paper discusses these archaeological remains and their relevance for understanding the ancient cultural development in Mayong and the Kalang-Kapili Valley.

The Glass Room: Housing space, time and history

This article presents The Glass Room (2009), a novel by the British author Simon Mawer set in Brno, the Czech Republic, as a unique literary portrayal of a historical period and Modernist architecture in fiction. Shortlisted for the Man Booker Prize, the novel marked a turning point in its author’s career, inspiring both theatrical and film adaptations, and, perhaps more importantly, it sparked a resurgence of interest in its model, the famous Tugendhat House, a revolutionary piece of Modernist architecture built between 1928 and 1930 by Ludwig Mies van der Rohe. The narration of the novel is determined by the centrality of both the Landauer House and its main living space, the Glass Room, and their capacity to frame the intimate histories of the characters as well as the tumultuous social, political, and cultural developments of Central Europe. The spatial poetics of The Glass Room reflects this thematic complexity, whilst expressing the key aesthetic and ethical preoccupations of Modernist architecture and contribut-ing to the novel’s role in providing a multifaceted insight into history and architecture.

Study Of The Mass Construction Of Al Irsyad Mosque In The Kota Baru Parahyangan

Al Irsyad Mosque is situated in Bandung, Indonesia, in Kota Baru Parahyangan, Padalarang. The construction of this mosque started on September 7, 2009, and was completed a year later. This mosque is modeled after the Kaaba in Makkah's Grand Mosque. This mosque was named one of the five finest buildings in the world in 2010 by the National Frame Building Association in the area of "religious architecture." This mosque is a work of modern architecture that succeeds in breaking the mold of most mosque shapes. Contemporary architecture is defined as a new, contemporary, distinctive, and original piece of architecture, regardless of its visual design, style, or theme. This course discusses descriptive qualitative research. This research is about modern architecture, as defined by many characteristics. The building's expression is subjective, contrasts with its surroundings, emphasizes a distinctive form, is out of the ordinary, and is appealing. The study's findings are anticipated to explain the use of modern architectural ideas at the Al Irsyad Mosque.

« […] one of the most perfect pieces of Architecture in Europ, emulating even some of the greatest now at Rome it selfe. » : perception et description de l’architecture française et italienne dans le journal de voyage de John Evelyn

Cet article examine les déplacements et les notes de voyage de l’auteur anglais John Evelyn, qui avait entrepris au milieu du xviie siècle une longue tournée à travers l’Europe continentale et documenté rétrospectivement ses impressions dans un journal appelé Diary. Notre analyse se concentre sur les descriptions des édifices qu’Evelyn a visités lors de ses séjours à Paris et à Rome. Les passages descriptifs du texte sont évalués de manière comparative en tenant compte des procédés descriptifs de l’auteur et de sa compréhension de l’architecture. La question première est de savoir quels édifices Evelyn a vus à Paris et à Rome et comment il juge ce qu’il a vu. Les jugements formulés dans le Diary seront mis en relation avec les écrits ultérieurs d’Evelyn sur l’architecture afin de déterminer (1°) si John Evelyn a pu acquérir, à partir de ses impressions de voyage, des connaissances en matière d’architecture et d’urbanisme et (2°) si ces connaissances ont pu nourrir ses réflexions ultérieures sur l’architecture et lui forger une opinion indépendante.

Dreamlands: stories of enchantment and excess in a search for lost sensations

This paper reflects on the search for a lost, obscure piece of experimental architecture that appeared on the west coast of Scotland in the late 1960s. Encouraged by cultural geography’s efforts to recuperate storytelling as a valid mode of inquiry and to adopt a more enchanted, affirmative disposition to our endeavors, we develop a geographical story intended to draw out how enchanted experiences gained through curiosity and an openness to contingencies can serve as a vital force for sustaining geographical ways of being, doing and knowing with the world. This account focuses on our encounters with various research sites that we identify as ‘dreamlands’ to express the idiosyncratic, unregulated, unexpected sensations of wonder and delight that such places evoked, the excessive materialities they revealed and the imaginative processes they elicited. We argue that such dreamlands are not as superfluous as might be assumed by their uncanny absence from the polished end-products of scholarship, and instead, allude to the latent forces of enchantment to which geographers might become better attuned when conducting and crafting their research.

A visit to the new Susan Wakil Library at the University of Sydney

Located at Camperdown behind the Royal Prince Alfred Hospital and overlooking the University of Sydney oval, the new Susan Wakil Health Campus building is an impressive piece of architecture. This state-of-the-art new building brings together multiple health disciplines to work out of the same precinct. Working alongside each other in this new facility creates unique inter-professional learning programs and multi-disciplinary research opportunities. It places the students and staff at the forefront of health innovation, learning and policy.

Rereading of Creation and Perception Process in Architectural Pieces, on the basis of Transcendent Wisdom

Rereading of Creation and Perception Process in Architectural Pieces, on the basis of Transcendent Wisdom

My rural, vernacular house in context to COVID-19

Vernacular architecture offers clues and lessons to people. Purpose of this paper is thus to explore and identify attributes of a particular piece of vernacular architecture and try to relate it in context to COVID-19. It highlights attributes of the house in context to reimagining and redesigning built environment in days of COVID-19. Said piece of vernacular architecture is my ancestral house which no more exists since 55 years in a village I am from. Its plan, form, building materials and setting in a village teaches few things. House of single storey in mud construction was over a small plot of about 9 meters by 12.5 meters. Top of compound wall was above eye level offering great privacy and insider naturally avails environ offering pleasant solitude, the need of COVID-19. When one entered plot of house from road through compound gate on south-west direction of a plot, one is in a small courtyard. Immediate to entrance at compound gate was a room of about 2.5 meters by 2.5 meters with a veranda of about 2 meters by 2.5 meters. This space called “Gadaaro” was for male guests and males of a family. Courtyard which contained two cows continued beyond Gadaaro. Abutting on northern wall of a plot were walls of 3 rooms namely kitchen (northwest), a general room and a bed room (north east). From a courtyard one could enter to a general room leading to kitchen on its west and bed room on its east. Plan remained closer to what one needs to reimagine today in COVID-19. Construction from local building materials; mud-walls and a country tiled sloping roof offered many things expected in COVID-19. Findings here are that environ, house plan and construction materials has to be such that one can leave in for a long period without coming in contact with outdoors for days. House plan shall be fully contained and complete in itself.

The Sculpted and Architectural Stonework from Stanwick Roman Villa, Northamptonshire

ABSTRACTExcavated between 1984 and 1992, the site of a large Roman villa complex at Stanwick, Northamptonshire, produced a significant quantity of sculpted and architectural worked stone. This paper assesses the various aspects of that material, including the petrological sources, and offers a new interpretation. Many items were discovered as post-packing or were otherwise reused within the fabric of the enlarged fourth-century villa, but originally derived from what were probably two earlier monumental structures dated on stylistic grounds to the early third century. The sculpture was initially examined in 1994–95 by Martin Henig and the late Thomas Blagg, whose work, especially on the large number of architectural pieces, has been subsumed into this paper and to whom we owe a debt of gratitude. Supplementary material is available online (https://doi.org/10.1017/S0068113X21000052) and comprises additional figures and tables.

Wooden heritage of Świętego Piątka St. in Zamość. Problems and ideas for the preservation of a vanishing landscape

Wooden heritage of Polish towns has become a widely discussed architectural topic. Until the 2nd world war, the majority of little towns and villages development was constructed from wood. Zamość, well-known for its inclusion in the UNESCO World Heritage List, may be pleased for having many examples of wooden residential architecture dating back to the beginnings of the 20th century. Stylistic traits, composition of forms, modest but classy ornamentation and the atmosphere of the street calls for adequate commemoration. Private ownership entailing infrequent poor maintenance, devastating weather conditions, lack of concrete, local government actions result in gradual deterioration of wooden building substance and its aesthetic, original qualities. Too little attention and effort is devoted by the local government to preserve that unique part of Zamość – the Zamość outside the fortification walls.&#x0D; The author of the article provides historical background of that particular pieces of wooden architecture, lists their main characteristics distinguishing and common to the Zamość region, discusses their role in the street’s landscape and presents several solutions to revive the original beauty of the place and engage attention to the matter.

ARCHITECTURAL DÉCOR OF FACADES OF BUILDINGS IN LVIV FROM 1890’S (HISTORICISM)

Currently, the problem of typing architectural decor of facades of buildings in Lviv from 1890’s (late historicism) has not been studied. Therefore, the task is to explore all architectural decor elements of each architectural piece, which are of indisputable value for Lviv and in need of preservation and restoration.&#x0D; A set of villas and a number of profitable and public buildings erected at the time of late historicism in Lviv were identified and taken as a basis based on comparative and bibliographic analysis. In addition, photographic evidence and visual inspection of these pieces were completed and architectural decor elements were studied. A total of 95 architectural pieces were analyzed on the basis of field surveys: 28 villas, 2 public buildings. and 13 residential buildings. As a result of the above, types of architectural decor elements, such as: constructive-decorative, art-decorative, decorative-plastic, were established. Subsequent studies have led to a smaller division into subtypes. Thus, entrance portals, windows, balconies (fences, brackets), cornices, and attics were included in the constructive-decorative elements, paintings and majolica were included in the artistic-decorative elements, and order, rustic, stucco works, round sculptures were included in the decorative-plastic category.&#x0D; This publication involved analysis of constructive-decorative architectural decor elements. Constructive-decorative architectural decor elements were analyzed in view of their composition and style peculiarities. In particular, composition features of architectural decor elements were analyzed for form and tectonic location, while types and motifs applied to style specifics.

Transnational mobilities of the tallest building: origins, mobilization and urban effects of Dubai’s Burj Khalifa

ABSTRACT The media and scholarly descriptions and understandings of the tallest building in the world, namely the Burj Khalifa in Dubai, generally, have been simplified. Either celebrating or condemning it, these explanations typically stress the unique technological solutions, the symbolic and political motivations or the financial risk and economic gamble. This manuscript documents the origins – in terms of both its generation as centrepiece of the large-scale development project called Downtown Dubai and the mobilization of antecedents of Dubai’s icon (including the Kuala Lumpur City Centre, the Samsung Tower Palace Three, Seoul). Drawing on secondary data and prior research materials, the paper analyses the mobilities of architectural, engineering and real estate experts and solutions, arguing that this urban spectacle worked at multiple scales, that multiple actors embraced it for different purposes: the government celebrating the nation and the city, the developer gaining a distinct landmark in a massive development to market it internationally, enticing partners and regulators in subsequent transnational operations and the design experts testing unprecedented technological solutions. The conclusions concentrate on the diverse motivations behind this architectural piece and the importance of a place-based yet critical and multiscalar understanding of similar urban transformation processes and their uneven urban effects.

The model of trees for the restoration of historical manor parks in Estonia

The aim of this article is to work out the methodological basis for the restoration of historical manor parks according to the requirements of the Florence Charter. This is why the park is not studied as an object of biodiversity but as a built monument and an architectural piece, whose composition is mainly created by woody plants particularly trees. The purpose of the current research was to clarify the proportion of examples of distinct tree species in manor parks today and to determine the main tree and shrub species originally used in manor parks. Working out the model for the composition of stands of trees in a historic park. The model for the composition of stands of trees in a historic park was developed. The article summarizes the results of a survey what is a part larger study that explores and understand the key characteristics of Estonian Manor Ensembles and parks.

Wood as a Material of Traditional Manor Building: Problems of Restoration, Conservation and Reconstruction

In the article, the co-authors analyze the reconstruction and restoration of pieces of wooden architecture, primarily, manors and parks of the 18th and 19th centuries, located in the south-west of the Russian capital. The co-authors are convinced that the application of timber as the construction and finishing material is the key feature of these wooden monuments, or former mansions of the Russian feudal nobility; park pavilions, country houses owned by famous businessmen and artists in the days of the industrial revolution, in the late 19th – early 20th century. Wood is the source of numerous problems that accompany preservation, and in some cases, reconstruction and restoration of these construction facilities. Problems consist in the choice of materials used to reproduce missing fragments of buildings and the assessment of authenticity of a facility or its elements in case of its complete or partial destruction. The co-authors employed such methods, as the analysis of architectural history sources and comparative historical research. The co-authors offer expert reviews made by contemporary Russian restorers and civil activists, willing to have architectural monuments preserved and manors and parks restored. The project is theoretically and practically relevant, as it generalizes information on pieces of wooden architecture and their restoration in the Russian Federation.