Development Of Modern Architecture Research Articles

A Theoretical Framework for the Evaluation from the Traditional Mashrabiya to Modern Mashrabiya

Finding a favorable trade-off between saving the architectural heritage, and assuring the development of modern architecture is a delicate and precise task, due to the lack of knowledge in the original criteria for the re-thinking of traditional architecture. As a tentative answer to this challenge, this paper attempts to shed light on Mashrabiya (traditional Arab oriel window) as a powerful environmental element in modern architecture, with regard to the important functions that it provides, such as light control, airflow regulation, humidity control, temperature regulation and visual privacy. Due to these functions, Mashrabiya achieved widespread popularity around the old world and it has been revived again in many contemporary projects by different modern versions. The objective of this study also is presenting a general evaluation for the modern Mashrabiya to observe the misconceptions of using the Mashrabiya and to call for stop ignoring of the proper standards of Mashrabiya design and to preserve the original name of this element Mashrabiya.

Fumihiko Maki

Contributing to the debate on the development of modern architecture in the Asian countries, in March 2017, Ana Tostões interviewed Fumihiko Maki, one of the greatest Asian architects engaged with the modern project, and member of the Metabolism group. Maki is currently developing a number of projects in Asia, including the Taipei Main Station Redevelopment in Taiwan, Shenzhen Sea World Culture and Arts Center in China, and the New City Hall of Yokohama, Japan.

Nation Building and Modern Architecture in Malaysia

This paper explores the historical development of modern architecture in Malaysia, which is evident in the emerging architectural language; the efforts of the Federation of Malaya Society of Architects (later known as the Pertubuhan Akitek Malaysia); as well as the direction taken by the architectural practice in the country; all of which were driven by the prevailing political, economic as well as the socio-cultural attributes of the new nation, and the vision on Tunku Abdul Rahman, the first Prime Minister of the Federation of Malaya. The outcome of all these is an architecture that speaks of the nation’s modern society’s values and identity.

Modern Movement in Myanmar

This paper highlights the course of the development of modern architecture in Myanmar, a country with an original and vital architectural tradition. There are case studies of well-known foreign and Myanmar architects who dealt with the relationship of spatial, cultural and environmental factors of modern architecture. Some architectural masterpieces created during the second half of the 20th century between 1950 and 1970 in Yangon are presented in this article in order to highlight the inspiration, imagination and limitation of these pioneer architects. The main reason for selecting these case studies are not only because of the influences from the outside world occurred in the post-independence period, but they can reveal the intertwined logic of the nation’s identity-building. They reveal the new consciousness of globalization as well as the development of regionalism.

Towards Authenticity: Greece in Modern Architecture since 1900

In his Modern Architecture since 1900 (1982) William J.R. Curtis attempts to present a “balanced, readable overall view of the development of modern architecture from its beginning until the recent past” and to include the architecture of the non-western world, a subject overlooked by previous histories of modern architecture. Curtis places authenticity at the core of his research and uses it as the criterion to assess the historicity of modern architecture. While the second edition (1987) of Curtis‟ book appeared with just an addendum, for the third edition (1996) he undertook a full revision, expansion and reorganization of the content. This paper proposes that Curtis presented a more „authentic‟ account of the development of modern architecture in other parts of the world with the third edition of his book. In the first edition of Modern Architecture since 1900, Greece appears only as inspiration to the work of Le Corbusier: the Acropolis is regarded as having made the greatest impression in the memory of the modern master. It is not until the third edition that Curtis discusses Greek modern architecture, embodied in the work of Dimitris Pikionis in the late 1930s and later on in the 1950s. It is also not until the 1996 edition that Greece is „authentically‟ addressed in terms of „national identity‟, „universalism‟ or „regionalism‟. Between the first and the third editions of the book, regionalism in architecture was debated and framed in seminal essays and conferences by Curtis himself, Paul Rudolph and Kenneth Frampton. Focusing the attention on the example of Greek architecture, this paper will seek to discern developments in Curtis‟ discourse on regionalism between all of Modern Architecture since 1900 from inspiration to authenticity.

El despertar de la arquitectura moderna a orillas del Mediterráneo: debate y controversia en los contextos de Italia y España

In the period studied ( 1920-1940), Italian and Spanish journals raised awareness of international architectural movements. Encouraging the dissemination of modern architecture in their respective environs, they became a key to its consolidation. The journals at issue include Architettura e Arti Decorative, founded in 1921 and later renamed Architettura ( Organo ufficiale del sindicato degli architetti), headed by Marcello Piacentini; Quadrante, with Pier Maria Bardi and Massimo Bontempelli at the helm ( 1933-1936); Casabella, managed by Edoardo Persico and Giuseppe Pagano; and Domus, founded in 1928 and run by Gio Ponti until the nineteen forties. In Spain, works authored by May, Taut, Gropius, Schumacher and others were published in any number of journals, such as Arquitectura, Órgano de la Sociedad Central de Arquitectos, Cortijos y Rascacielos, D’Aci i d’Allá, La Gaceta de les Arts, AC and Documentos de actividad contemporánea. The importance attached by these media to vernacular Mediterranean architecture, in connection in Italy with the debate around Mediterranean culture and in Spain with the national context, sheds light on the impact of the subject on architectural practice, irrespective of the positions adopted by the various journals and the opinions defended by their columnists. As a result of a revisionist approach to the Modernist Movement, a good deal of literature has appeared in recent decades on the development of modern architecture in the Mediterranean context. Drawing from those studies and focusing in particular on documentary sources, the primary aim of this article is to establish the role played by vernacular Mediterranean architecture in the appearance and unfolding of modern architecture in Mediterranean regions through a comparison of developments in Spain and Italy.

Bodenständigkeit: the environmental epistemology of modernism

Focussing on late-nineteenth and early-twentieth-century imperial Germany, this article examines how environmental thinking shaped the development of modern architecture and urban planning. The environment took on an acute importance in the rapidly industrialising and colonising Empire, prompting a wide range of projects, from landscape conservation and the design of garden suburbs to pioneering soil research and colonial planning. What made these diverging scientific, political and design undertakings understandable as environmental projects is the notion of Bodenständigkeit—the quality of something rooted in, or uniquely appropriate to, the soil on which it stands. This idea was more than just the symptom of a romantic or anti-modern mind set; it was part and parcel of a novel environmental way of thinking, prompting discussions about the future and conservation of urban and natural landscapes, the form of new buildings and settlements, and the methods of domestic and overseas colonisation. Bodenständigkeit, this article argues, is not only a primary category of early environmental conservation but the first version of an environmental determinism that would come to structure twentieth-century modernism at large.

Visual and Ecological Prerequisites of Development of Modern Architecture

Visual and ecological prerequisites for the development and formation of modern architecture, taking into account the impact of global crises have been stated in the present research.Objectives: to identify the prerequisites and principles of visual-ecological formation of modern architecture taking into account the influencing factors.

Analysis on Application of Traditional Architectural Elements in Modern Architectural Design

<p>In modern architectural design, the scientific use and development of Chinese traditional architectural elements is an issue studied in-depth by every building designer. Exploration is made from the application of humanity concept in traditional Chinese architectural culture. The traditional architectural space design applications, the use of traditional architecture symbols, traditional architectural elements applications and other aspects, have important significance to implant traditional Chinese architectural elements into the development of modern architecture.</p>

Analysis on Application of Traditional Architectural Elements in Modern Architectural Design

<p>In modern architectural design, the scientific use and development of Chinese traditional architectural elements is an issue studied in-depth by every building designer. Exploration is made from the application of humanity concept in traditional Chinese architectural culture. The traditional architectural space design applications, the use of traditional architecture symbols, traditional architectural elements applications and other aspects, have important significance to implant traditional Chinese architectural elements into the development of modern architecture.</p>

On the questions of an expression towards symbolical architecture

The article draws attention to two seemingly different approaches to the creation of an architectural form: the symbolic and the expressive, both in the context of their confrontation, and symbiosis. Symbol clearly supports the generation of the visual communication, while the escalation of the expression prevents a creativity from escaping in the literality and also it enriches the work of an individual element. Both those trends complementary creates the mechanism of modern architecture development, which obviously requires a consideration in the background of the extensive cultural context.

A Research on the Innovative Designing Methods in Modern Architecture

With the continual development of architectural technology, larger and more complex buildings are crying out for innovative designing methods because the traditional designing methods, which are mostly based on the designers’ experience and intuition, can not keep pace with the sustainable development of modern architecture. Therefore, the designer has to adapt himself to the new architectural enviroment by improving his designing methods continuously. So based on his former experience as an architectural designer, the author of this thesis attempts to explore some innovative architectural designing methods in modern times, the basic elements and principles of architectural design, as well as the process of architectural design, hoping to offer some inspirations to future studies of architectural designing methods.

THE CONCEPT OF MODERN DUTCH COLONIAL ARCHITECTURE TO THE DEVELOPMENT OF JAVANESE ARCHITECTURE

Modern architecture colonial present in the early 20th century, when several Dutch graduate architects had begun profession in the Dutch East Indies. The architects of had understood that the development of modern architecture in the East Indies must include the local environment and climate aspects of traditional architecture that has existed in the Dutch East Indies. In this case, two famous architects, the Thomas Karsten and Henri Maclaine Pont, became a pioneers in this movement. The concept of the modern architecture development base on the Java architecture has been carried out by Thomas Karsten with several his works such as office buildings, hospitals, markets, and schools. The potential of traditional Javanese architecture in terms of shape, material and solving the problems of the tropical climate conditions, aims to achieve comfort in the building the use of potencies has been used as a concept for the development of modern Dutch colonial architecture.

Utilizing the Central Courtyard of Traditional Architecture in Modern Architecture

The purpose of this study is utilizing the central courtyard of traditional architecture in modern architecture. Since the nineteenth century, the traditional architecture has been more taken into account. From this time period, the sixties century is significantly important. The studies on the traditional architecture were conducted and followed in this period with the new objective and attitude. Until the early sixties century, most of the studies on the traditional architecture were briefly based on the a few enthusiasts' individual interests and goals, but after those years, the studies on the traditional architecture were considered with a new perspective and at a greater level by the architectural researchers because of the modern architecture development and appearance of its deficiencies and uncertainty about this type of architecture. Central courtyard with its valuable features not only does not impose damages to the environment, but also is compatible with it in such a surprising way. This special structure has expanded its own valuable properties in every structure and then in urban texture of desert areas such as Yazd. The reckless elimination of central courtyard rich model, the traditional architecture will lose enormous advantages. The lack of this valuable model and its reasonless elimination from the contemporary traditional architecture on the one hand and the lack of replacing the appropriate model for it on the other hand have made the numerous hidden and apparent damages to the body of contemporary architecture. This study explores the structure of central courtyard in traditional architecture as well as the advantages of this symbol of traditional architecture in line with the sustainable architecture and provides the investigation for its application of the need for contemporary modern architecture. The aim of such these studies is not to conserve and repeat the previous forms and imitate them, but to use their patterns and experiences and create new forms which follow the concepts.

“Everybody Thinks They Can Build”: The Architect as Cultural Intermediary in Ghana

This paper focuses on the culture within which the architect operates in contemporary Ghana, but outside of the office, in society at large, theorising that this professional is a cultural mediator, a translator of cultural and aesthetic trends for the lay population. I take the perspective of the architect who is consulted or hired to design new houses and must navigate between the formalities of good design, the clients' financial limitations and cultural requirements, and the cultural intermingling, which has produced hybridised tastes and designs. I trace the development of modern architecture in Ghana and the constraints on the architect as a practitioner: their training, their concerns as practitioners, and the various strategies that they use to legitimate their knowledge and negotiate the field of contemporary building practices.

Peter Zumthor Ideas of Architectural Creation

The paper studies the theories of Peter Zumthor, one of the most important architect in contemporary Swiss. In the context of the arts, the phenomenology of architecture and the development of modern architecture, the paper relies on Zumthors architectural works, tries to explore the origin of Zumthors architectural creation, revisit and reconstruct the trajectory of his theories and practice.

Study on New Chinese Architecture Based on New Materials

After nearly 30 years development of Modern architecture in China, it has made considerable progress and a lot of money results. But with the improvement of people's living concept as well as a variety of cultural penetration continues in the current field of architecture, construction industry has the trend of diversification. Our current building is a modern building for the Western replication or copy. And the residency requirements of these buildings and the people have been lopsided, modernization and standardization of urban architecture perfect combination of difficulty with the depth of the development of China's urbanization. It is in this environment, the new materials and new Chinese architectural design become a new force. This paper discusses the application of new materials in modern Chinese architectural design.

R.S. Wilshere and his Modern Schools in Belfast: an Architecture of Individuality

From time to time since his death in 1961, R.S. Wilshere has been referred to as a leading figure in the development of Modern architecture in Ireland, and his series of schools built in Belfast between the two world wars has been cited as an important part of that story. Yet the full significance of his schools has not hitherto been discussed in detail, while the full extent of his building achievement has not been outlined anywhere. The great esteem in which Wilshere and his Belfast schools were once held by contemporaries, however, merits both the recounting of his life and overall career, and an explanation of the nature of his special achievement in schools architecture.In addition to the twin aims of re-establishing Wilshere's reputation as an architect of more than usual worth and revealing the notable qualities of some of his schools, this exploration of his career and buildings also points to other themes of the inter-war era which have not been fully explored elsewhere and would benefit from further research.

The appearance of Korean architecture in the modern West

Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.

Wizja miasta w twórczości Leona Chwistka

Leon Chwistek (1884–1944) was a member of the Formists Group (that is Polish Expressionists), formed in Krakow and active in the years 1917–1922. In the artist’s output of that period often occurred the motif of the city of the future. First works relating to that theme are known only by reproductions publisher in periodicals “Maski” (The Masks) and “Zdroj” (The Spring). That drawings present fantastic cities, the townscapes of which are dominated with high cuboids, in subsequent works gradually transforming into soaring tower-blocks. The example of such evolution art the paintings 3 May Parade on the Krakow Market Square, The City and The industrial city . Particularly, the last one of the mentioned draws the attention with its vision of industrial metropolis, resembling of the futuristic designs by Antonio Sant’Elii. The idea of the city of the future presented in drawings and paintings has been mirrored by literary works by Leon Chwistek, as well as by his theoretical texts. In the year 1920 he wrote a short story The city of Formists , describing New Krakow situated close to the historic one. The dwellers of its modern houses travel by multi-lane road arteries. A year later in the periodical “Nowa Sztuka” (New Art) Chwistek had published a paper The issues of contemporary architecture , comprising a design and detailed description of a hotel in Zakopane. What is interesting, in case of that edifi ce the form of tower-block was replaced by a construction based on curved lines, that was to be a development of the conception of “sky-scrapers.” The proposition, making a contribution to the development of modern architecture, referred to an unrealised fantasies of Herman Finsterlin and designs of The futuristic city by Virgilio Marchi, inspiring the then architects.