Photographs Of Buildings Research Articles

Элементы визуализации при обследовании опасных производственных объектов с использованием беспилотного летательного аппарата

The paper considers the possibility of using visualization when preparing a task for frontal surface examination of hazardous industrial facilities using unmanned aerial vehicles. The research is based on the results of an experimental survey of buildings and structures of a large metallurgical enterprise in Russia. As initial data, photographs of buildings and structures obtained using a camera of an unmanned aerial vehicle and their drawings were used. When building a 3D model, the capabilities of Autodesk AutoCAD and Autodesk Revit were used. When building a 2D information model, a combination of a 3D model and a photograph of the object was used. The resulting 3D and 2D models are included in the structure of the flight chart as part of an applied digital platform in an automated decision-making system for expert assessment of the technical condition compliance of a hazardous production facility with regulatory requirements. Violation of regulatory requirements entails the occurrence of emergencies and incidents at an industrial enterprise. Visualization elements allow increasing the reliability of information entering the database of expert information.

Art Nouveau and Neoclassicism of buildings in Tyumen financed by merchants late in the 19th and early 20th centuries

The problem of preservation of the historical and architectural environment in Russian cities is currently rather relevant. Research and popularization of the different architectural styles play an important role in preservation of the unique historical environment of the city. Architectural styles of buildings in Tyumen are from Siberian Baroque to large-scale buildings of neoclassicism, which is characteristic of the architecture of this period.The paper describes the buildings the construction of which is financed by the merchants. The building architecture belongs to a particular stye typical for the period of Art Nouveau and neoclassicism. The architecture of Tyumen buildings is of regional color scheme represented by the decoration of window trimmers and other architectural details.The research implications include a study of historical and modern photographs of buildings of various types, namely from educational institutions to residential buildings. The paper utilizes historical and archival and bibliographic data and field research.Research findings: the significance of the studied buildings is preserved in the modern urban environment and architecture of Tyumen. At the turn of the 19–20th centuries and today, these objects retain their role in urban planning and function.

City of Refuge: Separatists and Utopian Town Planning

City of Refuge: Separatists and Utopian Town Planning

Untitled (Architectural Photography)

Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.

Review: Palladian Design: The Good, the Bad and the Unexpected

Palladian Design: The Good, the Bad and the Unexpected The Architecture Gallery, Royal Institute of British Architects, London 9 September 2015–9 January 2016 This exhibition, as its title indicates, was intended to challenge its audience. The challenge was elaborated further in the initial wall panel, which, after explaining that the exhibits were chosen to “provoke debate,” went on to pose such questions as whether the repetition and adaptation of Andrea Palladio's works undermines their original meaning and “uniqueness” and whether a “Renaissance design approach” can still be valid today. The seventy-two exhibits were then laid out in a broadly chronological sequence, beginning with schemes by Palladio himself and ending—emphatically—with a wide range of works dating from very recent times. These various items were clustered under such headings as “Reinventing Antiquity,” “Spreading the Word,” “Statement Architecture,” “Postmodern Palladianism,” and “Abstract Palladianism,” which also appear in the accompanying catalogue. The contention, therefore, was that “Palladianism” is not just a historical style or period that formed an important part of the classical tradition (particularly in England) but a phenomenon that continues to find wide expression today. A large number of the exhibits were drawn from the RIBA's own collections, which happen to be extremely well furnished with drawings by Palladio and the English “Palladians.” This coverage was augmented by early architectural publications as well as by facsimiles of other drawings and photographs of buildings. Pride of place went to two large and spectacular models, one of 1721 for James Gibbs's …

Review: Photographic Architecture in the Twentieth Century, by Claire Zimmerman

Claire Zimmerman Photographic Architecture in the Twentieth Century Minneapolis: University of Minnesota Press, 2014, 416 pp., 158 b/w illus. $35 (paper), ISBN 9780816683352 Architectural scholar Claire Zimmerman, author of Ludwig Mies van der Rohe (2007) and coeditor of Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond (2010), has written another important book that extends her research on German and British modernism into the burgeoning field of visual media studies.1 An impressively researched book, Photographic Architecture in the Twentieth Century explores the complex reciprocal relationships between buildings and photographs before, between, and after the two world wars. Zimmerman uses the term photographic architecture to describe two types of interrelated cultural production: photographs of buildings for either commercial or avant-garde purposes, and buildings whose design and reception are informed by the logics and effects of photographs. She aims to “historicize those effects, and to make them relevant to the present and future” (5). Zimmerman constructs a compelling alternative history of modern rationalism by tracing a range of productive tensions between buildings and photographs. She begins with a discussion of German modernism before World War I, carefully surveying a series of little-known PhD dissertations written between 1910 and 1914 by Walter Curt Behrendt, Adolf Behne, Paul Frankl, Paul Zucker, Walter Muller-Wulckow, and Siegfried Kracauer.2 Zimmerman convincingly argues that these six early scholars were able to conduct pioneering research on different models of Bildarchitektur —image surfaces on or in buildings—because architectural structure and skin were beginning to technologically and conceptually delaminate. Just as building envelopes attained freedom from structure, photographs of buildings began to circulate rapidly. This was no innocent coincidence. One of Zimmerman's most intriguing observations is that this trajectory of early modern operative history celebrated surface before World War I, but it “died out after 1918” (31) and was replaced by theories of space . Subsequent sections analyze the “intermedial” relationships between buildings and photographs in the interwar architecture of the Bauhaus …

Faded Glory in Full Color: Russia’s Architectural History

Faded Glory in Full ColorRussia’s Architectural History Interview with William Craft Brumfield Correction: On page 388, the third paragraph incorrectly stated the abbreviation for the National Gallery of Art as NAG when it should have been NGA. The electronic version has been updated. History, by definition, depends on the existence of written records; everything before the appearance of writing is considered prehistory. Material objects have always informed scholars’ understanding of the past, and since the appearance of the Annales school almost a century ago, the study of the material world has taken on increasing importance. Even so, historical research tends to focus on documents—laws, letters, diaries, literature, and whatever other forms of written expression have survived the crises and catastrophes of time. Yet there is a certain magic in standing inside an ancient building—especially one where one’s research subject lived or worked—and sensing its weight, its colors, its smell, the patterns on its walls. To look at those soaring spires or cramped corners, to see how low the lintels lie compared to the head of the contemporary person standing next to them, or to imagine maneuvering through that set of narrow doors in skirts six feet wide is to experience the past in a visceral way. Although a photograph does not quite match that level of intensity, it creates its own kind of record, capturing a moment in time while allowing a deeper appreciation of both the whole and the individual details that make up that whole. The shape of the Solovki towers, the glorious blue of the Ferapontovo frescoes painted by Dionisii in 1502, the Transfiguration Church on Kizhi Island silhouetted against a blazing sunset: these images linger in the mind, anchoring the documentary descriptions in ways not easily accomplished by words alone. William Craft Brumfield has devoted much of his career to creating a photographic record of Russia’s architectural heritage. His works provide striking visual images to spark the historian’s imagination and the necessary academic context that explains how to interpret what we see. Professor of Slavic studies at Tulane University, he has been and remains a scholar of Russian literature, but he is now best known for his architectural photography, which [End Page 379] has won multiple awards.1 In addition to publishing six books in English and four times as many in Russian, as well as contributing chapters to and editing three more collections—all on Russian architectural history—he has mounted exhibitions of his photographs in the United States and abroad, including a large exhibit devoted to the Russian North in 2001.2 A list of online collections of Brumfield’s photographs appears at the end of this interview. Over the years, Brumfield’s many fellowships and grants have enabled him to take thousands of high-quality color and black-and-white photographs of buildings—some destroyed by revolution and war, others miraculously surviving almost intact for centuries, still others renovated or newly built after the collapse of communism. The churches of the North and Siberia, merchants’ houses and monasteries, the fortifications of western Russian towns invaded first by Napoleon and then by Hitler, and many more are documented in these photographs—a small selection of which appears in the color insert included with the interview. We at Kritika thank Professor Brumfield for his work, which vastly enriches our field. The conversation that follows reveals both what historians miss when they overlook the physical structures of Muscovy, imperial Russia, and the Soviet Union and the processes by which these enduring remnants of the Russian past have been captured in print. Your first book publication was Gold in Azure: One Thousand Years of Russian Architecture (1983), followed by The Origins of Modernism in Russian Architecture (1991). Few other historians of Russia pay much attention to architecture and the role it plays in human life. What are we missing? The architectural environment of any particular time and place is a compendium of historical layers defined by what has survived from the past. We can often learn as much about a society from what is not there (what has been destroyed or allowed to decay) as...

Sustainability of Lithuanian villages with churches and landscape

Purpose – The purpose of this paper is to analyze the historical, cultural, and social significance and the role in landscapes of Lithuanian villages with churches and to formulate the hypothetical framework for their revitalization and consequent sustainable development of country's rural landscape. Design/methodology/approach – The methodology of the research encompassed the desktop study (analysis of literature, archival data, maps, and statistical data) and the analyses on site (observation, measurements, and recording in photographs of buildings and urban structures). Findings – The findings of the research include the analysis of the historical development of country's rural settlements with the religious function, formulation of the notion of the contemporary village with church, identification of the contemporary network of country's villages with churches and analysis of their current socioeconomic and sociocultural situation and the role in rural landscape. The results of the analyses were used formulating the hypothetical framework for the revitalization of the villages with churches and the sustainable development of the rural landscape. Originality/value – The analysis of literature demonstrated that Lithuanian villages with churches and their significance for the sustainable development of country's rural landscape are paradoxically neglected subjects. Meanwhile, the foreign experience has demonstrated that historic rural settlements, including the settlements with the religious function, are important not only as separate cultural assets but also can play an important role in the identity, viability, and the sustainable development of rural landscapes. Thus the findings of the research demonstrating the peculiarities and potential of Lithuanian villages with churches can be used in the fields of heritage preservation, landscape management, and rural development.

Dissociable parietal regions facilitate successful retrieval of recently learned and personally familiar information

In fMRI analyses, the posterior parietal cortex (PPC) is particularly active during the successful retrieval of episodic memory. To delineate the neural correlates of episodic retrieval more succinctly, we compared retrieval of recently learned spatial locations (photographs of buildings) with retrieval of previously familiar locations (photographs of familiar campus buildings). Episodic retrieval of recently learned locations activated a circumscribed region within the ventral PPC (anterior angular gyrus and adjacent regions in the supramarginal gyrus) as well as medial PPC regions (posterior cingulated gyrus and posterior precuneus). Retrieval of familiar locations activated more posterior regions in the ventral PPC (posterior angular gyrus, LOC) and more anterior regions in the medial PPC (anterior precuneus and retrosplenial cortex). These dissociable effects define more precisely PPC regions involved in the retrieval of recent, contextually bound information as opposed to regions involved in other processes, such as visual imagery, scene reconstruction, and self-referential processing.

Review: Koolhaas HouseLife by Ila Bêka, Louise Lemoîne; Gehry's Vertigo by Ila Bêka, Louise Lemoîne

Ila Beka and Louise Lemoine , directors, Koolhaas HouseLife . BekaFilms, Paris, 2008, HDV and DVD, 58 min., with book, 200 pp. BekaFilms, www.koolhaashouselife.com €65, http://www.koolhaashouselife.com/html/buy.html Ila Beka and Louise Lemoine , directors, Gehry's Vertigo . BekaFilms, Paris, 2008, HDV and DVD, 60 min., release forthcoming, trailer http://www.living-architectures.com/html/trailers.html In their documentary film series Living Architectures , Ila Beka and Louise Lemoine capture the intimacy of daily life within five icons of contemporary architecture.1 Each project was designed by a “star” architect and past winner of the Pritzker Prize, which is given to celebrate the “art of architecture” and “its impact on human behavior.”2 The filmmakers are intrigued by the latter, and rather than feature the buildings themselves, they treat the architecture as a background for the action taking place within and around it. Erasing the split between art and life, commingling the formal and the social, these documentaries chronicle the events within a house, an office, a church, a refectory, and a museum. Those events include the mundane tasks of upkeep and cleaning in Koolhaas HouseLife (2008), worship in Xmas Meier , celebrating the harvest with a party in Pomerol (2010), touring the office in Inside Piano (2010), and window washing in Gehry's Vertigo (2010). By foregrounding the action, the documentaries portray the architecture through the events. Their ambition is not to demonstrate academic expertise or to present a matter-of-fact account with the interjections by authority figures or scholars—none of whom appear here—but to convey an everyday view of these exceptional buildings. To do this, the filmmakers use informal filming techniques such as handheld cameras standing in close to human subjects, who offer refreshingly unscripted and spontaneous conversations while obscuring the architecture. This presentation of contemporary architecture with all of its imperfections marks a significant shift in the ideology of representation from a collection of fixed, beautiful, and flawless photographs of buildings without life to the buildings’ messy and actual reality. These films reintroduce the figure in a way that deepens a view into the discipline of architecture by engaging a recent anxiety—the problem of post-occupancy …

Outside the square? Aesthetic response to the contemporary architecture of Federation Square, Melbourne

Recent measures introduced by Australian governments to improve the visual-quality of the built environment have been criticised as being too prescriptive. Two opposing models of people’s aesthetic response to buildings have been proposed in the research literature. The preference-for-difference model has gained more support than the preference-for-prototype model but is at odds with current government policies. Both models are based on studies using photographs of buildings in laboratory settings, but have not been replicated through people’s actual experience of buildings in the real-world. This paper reports on a field study conducted to examine whether the preference-for-difference model could explain the public’s perception and aesthetic response to a building controversial for its contemporary architecture. Fifty people were interviewed in and immediately around Federation Square, Melbourne and asked to make aesthetic judgements of the Square. The public collectively found the building to be interesting, moderately unusual, and pleasing. The results supported the preference-for-difference model of aesthetic response. It is suggested that more field studies examining aesthetic response to buildings should be conducted. More importantly, and perhaps surprisingly, these findings suggest that to meet public aesthetic views, government policy should encourage diversity and innovation in design and aesthetics.

Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s

In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.

Building damage and casualties after an earthquake

The relationship between building damage patterns and human casualties in Nishinomiya City – one of the most heavily damaged cities in the 1995 Hanshin-Awaji Earthquake Disaster – was investigated using photographs of damaged buildings. First, the photographs of buildings in which casualties occurred were identified, and the building damage patterns were judged based on the photographs considering the existence of survival space. Then the relationship between the building damage pattern and casualty occurrence, and the characteristics of casualty distribution, were investigated. The main findings were as follows: Most casualties occurred in relatively old two-story wooden buildings in which the ground floor completely collapsed without survival space; casualties occurred at all building damage levels including ``no damage'', and it can be seen that building damage is the major, but not the sole cause, of casualties in an earthquake; in Nishinomiya City, the regional distributions of casualties due to the collapse of buildings that left no survival space is similar to that of casualties due to other types of building damage.

Alan Reiach's Scottish vernacular survey, 1937–43

At some point in the late 1930s — the summer of 1937 is the most probable start date — the Edinburgh architect Alan Reiach commenced his pioneering photo graphie survey of Scottish vernacular buildings. This record is examined in the following paper, which draws on evidence provided by the collection of approximately 1000 images eventually selected for inclusion in Reiach's office archive, and which remained with hirn throughout a long and distinguished architectural career. These, together with more than 4000 photographs of buildings encountered in additional tours of Scotland, England, Ireland, mainland Europe and North and Central America, were deposited with St Andrews University in 1999, seven years after Reiach's death on 23 July 1992.1

R.M. Schindler: Composition and Construction

Modern Architecture: A Program (1913) (R. Schindler). Schindler's Program of 1913 (H. Mallgrave). The Wagnerschule and Adolf Loos (A. Sarnitz). Buena Shore Club (B. Giella). Pocketbook Collection (R. Schindler). Selected Writings (R. Schindler). Portfolio of Colour Renderings (R. Schindler). Integrity and Ambiguity (A. Sarnitz). 'Proportion Is an Alive and Expressive Tool' (L. March). Log House, Urhutte and Temple (L. March). The Schindler House (K. Smith). Dr. How's Magical Music Box (L. March). The Translucent House (L. March). The Wolfe House (R. Schindler). Portfolio of Apartments (R. Schindler). The Mythic and the Tangible (E. Moule). Space Architecture Inside Out (S. Polyzoides). Portfolio of Furniture (R. Schindler). Construction and the Schindler Frame (J. Sheine). Late Designs 1944-53 (D. Gebhard). Schindler at Work: An Appreciation (E. McCoy).

"Murder Will Out": The Detective in Fiction , and: Sherlock Holmes in London: A Photographic Record of Conan Doyle's Stories , and: On the Scent with Sherlock Holmes (review)

Reviewed by: "Murder Will Out": The Detective in Fiction, and: Sherlock Holmes in London: A Photographic Record of Conan Doyle's Stories, and: On the Scent with Sherlock Holmes Edward S. Lauterbach T. J. Binyon . "Murder Will Out": The Detective in Fiction. New York: Oxford UP, 1989. 174 pp. $19.95. Charles Viney . Sherlock Holmes in London: A Photographic Record of Conan Doyle's Stories. Boston: Houghton, 1989. 168 pp. $24.95. Walter Shepherd . On the Scent with Sherlock Holmes. Bloomington: Gaslight Publications, 1987. 85 pp. $14.95. In "Murder Will Out," which the author describes as "an attempt at a history . . . of a type of fictional character," T. J. Binyon classifies and discusses "the fictional detective in all his guises," especially series characters. He divides detectives into three main categories: the "professional amateur"—private detectives like Holmes and Poirot; the "amateur amateur"—dilettantes like Dupin and Lord Peter Wimsey; and the "professional"—policemen like Gideon and Inspector French. He then breaks each classification down into subcategories: for example, under the "professional amateur" he places lawyers, doctors, journalists; under the "amateur amateur," academics, priests, husbands, and wives. No classification is rigid, and certain detectives may at times cross from one category to another. Binyon also includes short sections on comic detectives, fictional villains, burglars, and Robin Hood types. Moving chronologically according to the first published appearance of each fictional detective, Binyon discusses mainly the story in which a particular detective debuted, but he occasionally also notes subsequent titles. And he records authors' names, pseudonyms, and birth and death dates. Binyon ignores many psychic detectives, such as Algernon Blackwood's John Silence and Seabury Quinn's Jules de Grandin, when he states that William Hope Hodgson's Carnacki "is unique among fictional detectives, to my knowledge, in that he concerns himself solely with occult phenomena." He never mentions the fact that E. W. Hornung (Conan Doyle's brother-in-law) meant his gentleman thief Raffles to parody Sherlock Holmes. He gives the title of the annual in which the first Holmes story was published, as "Beeton's Xmas Annual." Xmas also appears in the index. He probably abbreviated Christmas in his notes and forgot to translate it back, but this is careless work. The greatest difficulty with this book, however, arises necessarily from the fact that Binyon treats over 400 fictional detectives in less than half as many pages. Although he occasionally devotes a paragraph or two to an individual, he often moves so quickly from one detective to another that he creates only a run-through catalogue of names, titles, authors, and dates. [End Page 285] However, when Binyon does more than list names and titles, he is perceptive. The process of classification leads naturally to comparisons of detectives and of authors, and here Binyon's remarks are insightful. He provides an interesting chart on the differences between the private detective and the private eye. A brief discussion of the problems of series is also informative. Binyon points out that Sayers' Lord Peter and Allingham's Campion both lose their flippancy as each series becomes more serious. But most series detectives remain static from their first appearance to their last, and the series becomes monotonous and may even degenerate into adventure or romance. Although not comprehensive enough to be called "a history," "Murder Will Out" is a pleasant and useful reference work for the reader who wishes to consult the opinion of a knowledgeable expert on the detective story. Enthusiasm for Sherlock Holmes, best known of all fictional detectives, has led millions of readers to want to know more about the London of Holmes and the world of the late Victorians and Edwardians. Two recent books explore these backgrounds, one a photographic record, the second a potpourri of information. Charles Viney, in Sherlock Holmes in London, matches over 200 illustrations from photographic archives with brief passages from the Holmes stories, then pinpoints each locale precisely on the street maps at the end of the book. Photographs of buildings and streets predominate, with occasional parks, bridges, railway stations, and the river. An amazing variety of architectural design from all periods of history is jumbled together. Comparison of photographs and text shows...

NOTE ON THE ILLUSTRATIONS IN THIS NUMBER, PHOTOGRAPHS OF BUILDINGS AND LANDSCAPES

NOTE ON THE ILLUSTRATIONS IN THIS NUMBER, PHOTOGRAPHS OF BUILDINGS AND LANDSCAPES