scholarly journals Architectural Theory and Analytic Philosophy in the Interwar Period

2018 ◽  
Vol 14 (1) ◽  
pp. 41-53
Author(s):  
Borbála Jász
Keyword(s):  
Interwar Period ◽  
Vienna Circle ◽  
Interdisciplinary Approach ◽  
Analytic Philosophy ◽  
Le Corbusier ◽  
Architectural Theory ◽  
Form And Function ◽  
Language Of Science ◽  
Architecture Theory ◽  
The Aesthetic

Abstract The basis of the connection between analytic philosophy and architecture theory was developed in the interwar period. The results of analytic philosophy – especially the neo-positivism of Vienna Circle – and modern, functionalist architecture theory were utilized in an interdisciplinary approach. The comparison was based on language puzzles, science-based building processes, the method of justification and verification, and designing an artificial language in order to express the theoretical (philosophical) and the practical (architectural) approach as well. The functionality was based on the modern way of architectural thinking that relied on the results of Carnapian neo-positivism. Interpreting modern architecture is possible by referring to the keywords of logical positivism: empiricism, logic, verification, unity of language, and science. In my paper, I first list the bases of the comparison between the philosophy of the Vienna Circle and the architecture theory of the interwar period – the Bauhaus and Le Corbusier. In the 2nd and 3rd sections, I show the dialectical succession between form and function. After that, I discuss the aesthetic verification of the turn of the century and the scientific justification of the interwar period. I focus on the interwar period with the positivist approach and the theory of the ‘new architecture’. I emphasize the importance of the language of science and the machine paradigm – in contrast to historicism.

scholarly journals Hidden Modernism: Architecture Theory of the Socialist Realist Gap

2018 ◽  
Vol 49 (1) ◽  
pp. 92-97 ◽  
Author(s):  
Borbála Jász
Keyword(s):  
Central Europe ◽  
Interwar Period ◽  
Socialist Realism ◽  
Le Corbusier ◽  
Architectural Theory ◽  
Public Buildings ◽  
Socialist Realist ◽  
The Difference ◽  
Architecture Theory ◽  
Late Modern

The aim of this paper is to clarify and exemplify the difference between modern, socialist realism and late modern in architecture. In the general pre-theoretical use of these terms, this distinction is often blurred; a unified expression, socialist realism, is used for all the aforementioned terms. This paper will examine a possible answer for this phenomenon by using examples from different areas of eastern-Central Europe, especially from Hungarian architecture.The paper first focuses on the façadism of socialist realism in the architecture of eastern-Central Europe. Following this, it shows that the architectural tendencies of classical modernism did not disappear in this period; they were just not explicitly manifest in case of public buildings for example. Finally, the paper argues that after this socialist realist gap, architectural theory and planning tendencies of the interwar period returned and continued, especially the work of Le Corbusier.

scholarly journals A STUDY OF AESTHETIC VALUE IN THE INTERIOR SPACE YOGYAKARTA PRESIDENTIAL PALACE AS THE DEVELOPMENT OF A NEW INTERIOR SPACE CONCEPT

2021 ◽  
Vol 58 (2) ◽  
pp. 1505-1515
Author(s):  
Ika Yuni Purnama Et al.
Keyword(s):  
Qualitative Research ◽  
Interior Design ◽  
Fine Arts ◽  
Interdisciplinary Approach ◽  
Aesthetic Value ◽  
Interior Space ◽  
Multiple Realities ◽  
Form And Function ◽  
The Aesthetic ◽  
Space Concept

This study examines the community can still enjoy the importance of interior in the Yogyakarta Presidential Palace as a form of cultural heritage. About that, aesthetic value and interior space concept will be arranged in an example kind of new in visual forms. The interior space of the Yogyakarta Presidential Palace concept was a development from the interior space concept during the era of Sukarno. This research is based on the aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The study uses a qualitative research method with an interdisciplinary approach that includes historical, social, cultural, and aesthetic approaches by not leaving descriptive aspects and critical analysis of reading sources and field surveys. It is inductive qualitative research because the inductive process is more able to find multiple realities as contained in the data. The analysis was done using observations of form and function, including the meaning of space composition, which was arranged to [1]produce a proportionate composition with the art collection object. This research is expected to be a basis for the interior aesthetic of the Yogyakarta Presidential Palace and to contribute to designers in the fields of architecture, fine arts, and especially the interior design. Also, this research is expected to be a source of reference for the Presidential Palace of the Republic of Indonesia concerning the aesthetics interior. The aesthetic interior of the new Yogyakarta Presidential Palace can be sharpened by presenting the power of essential values in a particular room with special collections and backgrounds.    

scholarly journals « L’espace indicible »: conceptions et textualités

2015 ◽  
Author(s):  
Mickaël Labbé
Keyword(s):  
Le Corbusier ◽  
Central Place ◽  
Spiritual Experience ◽  
The Other ◽  
Architectural Theory ◽  
Mots Clés ◽  
The Past ◽  
Other Hand ◽  
The One ◽  
Experiential Quality

Résumé: La notion d’« espace indicible » occupe sans conteste une position centrale dans la théorie architecturale de Le Corbusier après 1945. Loin d’être un simple mot-valise ou un signifiant vide de sens, le concept d’espace indicible vise à penser le sommet de l’expérience esthétique et spirituelle dont est passible l’architecture, cela tant pour rendre compte de l’émotion plastique ressentie face aux chefs-d’œuvre du passé que pour décrire la qualité de l’expérience que l’architecte cherche à produire par ses propres œuvres. Ainsi, dans l’œuvre de Le Corbusier, l’expression « l’espace indicible » désigne non seulement un concept, mais également un ensemble textuel dans lequel la notion est thématisée et au travers duquel elle se constitue progressivement. L’objectif de cet article est double : d’une part, proposer une description des déterminations principales du contenu donné par Le Corbusier à la notion d’« espace indicible » ; d’autre part, à partir de l’examen des archives, faire le point sur les textes dans lesquels ce concept se formule. Abstract: The concept of “ineffable space” unquestionably occupies a central place in Le Corbusier's architectural theory after 1945. Far from being a portmanteau or a signifier devoid of meaning, the concept of ineffable space is aimed at conceiving the height of aesthetic and spiritual experience rendered possible by architecture. This is as much to realise plastic emotion felt in front of masterpiece from the past as to describe the experiential quality that the architect seeks to produce in his/her own work. Thus, in Le Corbusier’s oeuvre, the expression “ineffable space” not only denotes a concept but also a textual whole in which the concept is thematised and through which it is progressively constituted. The aim of this article is two-fold. On the one hand, I propose a description of the principle determinants of the content that Le Corbusier assigns to the concept of “ineffable space”, and on the other hand, analysing the archives, I wish to take stock of the texts in which this concept is formulated.  Mots-clés: Le Corbusier; espace indicible; théorie architecturale. Keywords: Le Corbusier; ineffable space; architectural theory. DOI: http://dx.doi.org/10.4995/LC2015.2015.470

scholarly journals The Aesthetic Usage Response of Baju Kurung in Palembang City Government Tourism Office in Emphasizing Regional Identity

Catharsis ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 38-49
Author(s):  
Efriyeni Chaniago ◽  
Tjetjep Rohendi Rohidi ◽  
Triyanto Triyanto
Keyword(s):  
Regional Identity ◽  
Interdisciplinary Approach ◽  
Secondary Data ◽  
City Government ◽  
Data Sources ◽  
Original Form ◽  
Aesthetic Response ◽  
Brunei Darussalam ◽  
Aesthetic Formalism ◽  
The Aesthetic

BajuKurung is a traditional dress of the Malay community in several countries namely Malaysia, Indonesia, Brunei Darussalam, and southern Thailand. The traditional clothes worn by Palembang women including in the form of bajukurung. In the development era of bajukurung replaced by modern clothes. The modification of bajukurung is now made according to the tastes of customers with a variety of shapes and accessories. This study aims to analyze the aesthetic response to the rules of wearing Palembang's traditional clothing in service in the form of patterns, motifs, textures, and colors of clothes worn by employees. Through this interdisciplinary approach by using qualitative method. The data is presented in the descriptive form. The object of study was the employee's bajukurung in Palembang Government Tourism office. The research data sources are primary and secondary data. The data collection techniques are conducted by observation, interview, and document study. The analysis procedure is conducted by data reduction, data presentation, and data verification. The analysis was conducted with the aesthetic formalism theory, the validity of the data by triangulation of data sources. The results showed that the aesthetic response of the employees was expressed through patterns, motifs, colors, and textures of the bajukurung material that were modified with the addition of beads, sequins, and ribbons. The aesthetic response of the user to the style modification of the kurung displays the beauty of clothes but does not eliminate the original form. Modifications to the clothes do not interferethe activities of the employees while working.

scholarly journals Existential Experiences of Human & Nature Symbiosis: Experiential Architecture for Motivation of Environmentally Responsible Behaviour

2021 ◽  
Author(s):  
◽  
Harrison Rainger
Keyword(s):  
Industrial Revolution ◽  
Behavioural Change ◽  
Interdisciplinary Approach ◽  
Natural Environments ◽  
Architectural Theory ◽  
Human Beings ◽  
Environmentally Responsible ◽  
Global Demand ◽  
Emotional Dimensions ◽  
Higher Purpose

<p><b>The deterioration of natural environments since the industrial revolution is a consequence of humanity’s ignorance of their symbiosis with broader biological ecosystems and the behaviours that have arisen from this lack of awareness. Today, there is urgent global demand for societies to address this issue by shifting toward pro-environmental systems and behaviours to ensure natural resources are secured for future generations.</b></p> <p>This research proposes that there is a potential for architecture to contribute to this shift by providing an experience that raises awareness of the symbiosis that human beings exist within and motivates people to behave with greater responsibility toward the environment. Taking an interdisciplinary approach by exploring principles of psychology and architectural theory, this work engages with architectural concepts of transcendence, phenomenology, atmosphere, memory and emotion, sense of place and biophilia in ways that positively affect intellectual and emotional dimensions of the human psyche.</p> <p>A design framework is developed from this, and a subsequent range of methods are developed and tested at various levels of resolution. Ultimately, this research arrives at a design methodology that can shape an architectural experience that serves a higher purpose of motivating behavioural change in society toward greater environmental responsibility. It speculates on a potentially new form of public architecture that unifies the human spirit with nature and interrelated systems.</p>

scholarly journals Decoding the Visual Characteristics of Chinese Painting Strokes-A Study on Gao Gu You Si Stroke

2021 ◽  
Vol 236 ◽  
pp. 05093
Author(s):  
Xue Hu ◽  
Eakachat Joneurairatana ◽  
Sone Simatrang
Keyword(s):  
Visual Culture ◽  
Le Corbusier ◽  
Visual Design ◽  
Chinese Painting ◽  
Cultural Characteristics ◽  
Local Characteristics ◽  
Visual Characteristics ◽  
The Aesthetic ◽  
The One ◽  
Aesthetic Characteristics

The architect Le Corbusier once said this theory: Design has local characteristics and universal characteristics. Local characteristics are greatly influenced by culture. The strokes are the one essence of Chinese painting that characteristics of the strokes are unique to Chinese visual culture. Among Chinese painting strokes, Eighteen Strokes are the typical representative of the aesthetics of Chinese visual culture. However, the current research on the cultural characteristics of Eighteen Strokes is insufficient. The objective of this article is taking Xie He’s Six Canons as the theory to decode the content of the aesthetic characteristics of the Gao Gu You Si Stroke (one of the Eighteen Strokes), then to get the visual cultural characteristics of Chinese painting strokes and the fundamental perspective characteristics of the inheritance visual cultural. Based on this, this article will use the Content Analysis Approach to conduct research, by decoding the aesthetic content of the Chinese painting strokes to construct the personality and characteristics required by Chinese visual design.

scholarly journals Sobre una caracterización 'corbuseriana' del mobiliario moderno

2015 ◽  
Author(s):  
María Villanueva Fernández ◽  
Héctor García-Diego
Keyword(s):  
Special Reference ◽  
Interwar Period ◽  
Le Corbusier ◽  
Comprehensive Overview ◽  
Modern Equipment ◽  
The Real ◽  
Joint Development ◽  
The One ◽  
Selection Of

Resumen: A partir de 1920 Le Corbusier comenzó a elaborar un cuerpo teórico sobre el diseño de objetos que iría difundiendo a través de sus escritos y conferencias. Libros como Vers une architecture, L´art décoratif d´aujourd´hui o Précisions sur un état présent de l'architecture et de l'urbanisme han constituído un rico legado de ideas e imágenes interrelacionadas que permiten analizar la propuesta del arquitecto desde el plano de la teoría. Sin embargo, el poder de sus postulados fue continuamente experimentado y corroborado por su obra en materia de mobiliario, hasta el punto de establecerse relaciones directas entre teoría y obra. Esta evolución conjunta proporciona una completa visión del concepto de mobiliario moderno desarrollado por Le Corbusier. Por tanto, esta investigación persigue, por un lado, sacar a la luz un verdadero cuerpo teórico de cuño 'corbuseriano' y específico del equipamiento moderno, haciendo especial mención a los postulados y dibujos originales del arquitecto y, por otro, comprobar la correspondencia real entre sus teorías y sus obras mediante el análisis de una escogida selección de obras del arquitecto pertenecientes al periodo de entreguerras, para, finalmente, ofrecer una caracterización 'corbuseriana' del mobiliario moderno. Abstract: From 1920 Le Corbusier began to develop a theoretical body on the objects design that went spreading through his writings and lectures. Books like Vers une architecture, L'art décoratif d'aujourd'hui or Précisions sur un état présent de l'architecture et de l'urbanisme have constituted a rich legacy of interlinked ideas and images to analyze the proposal of the architect from the level of theory. However, the power of its principles was continuously experienced and corroborated by his work in furniture, to the point of establishing direct relations between theory and work. This joint development provides a comprehensive overview of modern furniture concept developed by Le Corbusier. Therefore, this research aims on the one hand, to expose a 'Corbusian' and specific theoretical body of modern equipment, with special reference to the principles and original drawings by the architect; and, secondly, to check the real correspondence between his theories and works by analyzing a choice selection of works by the architect belonging to the interwar period, to finally offer a 'Corbusian' characterization of modern furniture.Palabras clave: Teoría; mobiliario; moderno; escritos. Keywords: Theory; furniture; modern; writings. DOI: http://dx.doi.org/10.4995/LC2015.2015.569 

scholarly journals A New Design and Development Framework for Better Aesthetic Appearance for Consumers Products

2021 ◽  
Vol 56 (3) ◽  
pp. 262-273
Author(s):  
Mohd Qadafie Ibrahim ◽  
Fairuz Izzuddin Romli ◽  
Hassan Alli ◽  
Eris Elianddy Supeni ◽  
Hambali Arep
Keyword(s):  
Product Design ◽  
Engineering Students ◽  
Consumer Products ◽  
Design And Development ◽  
Form And Function ◽  
Design Engineers ◽  
Development Framework ◽  
Aesthetic Appearance ◽  
Development Processes ◽  
The Aesthetic

One of the primary issues with many product design and development processes today is having a good balance between the elements of form and function. While all products must be able to perform their intended functions, considerations of aesthetic features are also necessary for them to be accepted as a good quality design. However, most available design and development processes of consumer products have been more focused on achieving the functional aspects and have tended to treat the aesthetic aspects as less crucial features. This approach has led to many failed functional products in the market, as their physical design lacks appealing factors to targeted users. To improve the situation, a new product design and development framework is proposed in this study to better facilitate designers or engineers in creating an all-rounded quality product design. This new method is developed based on the findings from a survey conducted among engineering students, who are future product design engineers, in order to identify and also resolve issues with the current methods that they typically apply for their design tasks. All in all, the new proposed method is fundamentally tailored to offer a structured guide for developing beautiful and useful products based on a semantic design approach.

A Victorian Wrenaissance: Historical Narrative at St. Paul's Cathedral

2021 ◽  
Vol 49 (3) ◽  
pp. 389-422
Author(s):  
Dory Agazarian
Keyword(s):  
Nineteenth Century ◽  
Urban Space ◽  
Historical Narrative ◽  
Italian Renaissance ◽  
Architectural Theory ◽  
Historical Discourse ◽  
New Methods ◽  
The Aesthetic ◽  
Christopher Wren ◽  
Liberal Individualism

The condition of St. Paul's Cathedral was central to concerns about the perception of London over the course of the nineteenth century. Designed by Sir Christopher Wren, it faced public criticism from the start. Unlike gothic Westminster Abbey, St. Paul's was an eclectic amalgam of gothic and neoclassical architecture; its interior was never finished. Efforts to decorate were boxed in by the strictures of Victorian architectural revivalism. This is the story of how academic historiography resolved a problem that aesthetic and architectural theory could not. Throughout the century, cathedral administrators sought to improve the cathedral by borrowing tools from historians with varying success. In the 1870s, a solution emerged when historians reinvented the Italian Renaissance as a symbol of liberal individualism. Their revisionist Renaissance provided an alternative to pure gothic or neoclassical revivalism, able to accommodate Wren's stylistic eclecticism. Scholars have traditionally plotted disputes about St. Paul's within broader architectural debates. Yet I argue that these discussions were framed as much by historical discourse as aesthetics. Turns in Victorian historiography eventually allowed architects to push past the aesthetic limits of the Battle of the Styles. New methods in Victorian historical research were crucial to nineteenth-century experiences of urban space.

Resonances of Henri Bergson's ‘music’ in the interwar aesthetic discourse of the journal Μακεδονικές Ημέρες: the idea of the nouveau romantisme

2019 ◽  
Vol 43 (1) ◽  
pp. 117-134
Author(s):  
Olga Bezantakou
Keyword(s):  
Nineteenth Century ◽  
Interwar Period ◽  
Late Nineteenth Century ◽  
Narrative Fiction ◽  
Modernist Literature ◽  
Narrative Texts ◽  
Modern Greek ◽  
Late Nineteenth ◽  
The Aesthetic

This essay examines the metaphorical use of musical terms in Greek aesthetic discourse during the interwar period by illuminating a crucial yet neglected moment in the reception of anti-rationalistic philosophical and aesthetic tendencies that had greatly influenced European modernist literature since the late nineteenth century. In particular, it points out the ways the reception of Bergsonian theories in Greece co-determined the formation of a new concept of Modern Greek narrative fiction, clearing the ground for the first modernist attempts to ‘musicalize’ fiction. The essay thus proposes a broader perception of the term ‘musicalization’ than the mere imitation of musical techniques in narrative texts, since the aesthetic discourse features not only actual music but also ‘music’ as an aesthetic category synonymous with transcendence, ambiguity and fluidity.

Sign in / Sign up

Export Citation Format

Share Document