DEVELOPMENT OF SHUCHOV’S IDEAS IN CONTEMPORARY JAPANESE ARCHITECTURE

2019 ◽  
Author(s):  
Н.А. Коновалова
Keyword(s):  
Seismic Resistance ◽  
The World ◽  
Japanese Architecture ◽  
Contemporary Architecture ◽  
Supporting Structures

Идеи В.Г. Шухова в свое время стали настоящей революцией в архитектуре. Спустя десятилетия они не только не потеряли своей актуальности, но и нашли применение во многих странах мира, в том числе в Японии. Японцы первыми оценили перспективность изобретений великого русского инженера и стали использовать сетчатые оболочки и несущие конструкции на их основе в архитектуре. Главными причинами использования сетчатых оболочек Шухова в архитектуре Новейшего времени является повышение сейсмостойкости зданий и возможность получения новых, более сложных форм перекрытий. В современной японской архитектуре можно встретить ряд ярких примеров, раскрывающих влияние на нее идей инженера В.Г. Шухова и развитие идей русского инженера местными мастерами. Ideas of V.G. Shuchov were revolutionary for his times. Decades passed but these ideas haven’t lost their relevence and found applications in many countries all over the world, including Japan. Japanese were the first ones who acknowledged the perspectivity of great russian engineer’s inventions and started using retinas and supporting structures based on them in architecture. Main reasons of using Shuchov’s retinas in contemporary architecture are increase of seismic resistance in structures and possibility to gain new, more complicated forms of overlays. In contemporary architecture of Japan there are numerous examples, that reveal the influence on it created by V.G. Shuchov and development of russian engineer’s ideas by local masters.

scholarly journals INTELLECTUAL [DIS]HONESTY IN ARCHITECTURE

2014 ◽  
Vol 38 (3) ◽  
pp. 187-191 ◽  
Author(s):  
Kenneth G. Masden II ◽  
Nikos A. Salingaros
Keyword(s):  
Built Environment ◽  
General Public ◽  
Power Structure ◽  
Human Beings ◽  
High Profile ◽  
True Value ◽  
Logical Conclusion ◽  
The World ◽  
The Media ◽  
Contemporary Architecture

Many, if not a majority, of the world’s citizens view contemporary architecture as ineffective in accommodating the lives of everyday human beings. And yet, voluminous texts by prominent architects and the media argue just the opposite; that, in fact, flashy and expensive new projects profoundly benefit humanity. Those buildings supposedly provide continued advancement in how humans occupy the world. While there is no doubt that the built environment is instrumental to human achievement and wellbeing, what is the true value of the ill-formed, and perhaps ill-conceived, products of today’s leading architects? This essay argues that the elite power structure behind high-profile architectural projects is focused more upon promoting like-minded architects, and their narrow ideological interests, than in satisfying the ordinary everyday user. In doing so, this activity irrevocably damages the environment and markedly diminishes human neuro-physiological engagement with the man-made world. The logical conclusion from this purposeful misrepresentation is that the profession deliberately manipulates both the general public and architecture students to serve its own agenda.

scholarly journals Anupama Kundoo. A call for action.

2018 ◽  
Vol 8 ◽  
pp. 11
Author(s):  
Luz Paz-Agras ◽  
Emma López-Bahut
Keyword(s):  
Economic Crisis ◽  
Point Of View ◽  
Practice Research ◽  
Cultural Contexts ◽  
Personal Attitude ◽  
Socioeconomic Context ◽  
Research And Teaching ◽  
The World ◽  
Global Economic Crisis ◽  
Contemporary Architecture

Interview with the Indian architect Anupama Kundoo who develops her practice, research, and teaching in a strongly interconnected way. Her works starts from two principles: the low impact for the environment of her proposals and the strong contention that she establishes with the socioeconomic context in which they are.  Besides, she has developed her work in different cultural contexts around the world, which gives a wide view to the issues of contemporary architecture. From this point of view, Kundoo reflects a necessary approach of understanding Architecture that, ten years after the global economic crisis, moves away from the positions of the start architect system and faces the profession’s future from her personal attitude.

Blast Experiment Research on Safe Extent of Framed Glass Subjected to Small Priming Charge Explosion

2012 ◽  
Vol 166-169 ◽  
pp. 2619-2622
Author(s):  
Pan Ting ◽  
Tong Liu ◽  
Qi Jiang ◽  
Feng Gao
Keyword(s):  
Shock Wave ◽  
Dynamic Property ◽  
Float Glass ◽  
Seismic Resistance ◽  
Experiment Research ◽  
Preliminary Stage ◽  
Design Standard ◽  
Construction Design ◽  
The World ◽  
Explosion Load

With the spread of terrorism all over the world, many buildings become targets of attacks. Glass will break easily under explosion load, therefore improve the anti-explosion performance of architectural glass can effectively reduce the damage caused by bomb attacks. Nowadays domestic study mainly focus on material performance, seismic resistance, construction design of architectural glass, but the study of glass’s anti-explosion performance is still in the preliminary stage, and there is also no anti-explosion design standard for architectural glass. Research of blast experiment for framed glass was made combining with shock wave, explosion load destruction effect, dynamic property of glass. float glass was used for the experiment, and finally the method to ensure safe extent of framed glass under a small priming charge explosion was put forward.

‘Architecture is forever unfinished’

2021 ◽  
Vol 20 (1) ◽  
pp. 48-59
Author(s):  
Frida Escobedo
Keyword(s):  
Design Theory ◽  
Harvard University ◽  
Design Practice ◽  
Lively Discussion ◽  
World Today ◽  
The World ◽  
Contemporary Architecture

In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.

scholarly journals The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism

2020 ◽  
Vol 16 (3) ◽  
pp. 21-46
Author(s):  
Dmitry Shvidkovsky
Keyword(s):  
Early Modern ◽  
Architectural Theory ◽  
Sustainable Architecture ◽  
English Revolution ◽  
Modern Times ◽  
The Enlightenment ◽  
The World ◽  
Natural Man ◽  
Early Modern Times ◽  
Contemporary Architecture

The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.

scholarly journals VISUAL MEDITATION IN THE CONTEXT OF EAST-EAST OR THE UNACHIEVABLE EXHIBITION OF TAI-JUNG UM IN THE GALLERY "ARARIO"

2020 ◽  
Vol 18 (1) ◽  
pp. 104-113
Author(s):  
Ralitza IGNATOVA
Keyword(s):  
Visual Arts ◽  
American Art ◽  
Visual Image ◽  
The Body ◽  
Meditation Practice ◽  
South Korean ◽  
The Core ◽  
The World ◽  
Contemporary Architecture ◽  
East West

e article concerns the question of the reincarnation and the development of ideas in visual arts - from form to form and from one world to another. The affirmation of the abstract idea in the contemporary American art and presumably the prototypes related to this process - the works of K. Brancusi and K. Malevich. Certain ideas characterize the creativity of these authors - Konstantin Brancusi and the folk presentation of ideas and forms, Kazimir Malevich with thematerial "Form, Color and Sensation" in "Contemporary Architecture", issue 5 of 1928. Meditation practice must be considered as reflection, concentrating attention on an object that is external to the body to help achieve the visual image and the meaning of the idea. The exhibition (in the “Arario”gallery) by the South Korean author (sculptor) Um Tai-Jung isat the core of the study, in some of his works are found prototypes or quotes from works by K. Brancusi and K. Malevich.The movements of ideas in the context of East - West, West - East and East - East, as well as the works of Um Tai-Jung "Mandala" and "Stranger Holding Two Wings" are analyzed. It might be concluded that these works as new objects themselves have been created as giving rise to meditation. Based on Malevich’sstatement that the achievement of the world is inaccessible to the artist, it can be said that just as reality cannot be achieved, the artist’s creativity is also unattainable to the viewer, except as meditation.

scholarly journals Earth as a material for construction of modern houses

2018 ◽  
Vol 16 (2) ◽  
pp. 175-188
Author(s):  
Milena Jovanovic ◽  
Aleksandra Miric ◽  
Goran Jovanovic ◽  
Momcilovic Petronijevic
Keyword(s):  
Residential Buildings ◽  
Residential Building ◽  
Standard Of Living ◽  
The Past ◽  
The World ◽  
The Aesthetic ◽  
Architectural Tradition ◽  
Contemporary Architecture ◽  
Local Materials ◽  
Modern Standard

Earth was used for construction of residential buildings in the past. Due to the more widespread tendency toward the use of sustainable local materials, earth is present as one of the dominant materials for building of modern houses. The implemented techniques for construction of earth houses differ depending on the characteristics of a region and architectural tradition. This paper presents the characteristics of earth as a building material, traditional techniques for construction of residential buildings using earth, regulations which permit the construction in many countries of the world, as well as traditional residential building constructing techniques which use earth. Likewise, through the emblematic realizations of contemporary architecture it was shown that earth houses have the potential to provide the modern standard of living and to satisfy the aesthetic requirements.

scholarly journals Architectural Curvilinearity – Analysis of the Harbin Opera House Structural Solutions

2020 ◽  
pp. 876-890
Author(s):  
Igor V. Kirichkov
Keyword(s):  
Architectural Design ◽  
Traditional Approach ◽  
Rapid Development ◽  
Building Structures ◽  
Advantages And Disadvantages ◽  
Research Article ◽  
The World ◽  
Opera House ◽  
Contemporary Architecture ◽  
Structural Solutions

Curvilinear architecture has a rapid development in many countries of the world. This research article briefly describes the methods for forming curvilinear building structures indicating its advantages and disadvantages. It analyses the structural solutions of one of the most unique works of contemporary architecture – Harbin Opera House, designed by the Chinese architect Ma Yansong. After more than five years of research, the result shows that the level of technical skills, particularly relating to the construction of complex, unique objects, unfortunately, is still low. Huge opportunities for creating curvilinear architecture forms were not used. The traditional approach to the architectural design, including contemporary form creation methods, is absolutely wrong. The curvilinear architecture, as any other, requires development of its own, individual structural solutions

CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA

2019 ◽  
Vol 4 (10) ◽  
pp. 20-25
Author(s):  
Marina Kursova ◽  
◽  
Evgeniya Repina
Keyword(s):  
Zen Buddhism ◽  
Russian Philosophy ◽  
Avant Garde ◽  
The World ◽  
Japanese Architecture ◽  
Art And Architecture

The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.

scholarly journals The Symbolist interior and crystal imagination

2013 ◽  
Vol 17 (2) ◽  
pp. 157-166
Author(s):  
David Dernie
Keyword(s):  
Nineteenth Century ◽  
Los Angeles ◽  
Political Action ◽  
Late Nineteenth Century ◽  
Aesthetic Theory ◽  
Surface Reflectance ◽  
German Expressionism ◽  
The World ◽  
Late Nineteenth ◽  
Contemporary Architecture

Transparency, translucency and surface reflectance are material qualities that underpin modernist aesthetics. The lightness and transparency of buildings remain manifestly contemporary and the walls of our cities continue to open up, as the default material of choice is glass. From London to Los Angeles, from the Shard to the Crystal Mall, the potency and immateriality of the crystal image is a liberation of the modern imagination. This paper concerns the crystal imagination as represented in the architectural interiors and poetry of Belgian symbolism. During the last decade of the nineteenth century, aesthetic theory and output in Brussels was, remarkably, more developed than that of other European capitals. For the Symbolist artists, coloured and patterned glass, mirrors and rare stones were deeply fascinating as they were at once transparent (see-through) and also contained an interior mysteriously closed to the world outside. As a reflection on the dominance of the visible in contemporary architecture, this paper explores the dual aspects of the crystal image – as both open and closed - and the notion of interior as it matures in the work of the architect Victor Horta. Here, a highly subjective taste for the artificial is combined with themes that surround the crystal and which continue into the materialism of modernist movement through German expressionism. Bruno Taut's Cologne Werkbund Exhibition Glashaus (1914) embodied Scheerbart's crystal visions, and went on to inspire the activist movement that was to deliver such dreams into political action. The paper comments on the development of Taut's ideas in modernism, and the correlation of glass and crystal to the singular experience of vision. It suggests that the crystal imagination of the late nineteenth century, and the potential for those crystal metaphors to disclose worlds not available to sight, still may provide rich inspiration for tomorrow's architectural visions.

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