scholarly journals A tale of two suspended cities

2021 ◽  
Author(s):  
◽  
Jacob Dench
Keyword(s):  
Performing Arts ◽  
Cultural Context ◽  
Architectural History ◽  
Urban Site ◽  
Natural Environments ◽  
Design Elements ◽  
Starting Point ◽  
History Of ◽  
Indigenous Forest ◽  
The One

<p>Thesis investigation looks to allegorical architecture as a means of enhancing our awareness of our environment.  This investigation began in early 2016 with the discovery of a little-known architectural history of the Muaūpoko people and their suspended treevillage, Te Pā Rākau, in Horowhenua Aotearoa. Later, the invitation to participate in the construction of a treehouse for the 2016 Terni International Performing Arts Festival in Italy, provided an opportunity for the development of two unique design projects for this thesis – and to explore how allegorical architecture could respond uniquely to two tales of two very different cities: one, a mythological tale called Octavia - born of the urban unrest of post-industrial Italy; and two, a true but little known tale called Te Pa-Rakau from the extraordinary architectural history of precolonial Aotearoa.   The tale that is told through the Octavia project is quite different from the one told through the Te Pā Rākau project, yet the formal outcomes have many similarities. In this way the two bodies of work are effectively reflections of one another. Each project is unified by the reseach aim of enhancing our awareness of nature through the creation of an ephemeral architecture of lightness as a starting point – but then each branches out in different directions based on a response to a unique narrative, unique cultural needs, environmental and contextual factors.  This investigation seeks to enhance our awareness of the importance of a human cultural context within two ‘natural’ environments of two antipodean countries.   Both environments have been transformed by humankind, fractured, to such a great degree that in Aotearoa while we still have some remnants of the original condition of our ancient lowland forests, they are just tiny fragments of what once was, and they are devoid of much of their former wildlife. In Italy this investigation focuses on an urban site in a region where there exists no intact original forests; the wild trees have been completely broken, reformed, reshaped by humankind so that they do not even look like naturally occurring trees anymore.  Both scenarios explore how architecture can be used to make people aware of how important a relationship to nature really is; how beautiful it is; and how we need to enable it rather than disable it. This design-led investigation addresses the following aims:   TAHI: To create a lightweight, tensile architecture that touches lightly upon the delicate forested environment in which it is sited.  RUA: To create an architectural environment capable of inspiring a sense of human belonging within the indigenous forest; and to encourage an understanding and custodianship for this environment.  TORU: To incorporate storytelling design elements into architecture to encourage the telling of oral histories; and to re-imagine the tale of suspended cities through contemporary architectural intervention.  WHA: To create an anthropomorphic architecture that expresses itself as a living part of the forest; and to express, through built form, the narrative of the vibrant wildlife that once existed in this environment.</p>

scholarly journals A tale of two suspended cities

2021 ◽  
Author(s):  
◽  
Jacob Dench
Keyword(s):  
Performing Arts ◽  
Cultural Context ◽  
Architectural History ◽  
Urban Site ◽  
Natural Environments ◽  
Design Elements ◽  
Starting Point ◽  
History Of ◽  
Indigenous Forest ◽  
The One

<p>Thesis investigation looks to allegorical architecture as a means of enhancing our awareness of our environment.  This investigation began in early 2016 with the discovery of a little-known architectural history of the Muaūpoko people and their suspended treevillage, Te Pā Rākau, in Horowhenua Aotearoa. Later, the invitation to participate in the construction of a treehouse for the 2016 Terni International Performing Arts Festival in Italy, provided an opportunity for the development of two unique design projects for this thesis – and to explore how allegorical architecture could respond uniquely to two tales of two very different cities: one, a mythological tale called Octavia - born of the urban unrest of post-industrial Italy; and two, a true but little known tale called Te Pa-Rakau from the extraordinary architectural history of precolonial Aotearoa.   The tale that is told through the Octavia project is quite different from the one told through the Te Pā Rākau project, yet the formal outcomes have many similarities. In this way the two bodies of work are effectively reflections of one another. Each project is unified by the reseach aim of enhancing our awareness of nature through the creation of an ephemeral architecture of lightness as a starting point – but then each branches out in different directions based on a response to a unique narrative, unique cultural needs, environmental and contextual factors.  This investigation seeks to enhance our awareness of the importance of a human cultural context within two ‘natural’ environments of two antipodean countries.   Both environments have been transformed by humankind, fractured, to such a great degree that in Aotearoa while we still have some remnants of the original condition of our ancient lowland forests, they are just tiny fragments of what once was, and they are devoid of much of their former wildlife. In Italy this investigation focuses on an urban site in a region where there exists no intact original forests; the wild trees have been completely broken, reformed, reshaped by humankind so that they do not even look like naturally occurring trees anymore.  Both scenarios explore how architecture can be used to make people aware of how important a relationship to nature really is; how beautiful it is; and how we need to enable it rather than disable it. This design-led investigation addresses the following aims:   TAHI: To create a lightweight, tensile architecture that touches lightly upon the delicate forested environment in which it is sited.  RUA: To create an architectural environment capable of inspiring a sense of human belonging within the indigenous forest; and to encourage an understanding and custodianship for this environment.  TORU: To incorporate storytelling design elements into architecture to encourage the telling of oral histories; and to re-imagine the tale of suspended cities through contemporary architectural intervention.  WHA: To create an anthropomorphic architecture that expresses itself as a living part of the forest; and to express, through built form, the narrative of the vibrant wildlife that once existed in this environment.</p>

The Savilian professors’ houses and Halley’s observatory at Oxford

1961 ◽  
Vol 16 (2) ◽  
pp. 179-186 ◽  
Keyword(s):  
Architectural History ◽  
Narrow Strip ◽  
History Of ◽  
Formed Part ◽  
The One ◽  
John Wallis ◽  
Open Question ◽  
The City ◽  
Regius Professor ◽  
Western Wall

For close on two hundred years, from the late-seventeenth till the mid-nineteenth century, the two houses in New College Lane which stand in the immediate approaches of the College were closely connected with a succession of distinguished scientists—among them John Wallis, Edmund Halley and James Bradley. The houses, with two others further west, occupy the area between the western wall of the cloisters of New College and Hell Passage, the whole length of which formed part of the original endowment of the College, though separated from the street by a narrow strip of ground which until 1850 belonged to the City. On this New College freehold there stood in late medieval times a building known as Stable Hall. In 1560 this tenement was leased to Thomas Nele and Henry Edmonds on the condition that they should ‘nue builde and repaire the said house called Stable Hall,’ the College allowing them sufficient timber, laths and boards for the purpose. Whether this was the beginning of the architectural history of the two houses with which this paper is concerned is an open question. On the one hand, it is clear from a note in the New College Lease Book, made when Nele obtained a new lease fourteen years later, that he had engaged in building by that time. Formerly a Fellow o f New College, he is said, on being appointed Regius Professor of Hebrew, to have ‘entered himself a commoner at Hart Hall and built little lodgings opposite thereunto, joining to the West End of New Coll. Cloister, wherein he lived several years’. On the other hand, Agas’s map of 1578 appears to show a house too hard against the cloister wall to be even the easternmost of the houses that we have today.

Sprachwandel und Etymologie in Der Spanischen Sprachwissenschaft Des Siglo De Oro

1984 ◽  
Vol 11 (1-2) ◽  
pp. 95-116
Author(s):  
Werner Bahner
Keyword(s):  
National Language ◽  
Siglo De Oro ◽  
Good Opportunity ◽  
Starting Point ◽  
The Social ◽  
History Of Linguistics ◽  
History Of ◽  
The One ◽  
The 19Th Century ◽  
First Time

Summary The Renaissance constitutes a new phase in the history of linguistics. The study of modern languages in particular contributed to enlarge the scope of philological concern as scholars try to promote and to codify a young national language. During this time philologists give particular attention to the origin of these vernaculars, distinguishing the different stages in their evolution and developing an especial awareness of chronology. For the representatives of a national philology, Latin is the starting point, the mould according to which the vernaculars are described and classified. Soon, however, more and more traits are recognized which are particular to these living languages, and which do not agree with the traditions of Latin grammar. On the one hand, modifications on the theoretical level are called for, and, on the other, there is a good opportunity to demonstrate the particularity of a given vernacular. All these tendencies can be found for the first time in the writings on Cas-tillian by the great philologist Antonio de Nebrija (1444–1522). Nebrija recognized a series of phonetic correspondences which, much later in the 19th century, are transformed into ‘phonetic laws’ by a rigorous methodology. In so doing the elaboration of orthographic principles had been for him a stimulus for his explications. In his “Diálogo de la lengua”, Juan de Valdés (devoted himself more extensively to the social aspects of Castillian, to linguistic changes, and to the historical causes for the distribution of Romance languages on the Iberian peninsula, stressing expecially the role of the ‘Reconquista’. The work of Bernardo José de Aldrete (1560–1641) offers a synthesis of all these efforts concerning the evolution of Castillian. He discusses all the substrata and superstrata of the language, sketches the different stages of development of his native tongue, examines Old Castillian with the help of medieval texts, and exploits what Nebrija had noted about the phonetic correspondences. In terms of scholarship, Aldrete’s work constitutes the culmination point in the movement engaged in supporting the rights of the Castillian language et in documenting its sovereignity vis-à-vis the Latin tradition.

scholarly journals http://habibiaislamicus.com/index.php/hirj/article/view/178

2021 ◽  
Vol 5 (1) ◽  
pp. 83-104
Author(s):  
Humera Naz ◽  
Keyword(s):  
Cultural Context ◽  
Basic Element ◽  
Islamic Architecture ◽  
Architectural Style ◽  
Religious Buildings ◽  
The World ◽  
History Of ◽  
The One ◽  
Islamic Faith ◽  
Islamic Civilization

There is no doubt that there is no corner of civilization in which Muslims have not made significant progress. But most of his accomplishments are reflected in the architecture and its supporting arts. The one and a half thousand year history of Islam is in fact the history of the rise of Islamic architecture. Muslims decorated a large part of the world with beautiful buildings in different periods of their rule. Thus, at different times, Islamic architecture took different forms. Among them, there is diversity due to the differences in the country and the buildings, which is due to the climate, environment and construction issues of this country. But despite this, there is unity and continuity in Islamic architecture. This is a feature of Islamic civilization. In spite of their diversity, Islamic civilization has allowed fusion in all of them, which we call Islamic colors. And the basic element of this unity was the Islamic faith which united the different nations in this one faith. Due to which, whatever religious buildings are built in any part of the world in the future, they are all the same, which was not affected by time and distance. Every building has its own uniqueness. These Islamic buildings have a deep Muslim imprint. This is due to the architectural style and decorative carvings of these buildings and these carvings have a spiritual aspect which has its own distinct identity of Islamic architecture. At the same time, it is a valuable asset that still reflects Islamic civilization. In our article, we have examined this unity of Islamic architecture in a cultural context.

scholarly journals On “The dictionary of active Polish and Ukrainian phraseology” [Leksykon aktywnej frazeologii polskiej i ukraińskiej]. Contrastive linguistics and culture

2017 ◽  
Author(s):  
Wojciech Paweł Sosnowski ◽  
Roman Tymoshuk
Keyword(s):  
Cultural Context ◽  
New Method ◽  
Starting Point ◽  
History Of ◽  
Contrastive Linguistics ◽  
Primary Focus ◽  
Definition Of

On The dictionary of active Polish and Ukrainian phraseology [Leksykon aktywnej frazeologii polskiej i ukraińskiej]. Contrastive linguistics and cultureThe Dictionary of Active Polish and Ukrainian Phraseology [Leksykon aktywnej frazeologii polskiej i ukraińskiej] is the first publication of its kind in the history of Polish and Ukrainian lexicography. It consists of equivalent phrasal units in Polish and Ukrainian. The innovative aspect of the lexicon is that it uses a semantic metalanguage to establish equivalent units. The authors developed a new method of searching for equivalent units which uses the meaning — not the form — as the starting point. This method enables the identification of equivalent units in both languages. Moreover, it enables the identification of units that do not have equivalents. The units which lack equivalents are usually deeply rooted in Poland’s or Ukraine’s historical and cultural context, and are thus defined as culturemes. Even though they lack equivalents, it was decided not to exclude them from the Leksykon’s structure, as they are actively used by the speakers of Polish and Ukrainian. This paper provides an overview of the Leksykon’s methodology and presents the authors’ definition of phraseologism. The most important points in the paper are illustrated with a number of example entries from the dictionary. The primary focus of the paper rests on phrasal units which lack equivalents. O Leksykonie aktywnej frazeologii polskiej i ukraińskiej. Konfrontacja językowa a kulturaOpracowywany przez nas Leksykon aktywnej frazeologii polskiej i ukraińskiej jest pierwszym dziełem tego typu w historii leksykografii polskiej i ukraińskiej. W leksykonie prezentujemy odpowiedniości jednostek frazeologicznych w języku polskim i ukraińskim za pomocą semantycznego języka pośrednika. Wyznaczenie kierunku od znaczenia ku formie pozwoliło dobrać ekwiwalenty jednostek frazeologicznych w obu językach. Zestawienie polskiego i ukraińskiego materiału pozwoliło również wyodrębnić poszczególne jednostki nieposiadające odpowiedników. Jednostki te są ściśle związane z kulturą i historią narodu polskiego i ukraińskiego. W związku z tym zaliczamy je do kulturemów, ale nie pomijamy w strukturze leksykonu ze względu na ich aktywność w mówionym języku współczesnym. W niniejszym artykule prezentujemy metodologię zastosowaną w leksykonie, definicję roboczą frazeologizmu w leksykonie, przykładowe hasła oraz skupiamy się na pokazaniu jednostek frazeologicznych nieposiadających pełnej odpowiedniości.

scholarly journals Ejvind Larsen: Grundtvig - om noget om Marx

1974 ◽  
Vol 27 (1) ◽  
pp. 86-90
Author(s):  
Kaj Thaning
Keyword(s):  
Research Work ◽  
German Idealism ◽  
Original Sin ◽  
Political Activity ◽  
The People ◽  
Starting Point ◽  
Conception Of Man ◽  
History Of ◽  
The One ◽  
The Church

Grundtvig and MarxEjvind Larsen: Grundtvig - og noget om Marx. Studenterkredsen, ÅrhusReviewed by Kaj ThaningEjvind Larsen has put a considerable amount of work into his book. It is obvious that he not only knows his Grundtvig and his Marx, but he has also studied the sociology of Grundtvigianism and is thoroughly conversant with the research work on Grundtvig. But above all, what he writes is based on strong personal commitment, which leads to criticism of both Grundtvig and Marx, but at the same time to a synthesis of both, since, to Ejvind Larsen, between them they indicate solutions to the social problems of today.The starting-point for both of them is a clash with German idealism on the one hand and the materialistic conception of man on the other. To Grundtvig man is a »Divine Experiment« of dust and spirit, to Marx man is the creator of history, while he is also a product of history, of production. Ejvind Larsen asserts emphatically that Marx is no economic determinist. The two great rebels can also be compared in that they oppose the dissociation of manual and spiritual work and are against all elites, hierarchies and bureaucracies. The people must be liberated from all this, but they must liberate themselves.Ejvind Larsen stresses, however, the influence that Grundtvig had on the emancipation of the Danish peasants and in connection with this gives the quotation, »Åndens løsen er bedrifter« (The watchword of the Spirit is deeds). It is in the significance of the spirit and in Grundtvig’s emphasis on dialogue as a basis for any emancipation of the people that he finds the explanation of the fact that the Danish peasantry was made free »despite the economic conditions« and »even though the prevailing tendencies should have reduced it to a powerless pettybourgeoisie and reactionary proletariat.«Ejvind Larsen emphasizes Grundtvig’s dissociation of his work in the Church and his work for the people, and is himself opposed to any mingling of religious and political activity. He rejoices in the fact that Grundtvig does not talk of »original sin« in a historical and political context, as opposed to the Church, which makes use of this concept to stop political progress. But he has not noticed that Grundtvig has, in a sense, secularized original sin, and as a mythologian and a historian talks of the »great calamity«, which »very early on« befell man, making his existence one of conflict and predicament. In Ejvind Larsen’s book there is a discrepancy, in that his reduction of the obvious conflicts of existence to historical calamities (in the plural), which can and should be overcome by mankind (as opposed to the sin that faith alone reveals in man and which can only be overcome through the grace of God), is at variance with his constant emphasis on the »principle of contradiction« and on the fight for man being considered a living person placed between absolute contradictions. Ejvind Larsen will, however, undoubtedly continue his work - and will deal with this inner contradiction in his book, which, despite its lack of clarity on various other points, is an inspiring achievement.

scholarly journals Die Johannesevangelie as herinnerings - boek

1999 ◽  
Vol 33 (1) ◽  
Author(s):  
W. C. Vergeer ◽  
F. J. Van Rensburg
Keyword(s):  
Early Church ◽  
Oral Culture ◽  
External Evidence ◽  
Starting Point ◽  
History Of ◽  
Specific Position ◽  
John's Gospel ◽  
The One ◽  
And Function ◽  
Intended Use

John 21:24-25 reads: “He is the disciple who spoke these things, the one who also wrote them down; and we know that what he said is true. Now, there are many other things that Jesus did. If they were all written down one by one, I suppose the whole world could not hold the books that would be written”. This autobiographical statement is the starting point of the research presented in this article. It is argued that this (hyperbolic) statement suggests the intended use of John's Gospel within an oral culture. Through the analysis of internal and external evidence (including pointers in the history of the early church) the function of John’s Gospel in an oral culture is defined as “a book of remembrance”. A theory is developed about the specific position and function of John’s Gospel as a book of remembrance - specifically concerning the aspects of "reminding" and "witnessing”.

The Return to Diversity in Eastern Europe

1993 ◽  
Vol 2 (1) ◽  
pp. 87-100
Author(s):  
Jens Hohensee
Keyword(s):  
Eastern Europe ◽  
Historical Context ◽  
The Other ◽  
The Political ◽  
Economic Factors ◽  
Starting Point ◽  
History Of ◽  
The One ◽  
New Research ◽  
Annus Mirabilis

The events of 1989, the annus mirabilis, have led to a great demand for new research and a re-thinking of the history of Eastern Europe. Those sources which were kept from us for years are now available, at least in part. As part of this process political scientists and historians of Eastern Europe are now concerned to fill in the gaps in our knowledge and provide the answers to urgent questions. A consequence of this situation has been a veritable flood of publications, of which eight have been chosen for review here. With two exceptions these studies have deepened our understanding of the issues involved. There are clear differences between the historians on the one hand and the political scientists on the other in terms of their starting-point and the questions they ask. Whereas the historians deal descriptively with the origins, trends and structures of the last centuries and place the revolutions of 1989/90 in their historical context, the political scientists proceed analytically and place greater emphasis on social, ethnic and economic factors. This dichotomy is demonstrated in the different problematics of the books under review.

Some Eighteenth Century Ferryhouses in Appin, Lorn, Argyll: the Development of the Single-Storeyed Mortared Stone Cottage in the West Highlands

1997 ◽  
Vol 77 ◽  
pp. 243-289 ◽  
Author(s):  
Euan W. MacKie
Keyword(s):  
Eighteenth Century ◽  
Architectural History ◽  
Historical Evidence ◽  
The West ◽  
The North ◽  
North Side ◽  
Piped Water ◽  
History Of ◽  
The One ◽  
Made In

The evolution of the single-storeyed mortared stone cottage in the western highlands of Scotland seems to mirror that of the upper strata of late seventeenth and eighteenth century clan society in the region, and in particular to reflect a little of the disintegration of that society after the two failed Stuart uprisings and its consequent gradual integration with the lowland economy. An analysis of the architectural history of the Ferry House (let to the ferryman as a combined inn and home for his family) at Port Appin provides a foundation for the survey. The earliest part of the building, probably thatched, may well date from the 1740s but already it had lintelled hearths with flues in each gable wall - a lowland urban feature. A major extension with a slate roof was built in about 1770 and the earlier part was probably also slated at this time and subdivided inside to provide rooms for wealthier guests. Thereafter only relatively minor internal improvements were made, in the newer half, until the early 1950s when piped water was introduced and a separate bathroom and kitchen built. The cottages were sold to incomers not long after.A study of other ferries in the area confirms that mortared cottages almost identical to those in Port Appin, and in identical situations, are still to be found at two of these. The one on the south side of the abandoned Rugarve ferry over Loch Creran can also be dated to between about 1750 and 1770 from historical evidence. Also at Rugarve, on the north side, are the remains of a more primitive thatched drystone cottage, probably an early ferry house, which is smaller than the others and lacks hearths with chimneys.

scholarly journals Vrijednosni opisi umjetnosti

Ars Adriatica ◽  
2016 ◽  
pp. 253
Author(s):  
Nataša Lah
Keyword(s):  
18Th Century ◽  
Universal Theory ◽  
Stable Relationship ◽  
Late 18Th Century ◽  
Starting Point ◽  
History Of ◽  
Theory Of Value ◽  
The One ◽  
Relationship Of ◽  
Evaluation Matrix

Taking into account the fact that, throughout history, certain artworks have been considered as “worth of watching” (according to the Greek etymon ἀξιοϑέατος / aksioteatos), preservation, or theorizing, while others were not, one is led to investigate the various types of evaluative descriptions. Those artworks that are more valuable than others, or simply valuable in themselves on the basis of rather specific features, have always represented the paradigmatic model for the evaluator, thus revealing the identitary nature of value as different from one epoch to another. Our aim has been to discern, with regard to this starting point, the way in which the process of evaluating artworks fits the general matrix of the universal theory of value, with its clearly distinguished levels of evaluation, beginning with value descriptions, continuing through the features of evaluation or abstract qualities of values extracted from these descriptions, and ending with value norms or systems of accepted generalizations in evaluation. Value standpoints in such an evaluation matrix represent dispositions or preferences in procedures, which reflect the norms or signifying concepts of the time. Corresponding procedures, or applications of the hierarchicized signification of artworks, are manifested in all known forms of artwork assessment: attribution, institutionalization, and setting of priorities in terms of exhibition, conservation, acquisition, restoration, and so on. Research in the history of European art-historical ideas has corroborated the hypothesis that, prior to the late 18th century, clear normative patterns were applied when it came to the evaluation of artworks. However, with the emergence of early Romanticism, this could no longer be done in the traditional way. Before the period in question, visual art was created (regardless of some stylistic discrepancies between individual authors) and classified according to well-defined thematic areas and functions. Such qualifications made it possible to distinguish clearly between major stylistic periods, creating the impression of development regardless of the later evaluative classifications of individual cycles in historical production thus understood. A comparison between the axiological matrix and the features of individual historical periods has revealed, on the one hand, a stable relationship between the functionally nomological features of artistic productions and the cultural instrumentalizations of art, and on the other a stable relationship between the overtly semantic conceptualizations in the epoch of modernism and the ostensibly structural mode of artistic expression. In the postmodern period, all that was once understood as the stylistic language of form, or the autonomy of the artefact, has been transformed in the evasive media multiplication of the postindustrial epoch into a whole series of reproductive languages, replicas, transfers, copies, or simulacra, and forced into a relationship of permanent detachment with regard to the “original” (source). Thus, instead of an artwork in context, the context itself is now presented as an artwork, structured all over again according to some of the possible principles in the theoretical choice of interpretation. The impossibility of defining precisely the boundaries of the medium, and its increasing dematerialization, have made it more difficult to apply universal evaluative criteria to a particular artwork, which has led to a conflict between cultural evaluation and the subjection of experience to the semantic functions of evaluations. Nevertheless, recent research on perception in the field of neuroscience has indicated that the sensory perception of the external world and the assignation of meaning to those perceptions indeed happen simultaneously, and that these processes cannot take place separated from one another. The conclusion shows that the modern evaluation conflicts are largely a consequence of an irreversible and entropic state of culture in the 21st century. We should therefore aim at a revision, not so much of the hitherto accepted and standardized values, but rather of the present systems of evaluation and the ensuing evaluative descriptions of art.

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