ALLURE OF THE "CRYSTAL: MYTHS AND METAPHORS IN ARCHITECTURAL MORPHOGENESIS

2016 ◽  
Vol 10 (1) ◽  
pp. 131 ◽  
Author(s):  
Emine ÖZEN EYÜCE
Keyword(s):  
Architectural Design ◽  
Architectural History ◽  
Human History ◽  
Royal Ontario Museum ◽  
Different Sources ◽  
Daniel Libeskind

'Form' has always been one of the most important issues in architectural design. In the process of form-giving to the end-product, architects make use of different sources from typologies to intuitions or metaphorical ones. When the generic ideas of the prominent examples in architectural history have been traced, it can clearly be stated that one of the most effective metaphors used in architecture is the 'Crystal.' Appearing at the intersections between nature and human history and having a long history going back to myths, the 'Crystal' has been used extensively in architecture both as reflecting the meaning originating from its mythical background, and also, as a metaphor representing the perfection in nature. This article will try to trace the use of 'crystal' metaphor in history and analyzing the two examples, namely, the Royal Ontario Museum: 'Crystal' in Toronto (2007) by Daniel Libeskind and Musée des Confluences: 'Crystal Cloud of Culture' in Lyon (2014) by Coop Himmelb(l)au, will try to evaluate the change in the use of crystal metaphor in contemporary architectural morphogenesis.

scholarly journals Fleeing Sisters: the Golden Age in Juvenal 6

2020 ◽  
Vol 56 ◽  
pp. 271-280
Author(s):  
Gergő Gellérfi
Keyword(s):  
Golden Age ◽  
Human History ◽  
Different Sources

The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age by making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals.

The Research on Educational Reform about the Hand-Painted Renderings of Architectural Design of Vocational College for Engineering

2012 ◽  
Vol 487 ◽  
pp. 387-391
Author(s):  
Min Yang
Keyword(s):  
Educational Reform ◽  
Architectural Design ◽  
Social Acceptance ◽  
Living Environment ◽  
Study Guide ◽  
Human History ◽  
Knowledge And Skills ◽  
Vocational College ◽  
The Social ◽  
New Countryside

The development of human history is inseparable from the living environment of their own planning and mapping, hand-drawn renderings show the form and content but also with other subjects of mutual interdependence and common development with; students in professional knowledge and skills into the process of talent learn to draw renderings interest and enthusiasm alone is not enough, go out the introduction, is the study guide students to establish a correct view of the employment outlook is the best way. The success of hand-drawn renderings to No, it is not the designer's will, the social acceptance and market testing it is the only standard. City can not do without decoration hand-drawn renderings, the process of building new countryside also need hand-drawn renderings.

scholarly journals Conceptual diagrams in creative architectural practice: the case of Daniel Libeskind's Jewish Museum

2012 ◽  
Vol 16 (1) ◽  
pp. 15-27 ◽  
Author(s):  
Fehmi Dogan ◽  
Nancy J. Nersessian
Keyword(s):  
Architectural Design ◽  
Double Burden ◽  
Architectural Practice ◽  
Unusual Position ◽  
Daniel Libeskind ◽  
Jewish Museum

The Jewish Museum in Berlin is the first major building of Daniel Libeskind [1,2]. The project for the museum has instigated a wealth of discussions in architectural circles and achieved a rare status of attracting the attention of scholars from other disciplines. Kurt W. Forster put the design for the Jewish Museum on a par with Piranesi's Carceri d'Invenzione, an unusual position for any building since very rarely does an architectural design ‘[…] bear this double burden of representing both actual buildings and mental structures, and which therefore have to submit to being measured by both standards: the durability of their ideas and the imaginative faculty of their designer.’

scholarly journals The Ambiguities of Iconic Design: Mo Modern Art Museum by Daniel Libeskind

2019 ◽  
Vol 2 (1) ◽  
pp. 13
Author(s):  
Samalavičius Almantas
Keyword(s):  
Cultural Context ◽  
Architectural Design ◽  
Modern Art ◽  
Art Museum ◽  
Building Industry ◽  
Cultural Contexts ◽  
The Status ◽  
World Class ◽  
Global And Local ◽  
Daniel Libeskind

The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called ‘Bilbao effect’ triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum’s architectural design remains an example of ‘signatory architecture’ that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents.

scholarly journals A nők ellen vagy a nők ellen is?

2018 ◽  
pp. 23-36
Author(s):  
Gergő Gellérfi
Keyword(s):  
Golden Age ◽  
Human History ◽  
Silver Age ◽  
The World ◽  
Different Sources ◽  
Looking Back

The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from the Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals. Albeit Juvenal presents a great variety of women’s sins in Satire 6, the poem’s central motif is infidelity beyond doubt, which is called the most ancient of all sins by the poet, being the only one that appeared in the Silver Age already. This is his cause for looking back to the mythological past in the introductory lines of the “Women’s Satire”; but as his words reveal it, the return to this state of the world and humanity seems neither possible nor desirable to him...

Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi

ARTMargins ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 79-101
Author(s):  
Esra Akcan
Keyword(s):  
Architectural Design ◽  
Architectural History ◽  
Abu Dhabi ◽  
Global History ◽  
Design Practices ◽  
Museum Design ◽  
History Of ◽  
History Of Architecture ◽  
Ongoing Project

This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and National Pavilions as curator-as-author and curators-as-chorus, which I map onto recent historiographical and museum design practices, including the Louvre Abu Dhabi, to discuss the geopolitical implications of its installation strategies. I also argue that six methodological perspectives for displaying architectural history emerge from the curator-chorus of Absorbing Modernity, which can be identified as survey, nationalist history, case study, thematic history, archive metaphor, and deferment, all of which contribute to and raise questions about the ongoing project towards a global architectural history. After suggesting a difference between “world” and “global” history of architecture, I call for a more geopolitically conscious and cosmopolitan global history of architecture, by exposing the intactive bonds between the history of modernism and of colonization, as well as the continuing legacy of geopolitical and economic inequalities that operate in such venues.

A Study on the Colors of the New Tang Dynasty Architectural Style

2013 ◽  
Vol 438-439 ◽  
pp. 1786-1790
Author(s):  
Ting Ma ◽  
Nong Wu ◽  
Zhi Xiong Yang ◽  
Yue Xi Ai
Keyword(s):  
Tang Dynasty ◽  
Architectural Design ◽  
Architectural History ◽  
Architectural Style ◽  
Traditional Architecture ◽  
Starting Point ◽  
New Ideas ◽  
Historic City ◽  
The Relationship ◽  
Direct Reflection

As the outerwear of a building, its color is one of the most significant features of a city. During thousands years of development the colors not only served for protection and decoration, but have been endowed with many intensions in the field of philosophy, politics, religion, culture and so on. Hence there has been formed a unique and integrated culture of colors. As many other cities, Xian is faced with the problem of maintaining its feature in the course of its development. On the basis of protecting the original style and features of the old town, delivering the profound cultural deposits, exploring the connection between traditional culture and modern architectural creation has become a common starting point for the architects in Xian. Based on the culture of Tang dynasty, the new Tang dynasty architecture is a bold attempt to shape a modern city and is also a direct reflection of the architects feeling about Chinese traditional architecture. In this paper, the writer studied the relationship between the colors of the new Tang dynasty architectural style and the creation of the modern Xian architecture from the point of architectural history and architectural design. Also, the paper explored its impact and inspiration on the modern architectural creation of Xian from the perspective of time feature. Moreover, it disclosed the value of the new Tang dynasty architectural style in a modern way and provided references, enlightenments and new ideas for the modern architectural creation in a historic city.

Rustic figuration

2017 ◽  
Vol 21 (4) ◽  
pp. 359-368
Author(s):  
Ulrika Karlsson
Keyword(s):  
Cultural Context ◽  
Architectural Design ◽  
Building Materials ◽  
Design Research ◽  
Architectural History ◽  
Digital Information ◽  
History Of ◽  
Tools And Techniques ◽  
Material Concept

The entwined relationships between the physical and the computational continue to produce sensibilities where our understanding of the division between them is becoming blurred. The prolog to Rustic Figurations identifies a growing interest in disciplinary questions on the role of history and the history of digital tools and techniques of representation to support and understand the cultural context of architecture. The second part of the text tries to describe, define and situate rustic figuration as an aesthetic and material concept in architecture that has developed through the architectural design research of the practices servo and Brrum, in parallel with research into the history of rustication.The notion of rustic figuration is imbued with architectural qualities that oscillate between the legibility of form and geometry and the disappearance of that legibility. Aspects of legibility are discussed in relation to related discourses in architectural history, as well as in the context of a few contemporary practices and projects that engage both computational and analogue techniques for design, communication and fabrication. The qualities of rustic figuration in the projects are neither bound by the unique properties of the building materials, nor by the computational information but happen in the translations between digital information and material manifestation or vice versa.

scholarly journals Evidence-based design in practice : a thematic analysis

2014 ◽  
Vol 18 (26) ◽  
pp. 4
Author(s):  
Altug Kasali ◽  
Nancy J. Nersessian
Keyword(s):  
Thematic Analysis ◽  
Architectural Design ◽  
Qualitative Data ◽  
Healthcare Facility ◽  
Data Driven ◽  
Evidence Based ◽  
Design Practice ◽  
Interdisciplinary Design ◽  
Emerging Issues ◽  
Different Sources

This paper presents an observational study of the activities of an interdisciplinary design team tasked with designing a healthcare facility in a developing country. The intent of the team was to implement «evidence-based design». Tracking the disciplinary interactions of the participants, we investigate emerging issues concerning integration of evidence coming from different sources into the architectural design delivered. The study adopts a data-driven thematic approach in the analysis of the qualitative data datacollected. We discuss three themes –textures of evidence, operationalizing evidence and tools of integration– that emerge out of our qualitative analysis of evidence-based design practice.

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