scholarly journals INTERDISCIPLINARY INTERACTION OF DESIGN AND ARCHITECTURE

2021 ◽  
Vol 1 (161) ◽  
pp. 53-57
Author(s):  
N. Vergunova ◽  
S. Vergunov ◽  
O. Levadniy
Keyword(s):  
20Th Century ◽  
Architectural Design ◽  
Scientific Paper ◽  
Design Work ◽  
Professional Boundaries ◽  
Design Culture ◽  
Spatial Environment ◽  
Interdisciplinary Methodology ◽  
Design Objects ◽  
Interdisciplinary Interaction

The synthesis of scientific knowledge obtained within individual disciplines became one of the leading trends in science in the latter half of the 20th century. Together with the existing disciplinary organization and the structuring of science according to the respective specializations, interdisciplinary methodology is being actively developed, problem and project approaches to research are increasingly being applied, the paradigm of integrity is being established. Such processes have also affected design, both theoretical and practical aspects of work. Considering the interdisciplinary interaction of design with other art forms, architecture appears to be most appropriate, given the commonality of design and architectural design dating back to the mid-20th century. Many architects design objects and placing them in their architectural constructions; and designers work with architectural projects, creating a «shell» for their design objects. There is a semantic organization in these processes, the study of which is relevant in view of the emerging paradigm of integrity in science. The aim of research reveals the interdisciplinary interaction between design and architecture, and represents the relevant projects of designers and architects. The results can be used to broaden the understanding of interdisciplinary methodology regarding to its emergence and formation in design and architecture, as well as their current project results. The scientific paper describes some of the professional patterns inherent in design and architecture that unite these arts in filling the object-spatial environment. Common meaning organization of design and architectural subject culture in comparison with samples of «pure» art is also noted, the direct inclusion of these objects in the life canvas of each individual is emphasized. The interdisciplinary interaction of design and architecture contributes to their mutual filling. For design work, the main priority of interdisciplinarity is in studying the architectural heritage that far exceeds the design culture over time. For architectural activity it is possible to expand its professional boundaries by mastering the specifics of design methodology, as well as to optimize the project process in creating a coherent and harmonious structure of building. Interdisciplinary interaction is evident in project activities of modern designers and architects. The projects of American designer Karim Rashid, who works on both: the industrial design projects and objects for the architectural environment, are of particular interest. Architectural bureau «Zaha Hadid Architects», once headed by the Iraqi-British architect and designer of Arab origin Zaha Hadid, also conducts interdisciplinary project activity, touching both design and architecture. The projects of Gerrit Ritveld, designed more than a hundred years ago, confirm the extent of interdisciplinary links in design, architecture and art, reflecting the objectivity of these processes.

Ethics of Information Technology in the Context of a Global Worldview

2021 ◽  
pp. 38-41
Author(s):  
Ibraim Didmanidze ◽  
Irma Bagrationi
Keyword(s):  
Information Technology ◽  
Twentieth Century ◽  
20Th Century ◽  
Digital Computer ◽  
Scientific Paper ◽  
Moral Values ◽  
Human Spirit ◽  
Modern Information Technology ◽  
Modern Information ◽  
Cultural Contradictions

The present scientific paper outlines in today’s contempo­rary world - where everything is as it seems at first glance, subordinated to the economy, technology and politics are essentially ruled by ethics, value attitudes, which in that or otherwise find embodiment for purposes activities. After all, the question of goals, intentions is the question about values. The paper underlines that modern information technology has sharpened the problem of the values of the human spirit and choice further path of our world civilization. Everyone remembers the 20th century with its socio-cultural contradictions. And the scale of the achievements, and the scale of destruction committed by people in the twentieth century, incomparable with any other times in its history. The present paper emphasizes that if we want to keep human moral values in the information sphere, then is the technology itself sufficient for this, creating suitable programs forcing save them? Of course, working in networks and not consider off-grid the laws impossible. The paper concludes that what will this process lead to, hard to say. One thing is clear now: interacting with a digital computer, we inevitably become different. Society becomes others. And to regret it is nostalgia for past, it is sweet - meaningless. Like us modern peace or not - but this is reality life, and of them desirable proceed if we want to impact on construction our future

scholarly journals Interdisciplinary Interaction between Music Education and History: Shaping the Musical Preferences in Classical Music of the 20th Century

2021 ◽  
Author(s):  
Jerneja Žnidaršič
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Primary Schools ◽  
Classical Music ◽  
Control Group ◽  
History Teachers ◽  
Contemporary Classical Music ◽  
Interdisciplinary Interaction ◽  
Western Classical Music ◽  
Experimental Group

The purpose of the current study was to investigate whether an experimental programme, based on interdisciplinary interactions between music education and history and the implementation of arts and cultural education objectives, could influence pupils’ interest in Western classical music of the 20th century. The programme was designed on the basis of collaborating with music education and history teachers at two Slovenian primary schools and a Slovenian composer. Classes of pupils, aged fourteen and fifteen, were divided into an experimental and a control group. According to the outcome, the pupils in the experimental group showed a higher level of interest in contemporary classical music after the experiment than their peers in the control group. Furthermore, the pupils in the experimental group reported having listened on their initiative, to more classical compositions after the experiment than the pupils in the control group had.

scholarly journals Similarities and differences in terms of the geometry used in De Stijl and Bauhaus product designs

2019 ◽  
Vol 2019 ◽  
pp. 8
Author(s):  
Antonio Cvetkovski ◽  
Sofija Sidorenko
Keyword(s):  
20Th Century ◽  
Creative Process ◽  
Industrial Design ◽  
Scientific Paper ◽  
Design Elements ◽  
Geometric Figures ◽  
Similarities And Differences ◽  
De Stijl ◽  
The Relationship ◽  
Geometry Learning

As a fundamental science of forms and their order, geometry contributes to the process of composing and designing of products. Geometry is able to make a contribution to these processes by dealing with the geometric figures and forms as design elements as well as the relations between them. Finding the general principles of successfully combining those elements was a research aim of many designers, such as those in the modernist era. Influencing the industrial design in a revolutionary way, the Modernism became significant artistic movement of the 20th century, thus giving us the most iconic and timeless product designs. In this scientific paper, the relationship between geometry and design in the Modernism is described and explored through examples, with emphasis placed on De Stijl and Bauhaus products. Direct comparison is applied, focusing on the similarities and differences in the products’ geometry. Learning about the geometry and how it relates to the designs is not to be used as a substitute for the creative process, but rather as a means of obtaining a deeper understanding of it. 

scholarly journals The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico

2012 ◽  
Author(s):  
Fernando N. Winfield
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Visual Arts ◽  
Architectural Design ◽  
Political Context ◽  
Modern Architecture ◽  
The Political ◽  
Avant Garde ◽  
Mexican Architecture ◽  
Direct Reflection

Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque’. Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function”. Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the 20th Century, modern architecture was perhaps above all else, a tool for propaganda. In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque”. In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico . In direct counterpoint to Zevi, we will suggest that it was far from grotesque, but rather was one of the most committed political statements made by the Modern Movement throughout the Twentieth Century. It was propaganda, it was political. It was utopian.

New Design Methods for Computer Aided Architectural Design Methodology Teaching

2003 ◽  
Vol 1 (1) ◽  
pp. 72-91 ◽  
Author(s):  
Achten Henri H.
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Design Methodology ◽  
Design Methods ◽  
Educational Setting ◽  
Methodological Framework ◽  
Design Work ◽  
New Developments ◽  
Computer Aided ◽  
Design Software

Architects and architectural students are exploring new ways of design using Computer Aided Architectural Design software. This exploration is seldom backed up from a design methodological viewpoint. In this paper, a design methodological framework for reflection on innovate design processes by architects that has been used in an educational setting is introduced. The framework leads to highly specific, weak design methods, that clarify the use of the computer in the design process. The framework allows students to grasp new developments, use them in their own design work, and to better reflect on their own position relative to CAAD and architectural design.

scholarly journals THE STRUCTURE OF SPACE: CUBISM AND MODERNISM. FIGURES AND ICONS IN JOSEF GOČÁR’S WORK

2017 ◽  
Vol 41 (1) ◽  
pp. 9-21
Author(s):  
Domenico Giuseppe CHIZZONITI
Keyword(s):  
Architectural Design ◽  
Close Association ◽  
Fine Arts ◽  
Practical Experience ◽  
Design Work ◽  
Time Period ◽  
The Individual ◽  
The City

This research paper relates to a number of works by Josef Gočár, a Bohemian architect who was active in a time period between “Cubist” vanguardism and “Rationalist” modernism. The theme regards the search for a general method which evaluates the key elements of the structure of space in architectural design. The main asset of architectural composition has traditionally been the close association between the syntactic order of the elements and a semantic perception of space. The aim of this essay is to explore the relation between the role of the experimental design regarding the multiple and changeable architectural experience and the creative process of architectural work. The methodological experience hereby demonstrated refers to a specific case study that belongs to the scientific research carried out by Gočár and his researchers’ group at the Prague Fine Arts Academy (AVU). His work is hereby re-interpreted in an effort to explore the experiential contribution to the architectural design discipline, and the figurative aspect, by reexamining various characteristics of his practical experience as an architect involved in the civic priorities of the city, from the scale of urban settlement to the individual design work.

Application of Three-Dimensional Virtual Model in the Field of Architectural Design

2014 ◽  
Vol 644-650 ◽  
pp. 1745-1748
Author(s):  
Ying Min Tang
Keyword(s):  
Architectural Design ◽  
High Reliability ◽  
Three Dimensional ◽  
Implementation Process ◽  
Surface Characteristics ◽  
Virtual Model ◽  
Design Work ◽  
Three Dimensional Modeling ◽  
Whole Process ◽  
Wide Range

Three-dimensional modeling is a key technology in many fields of research and application. In recent years, the application of three-dimensional architectural design visualization is widely used worldwide, which makes significant progress in terms of data models, visualization, 3D topological relations research. Due to the complexity of the own spatial structure of architectural design, by using virtual reality technology and combination of the surface characteristics of the entity modeling and structural modeling, the idea and implementation process of architectural design three-dimensional virtual model algorithm are described in detail. This article discusses the whole process of integrated CAD system's basic design, architecture and implementation techniques. This system has features of high integration, strong applicability, high reliability, able to complete the whole process of architectural design work, with a wide range of application prospects.

scholarly journals The Memory That Remembers Us

2021 ◽  
Author(s):  
◽  
Mitchell Jones
Keyword(s):  
Natural Environment ◽  
Design Theory ◽  
Architectural Design ◽  
Large Scale ◽  
Design Research ◽  
Outer Space ◽  
Full Range ◽  
Design Work ◽  
New City ◽  
New Interpretation

<p>Future habitation of earth is an ever-increasing concern, with the proliferation of problems such as overpopulation, climate change, nonviable waste disposable methods and over-consumption of natural resources. These issues are influencing some contemporary entrepreneurs to consider ways of moving away from earth, to new habitations in space where we can survive if the earth becomes uninhabitable. Amazon CEO Jeff Bezo is currently engaging technicians and engineers to design plans for a city in space. But architectural design theory, in addition to engineering, must play a fundamental role in such a project, if it is to meet the social, cultural and political needs of its inhabitants.  People on earth benefit significantly from the ability to engage with the natural environment. But in outer space, this is not a condition that normally would be considered viable. In a space city, by default the traditional notion of an outside landscape setting needs to occur inside. This imperative becomes one of the principal reasons why this thesis looks at biophilia as a direction for the design research experiments, since biophilic systems at a large scale can provide a sense of an ‘outside’ landscape even ‘within’ the architecture of the design research. This thesis advances this concept further by proposing that the occupants can live within such a system, rather than peripheral to it, enabling the occupants to become a fundamental part of a working system.  With the intention of exploring design concepts for a city in space, the first aim of the thesis is to consider how to incorporate a ‘natural environment’ into people’s lives, even within an ‘architectural’ context where no access to a traditional natural environment is available. The first thesis aim is to achieve this by integrating biophilic systems throughout the design, thereby providing an environmental landscape within which people can interact, within an internalised architectural construct. The second aim of the thesis is to consider how to apply sustainability to an entire city. By designing an entire city as an integrated set of biophilic ‘systems’, the thesis proposes that each component of the new urban environment becomes participatory – and they become fundamental parts of that system. The overall system can be conceived in relation to sub-systems, systems working on macro and micro levels, relating to the full range of urban to human scales. The third aim of the thesis is to consider how the architectural identity of a future city would be defined if the multicultural future city is not associated with any traditional site, culture, or architectural heritage. The thesis proposes that if the new city is designed as an overall set of biophilic systems, then the typological identity of the new architecture / new city could arise from the biophilic systems’ environmental as well as mechanical components–integrated with the related habitational systems. In this way, the architectural identity of the ‘new city’ is conceived as systems-based, rather than arising from historical architectural precedents that are no longer applicable in a fully enclosed city in space.  This thesis asks the question: how can pressing issues such as global scarcity and severe environmental transformation be strategically represented to the public through politically motivated ‘speculative’ architecture? Using Factory Fifteen, a visual studio that works in architectural communication, combined with design work described in Chris Abbot’s novel Xavier of the World as a provocative generator of a speculative design as well as a driver for the site and programme, the architecture of a city in space is used to illustrate a new interpretation of physical, social, economic, cultural and political parameters for 21st century architecture.</p>

scholarly journals The Memory That Remembers Us

2021 ◽  
Author(s):  
◽  
Mitchell Jones
Keyword(s):  
Natural Environment ◽  
Design Theory ◽  
Architectural Design ◽  
Large Scale ◽  
Design Research ◽  
Outer Space ◽  
Full Range ◽  
Design Work ◽  
New City ◽  
New Interpretation

<p>Future habitation of earth is an ever-increasing concern, with the proliferation of problems such as overpopulation, climate change, nonviable waste disposable methods and over-consumption of natural resources. These issues are influencing some contemporary entrepreneurs to consider ways of moving away from earth, to new habitations in space where we can survive if the earth becomes uninhabitable. Amazon CEO Jeff Bezo is currently engaging technicians and engineers to design plans for a city in space. But architectural design theory, in addition to engineering, must play a fundamental role in such a project, if it is to meet the social, cultural and political needs of its inhabitants.  People on earth benefit significantly from the ability to engage with the natural environment. But in outer space, this is not a condition that normally would be considered viable. In a space city, by default the traditional notion of an outside landscape setting needs to occur inside. This imperative becomes one of the principal reasons why this thesis looks at biophilia as a direction for the design research experiments, since biophilic systems at a large scale can provide a sense of an ‘outside’ landscape even ‘within’ the architecture of the design research. This thesis advances this concept further by proposing that the occupants can live within such a system, rather than peripheral to it, enabling the occupants to become a fundamental part of a working system.  With the intention of exploring design concepts for a city in space, the first aim of the thesis is to consider how to incorporate a ‘natural environment’ into people’s lives, even within an ‘architectural’ context where no access to a traditional natural environment is available. The first thesis aim is to achieve this by integrating biophilic systems throughout the design, thereby providing an environmental landscape within which people can interact, within an internalised architectural construct. The second aim of the thesis is to consider how to apply sustainability to an entire city. By designing an entire city as an integrated set of biophilic ‘systems’, the thesis proposes that each component of the new urban environment becomes participatory – and they become fundamental parts of that system. The overall system can be conceived in relation to sub-systems, systems working on macro and micro levels, relating to the full range of urban to human scales. The third aim of the thesis is to consider how the architectural identity of a future city would be defined if the multicultural future city is not associated with any traditional site, culture, or architectural heritage. The thesis proposes that if the new city is designed as an overall set of biophilic systems, then the typological identity of the new architecture / new city could arise from the biophilic systems’ environmental as well as mechanical components–integrated with the related habitational systems. In this way, the architectural identity of the ‘new city’ is conceived as systems-based, rather than arising from historical architectural precedents that are no longer applicable in a fully enclosed city in space.  This thesis asks the question: how can pressing issues such as global scarcity and severe environmental transformation be strategically represented to the public through politically motivated ‘speculative’ architecture? Using Factory Fifteen, a visual studio that works in architectural communication, combined with design work described in Chris Abbot’s novel Xavier of the World as a provocative generator of a speculative design as well as a driver for the site and programme, the architecture of a city in space is used to illustrate a new interpretation of physical, social, economic, cultural and political parameters for 21st century architecture.</p>

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