scholarly journals Architecture and Steel. Reflection and Analysis on the Use of Steel Structures (in Sight) as a Concept in the History of Architecture

Designs ◽  
2020 ◽  
Vol 4 (3) ◽  
pp. 30
Author(s):  
Inês D. D. Campos ◽  
Luís F. A. Bernardo
Keyword(s):  
Industrial Revolution ◽  
Architectural History ◽  
Steel Structures ◽  
Structural Systems ◽  
Housing Projects ◽  
History Of ◽  
History Of Architecture ◽  
The Relationship ◽  
Huge Variety ◽  
Modern Movement

This is the first of two companion articles which aim to address the research on Architecture and Steel. In this article, some architectural projects are analyzed to show the potentiality to conjugate architectural conception and steel structures, as well as to show the contribution and influence from architectural history. This article also aims to contribute to the reflection of the knowledge and legacy left to us by several architects throughout the history of architecture in using aesthetic, visual and structurally safe profiled steel structures in architectural conception. The presented analysis and reflection are based on the characteristics and influences of the Industrial Revolution and, mainly, the Modern Movement, where the first housing projects came up with this constructive system, combined with the “simplistic” ways of living in architecture, highlighting the relationship with the place, cultural, spatial and typological references, the structural systems and associated materiality. In view of the diversity of alternatives allowed by the use of steel “Skeletons”, modular and standardized, combined with a huge variety of existing materials and constructive complexity, well combined and interconnected, it is possible to obtain a final product whose characteristics seduce by their beauty and elegance. Moreover, the practical and functional comfort which allows the safeguarding of the architectural integration of such product, with the necessary serenity in space and nature, in full environmental integration, is also emphasized.

scholarly journals Fanzine – arquitetura e revolução

2019 ◽  
Vol 40 ◽  
pp. 168
Author(s):  
Júlia Heloísa Souza Lima ◽  
Manoela Da Rosa Salvador ◽  
Schayane Dias Pereira
Keyword(s):  
Industrial Revolution ◽  
Social Changes ◽  
Architectural Styles ◽  
The First World War ◽  
History Of ◽  
History Of Architecture ◽  
Visual Organization ◽  
Graphic Content ◽  
The Relationship ◽  
First World

Based on the methodology applied in the discipline of Theory and History of Architecture and Urbanism IV, based on part of its programmatic content that approached the organization of the built environment resulting from the Industrial Revolution until the First World War, a fanzine was developed as an evaluative exercise of the subject to expose the knowledge produced. Under the title "Architecture and Revolution", the fanzine depicts the relationship between historical moments and architecture, specifically on the French and Russian Revolutions and the Neoclassical and Constructivist architectural styles. The material produced seeks through its graphic and visual organization to reflect on the occurrences and social changes of each period and its reflection in the architectural environment, employing on its pages the contrast of the characteristics of each movement. As a reference for the development of the graphic content, political posters of the 20th century were used, which present an expressive and innovative visual language in relation to the materials from which they were produced up to that time, mainly the Russian posters, which used to be based on French pamphlets and have their own language, used as a means of political persuasion.

The Basilica Transformed

2019 ◽  
pp. 199-217
Author(s):  
Robert G. Ousterhout
Keyword(s):  
Detailed Analysis ◽  
North Africa ◽  
Historical Context ◽  
Structural Systems ◽  
Design Features ◽  
History Of ◽  
Byzantine Architecture ◽  
History Of Architecture ◽  
East And West

A unique achievement in the history of architecture and the major monument of Byzantine architecture requires detailed analysis to understand its historical context, planning principles, structural systems, aesthetics, and symbolism. The Great Church was designed quickly—as some unresolved design features and structural flaws reveal—but it was intended to be unique in form and scale, meant to symbolize the dominion of the emperor Justinian, as his army reconquered lost territories in the East and West and in North Africa.

scholarly journals Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted

2011 ◽  
Vol 1 ◽  
pp. 137-151
Author(s):  
Ila Nicole Sheren
Keyword(s):  
Latin America ◽  
New World ◽  
Architectural History ◽  
Visual Language ◽  
Architectural Style ◽  
Medieval Spain ◽  
Fernando Ortiz ◽  
History Of ◽  
History Of Architecture ◽  
Art And Architecture

The Mudéjar phenomenon is unparalleled in the history of architecture. This style of architecture and ornamentation originated with Arab craftsmen living in reconquered medieval Spain. Embraced by Spanish Christians, Mudéjar traveled over the course of the next four centuries, becoming part of the architectural history of Latin America, especially present-day Mexico and Peru. The style’s transmission across different religions and cultures attests to its ability to unify disparate groups of people under a common visual language. How, then, did mudejar managto gain popularity across reconquered Spain, so much so that it spread to the New World colonies? In this article, I argue that art and architecture move more fluidly than ideologies across boundaries, physical and political. The theory of transculturation makes it possible to understand how an architectural style such as Mudéjar can be generated from a cultural clash and move to an entirely different context. Developed in 1947 by Cuban scholar and theorist Fernando Ortíz, transculturation posited means by which cultures mix to create something entirely new. This process is often violent, the result of intense conflict and persecution, and one culture is almost always defeated in the process. The contributions of both societies, however, coexist in the final product, whether technological, artistic, or even agricultural. I argue that mudejar in Latin America is a product of two separate transculturations: the adoption of Arab design and ornamentation by Spanish Christians, and the subsequent transference of these forms to the New World through the work of indigenous laborers.

‘The Professor’s Dream’: Cockerell’s Hypnerotomachia Architectura?

2009 ◽  
Vol 52 ◽  
pp. 117-145
Author(s):  
Anne Bordeleau
Keyword(s):  
Nineteenth Century ◽  
Royal Academy ◽  
Architectural History ◽  
Architectural Theory ◽  
Historical Experience ◽  
The Past ◽  
Hypnerotomachia Poliphili ◽  
History Of ◽  
History Of Architecture

In 1849, after teaching architectural history at the Royal Academy in London for just under a decade, the architect Charles Robert Cockerell (1788-1863) exhibited ‘The Professor’s Dream’, a graphic synopsis of the history of architecture (Fig. 1). Produced in an era dominated by historicism, the drawing operates between the two poles of historical relativism, negotiating the line between accumulation and rationalization. Some nineteenth-century architects, indiscriminately collecting, understood each style to have emerged from the particular conditions of their times, considering them distinct and yet equally valid. Other architects, critically ordering, privileged one style over another, variously justifying themselves on religious, technical, moral or structural imperatives. Cockerell’s ‘Dream’ is ambiguously positioned as a place of showing and a means of knowing, speaking both of an homage to the past and a vision of progress, apparently flattening a thousand years of history but inherently offering the depth of historical experience. David Watkin, Peter Kohane and, more recently, in the context of an exhibition at the Royal Academy, Nick Savage, have interrogated the drawing, the first two paralleling it with Francesco Colonna’s Hypnerotomachia Poliphili (1499), the latter framing it within a tradition of systematic charting of history, and suggesting a possible link to geological charts. While all these interpretations certainly stand, it is essential to recast them within a larger discussion of Cockerell’s understanding of history. Substantiating the different readings of the drawing — against Cockerell’s earlier drawings and surveys, within his architectural theory as expounded in his Royal Academy lectures, and in the larger perspective of the interests he cultivated since the 1820s — this essay brings to the fore the tension between ordering and experiencing, revealing how the architect was interested in the latent interstices between history and time.

Female Architecture

2015 ◽  
pp. 510-549
Author(s):  
Alice Franchina ◽  
Francesco Maggio ◽  
Starlight Vattano
Keyword(s):  
Critical Analysis ◽  
Central Place ◽  
Modern Architecture ◽  
Substantial Role ◽  
History Of ◽  
History Of Architecture ◽  
Modern Movement

The objective of this study is that one, starting from the initial considerations, to give back to the history of architecture, through drawing as a critical means of inquiry, the thought and work of some women-architect who, between 1926 and 1962, have designed and/or built buildings of fine architectural quality. The critical re-drawing, which in this case is mimetic to the construction of the project, wants to make manifest the thought of some figures of the Modern Movement often relegated to an unknown fate; in particular it analyses a part of the activity of Lilly Reich, Helena Niemirowska Syrkus and Charlotte Perriand. The study aims to build a graphic inedited and exhaustive repertory of some unrealized projects, carried out by these women that can be defined “pioneer” of modern architecture, giving back a female thought of the project's construction. The drawing of architecture, as ambit of critical analysis, in this study assumes a substantial role when it investigates the project which is the central place of its true expression.

scholarly journals Infrastructural Systems toward the Valorisation of the History of Architecture: The Case of the Metro-Art in Naples

2014 ◽  
Vol 11 ◽  
pp. 508-513
Author(s):  
Alessandro Castagnaro
Keyword(s):  
Industrial Revolution ◽  
Transport Systems ◽  
Strong Impact ◽  
Figurative Art ◽  
History Of ◽  
History Of Architecture ◽  
Extensive Collection ◽  
Urban Pattern ◽  
Contemporary Architecture ◽  
The New Deal

Since the Industrial Revolution, cities have changed their identity and the transport systems have produced a strong impact, rather than on their social-anthropological character, on the morphology of the urban pattern and on the development of the vertical dimension of the architectural volumes.This mutation leads, among other things, to a significant transformations in the transition between the 19th and 20th centuries, according to the transition between the historicist eclecticism of previous centuries and the new deal of the belle époque. Paradigmatic and representative of the century are the underground stations built in Vienna and Paris.The case, related to the contemporary, is Naples where the metro-art stations, unlike what happened before, have the dual characteristic of being different from one another- so to provide an extensive collection of contemporary architecture being part of a culture that includes the evolution of taste and the same behaviour of doing and enjoying art.A system born as transport engineering becomes today “Transit Museum” with the study of urban history from archeology to architecture and figurative art.

Architectural History and the Colonial Question: Casablanca, Algiers and Beyond

2006 ◽  
Vol 49 ◽  
pp. 349-368 ◽  
Author(s):  
Jean-Louis Cohen
Keyword(s):  
Twentieth Century ◽  
Architectural History ◽  
Town Planning ◽  
Colonial Era ◽  
Doctoral Research ◽  
Built Heritage ◽  
Trading Posts ◽  
History Of ◽  
History Of Architecture ◽  
The Subject

The last decade has seen an explosion of scholarly works dealing with colonial architecture and town planning, a domain previously marginal in the historiography. In any case it has aroused the attention of ever more numerous researchers, a fact that has stimulated this attempt to take stock of it, by drawing on cases studied by this author in his own work. The exploration of colonialism now constitutes a significant field of doctoral research, of studies associated with the identification and protection of built heritage, and tends to mould new images in the history of architecture from the last few centuries. In actual fact, the innumerable works on the twentieth century – the subject here – comprise only a fraction of all the studies concerning nearly five centuries of colonization, if the beginning of the colonial era is identified with the discovery of America and the establishment of the first European trading posts in Africa.

scholarly journals The Structural Rationalism and the sources of Brazilian Modern Architecture: method, de nitions and research potential

2017 ◽  
Vol 2 (3) ◽  
Author(s):  
Marcelo Puppi
Keyword(s):  
Cultural History ◽  
Architectural History ◽  
Modern Architecture ◽  
Theory And Practice ◽  
Organic Unity ◽  
Relevant Today ◽  
Theoretical Assumptions ◽  
History Of ◽  
History Of Architecture ◽  
Xix Century

The research has two main objectives: rst, expand the knowled- ge of the sources of the theory and practice of Brazilian modern architecture and, second, contribute to the consolidation of the cultural history of architecture in Brazil. Studying the structural rationalism as source of the Brazilian modern architecture does not only mean to deepen the knowledge already in progress on the latter, but also to apply the cultural history method to the stu- dy of the history of architecture in Brazil. For the recent research about the structural rationalism bene ted from the cultural history method and is part of the new architectural history of the XIX century, elaborated since 1990, approximately. In this context, the very de nition of structural rationalism is ampli ed and dee- pened. Instead of simply meaning a relation of cause and e ect between structure and architecture in which the structure is one of the architecture’s purposes, the structural rationalism is now understood as part of the new dynamic and organic conception of the architecture that emerges in the XIX century, for which, particularly, the structure is the means capable to fully generate the organic unity of the form. In this perspective, demonstrate that the structural rationalism is one of the sources, and more precisely one of the greatest sources of Brazilian modern architec- ture, not only permit to deepen the knowledge of the theoretical assumptions, but also the formal qualities of this architecture. As well as, consequently, the more general matters as the composi- tion method and the architecture’s cultural role that are relevant today and ever to the theory and the practice of the architecture. 

scholarly journals Team 10, Lisbon, 1981. The Lost Meeting

2019 ◽  
pp. 100-117
Author(s):  
Leonor Cabral Matos Silva
Keyword(s):  
The Other ◽  
Team 10 ◽  
History Of ◽  
History Of Architecture ◽  
The One ◽  
Relationship Of ◽  
The Relationship

Team 10 and Lisbon share a piece of history: namely, a few elements of Team 10, such as Alison and Peter Smithson, Amâncio Miranda Guedes, Giancarlo de Carlo and Jullian de la Fuente, and the Lisbon School of Architecture (or the “Lisbon School”). This text is about the specifics of this conjunction. This paper explores the short but necessary question of whether there was a last formal Team 10 meeting in Lisbon in 1981, and from that point on, it goes back to present: (1) a disclosure of the history of the word ‘revision’ within the teaching of architecture in the school, one which portraits the coming of the Team 10 elements just mentioned; it then (2) outlines the relationship of Team 10 elements with the Lisbon School, namely highlighting, on the one side, the school’s official attitude of support, and on the other side, the pedagogical grounds’ relative disinterest; and finally (3), the text suggests there is no clear answer to the question of whether there had been a formal Team 10 final meeting in Lisbon in 1981. Therefore, in conclusion, it delivers an argument about Lisbon being more than an informal gathering derived from a reunion intention; it considers this a happening that might just now emerge from the unspoken history of architecture as nothing more than a delicate moment, although it was Team 10’s last significant moment.

A Final Formality: Three Modernist Pavilion Houses of the early 1960s

2005 ◽  
Vol 2 ◽  
pp. 3-9
Author(s):  
Michael Dudding
Keyword(s):  
New Zealand ◽  
Architectural History ◽  
Blind Spot ◽  
Domestic Architecture ◽  
Starting Point ◽  
History Of ◽  
The 1960S ◽  
House Design ◽  
The Relationship ◽  
House Building

The Beard, Alington, and Mackay houses represent the endpoint of a direction in New Zealand domestic architecture that was both internationalist and based within the realities of local house building in the mid-twentieth century. Imi Porsolt, while reviewing Stephanie Bonny and Marilyn Reynolds'book Living with 50 Architects in 1980, specifically points to the Alington house as the final formalisation of this purist trend. Porsolt's review provides an historical subtext to Living with 50 Architects that opposes the "altogether austere style" of the pavilion with the vernacularism of what is best described as the "elegant shed" tradition of New Zealand house design. More elegant than the elegant shed, these pavilions reveal something of a "blind spot" in New Zealand's architectural history – aside from the inclusion of the Beard and Alington houses in Living with 50 Architects,they have not appeared in any of the canon-forming historical surveys such as Mitchell and Chaplin's The Elegant Shed or Shaw's A History of New Zealand Architecture. The Mackay house also has not featured until its recent appearance in Lloyd Jenkins' At Home: A Century of New Zealand Design. This paper uses Porsolt's view as a useful starting point from which to consider the relationship that exists between the Beard, Alington, and Mackay houses, and their place in the development of New Zealand's domestic architecture during the 1960s.

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