scholarly journals A STUDY OF ARCHITECTURE IN GUJARAT FROM PAST TO PRESENT

2021 ◽  
pp. 386-398
Author(s):  
Priyanki Vyas ◽  
Daxa G. PateL
Keyword(s):  
20Th Century ◽  
Modern Architecture ◽  
Local People ◽  
Classical Architecture ◽  
Phases Of Development ◽  
Materials Used ◽  
Contemporary Architecture

This research aims to focus upon the architecture of Gujarat from past till present times, here the researcher will give the combined information regarding traditional architectural forms of constructing the buildings, palaces, markets, schools and other important places where local people lived in ancient era. The phases of development from past to present times, in which creativity, imagination and culture mattered equally as climate and materials used. Different monuments such as Rani Ki Vav, Sun temple, Jhulta Minarets, Sidi Saiyyed mosque and others are discussed from past, while Sabarmati Riverfront, Statue of Unity, modern materials and homes are elaborated by the researcher. In the 20th century the classical architecture was replaced by modern and contemporary architecture. One while talking about the modern architecture of Ahmedabad the capital of Gujarat can never do without mentioning the works of Ar. B.V. Doshi the father of modern architecture.

scholarly journals The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts

2015 ◽  
Vol 10 (1) ◽  
pp. 39-48
Author(s):  
Ilze Rukmane-Poča ◽  
Linda Leitāne-Šmīdberga
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Modern Architecture ◽  
Formal Expression ◽  
Internet Resources ◽  
The Arts ◽  
Different Types ◽  
Kinetic Architecture ◽  
Architectural Competitions ◽  
Contemporary Architecture

Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.

Traditional Culture Expression and Innovation of Contemporary Architecture

2014 ◽  
Vol 638-640 ◽  
pp. 2290-2293
Author(s):  
Han Fang Liu ◽  
Xue Mei Jin ◽  
Jia Fu
Keyword(s):  
Traditional Culture ◽  
Power Source ◽  
Modern Architecture ◽  
National Character ◽  
Architectural Form ◽  
Chinese Architecture ◽  
Factors Influencing ◽  
Architectural Innovation ◽  
Regional Character ◽  
Contemporary Architecture

This paper analyzes the factors influencing the contemporary architectural innovation. It puts forward that the model of standardization and mass production contribute to similar “international” architectural form, which results in the disappearing of the “national character” and“regional character” of Chinese architecture. However, simplified traditional expressions make contemporary architectural innovation too superficial, leading to a “trap” of imitation. It also pointes out that the combination of the methods of symbol and metaphor , technology and materials of modern architecture, a further exploration of traditional culture symbols, cultural energy stimulating is the power source of contemporary architectural innovation, and make a argumentation through success and failure cases.

The Bauhaus Frame Reliability and Loosening

2020 ◽  
Vol 2 ◽  
pp. 107-121
Author(s):  
Kazimierz M. Łyszcz
Keyword(s):  
Social Context ◽  
20Th Century ◽  
Modern Architecture ◽  
Design Activity ◽  
Art World ◽  
Visual Form ◽  
Artistic Activity ◽  
Wide Range ◽  
Architecture And Design

The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works.

4D ARCHITEKTŪROJE

2011 ◽  
Vol 35 (1) ◽  
pp. 28-37 ◽  
Author(s):  
Kęstutis Lupeikis ◽  
Algimantas M. Mačiulis
Keyword(s):  
Modern Architecture ◽  
Fourth Dimension ◽  
Video Installation ◽  
Internal Structures ◽  
Wide Range ◽  
The Face ◽  
Intention To Change ◽  
Contemporary Architecture

Recently, among other processes in modern architecture, a lot more attention is expressed towards the fourth dimension (4D). This process is caused as an opposition to pragmatic functionalism, utilitarity, unification, formal deconstructyvism, sophistication. The expression of 4D in contemporary architecture is an intention to change the face of modern architecture, giving it more expressiveness, modern innovation. It results in specific aims and priorities of architectural expression. Architecture of today contains a variety of artistic areas (video, installation, painting, sculpture, graphics) as integral parts of its surface or internal structures. A building becomes an object of interdisciplinary art. The integration of interactive hypersurfaces in exteriors and interiors leads to various aspects of 4D in modern architecture. The paper discusses various aspects of 4D in architecture, excluding several marginal cases showing a wide range of aspects and priorities. Santrauka Pastaruoju metu, šalia kitų reiškinių, šiuolaikinėje architektūroje vis aktyviau reiškiasi ketvirtosios dimensijos vaidmuo. Šį procesą lemia priešprieša pragmatiškam funkcionalizmui, utilitarumui, unifikacijai, formaliam dekonstrukciniam laužymui, įmantrumui, daugžodžiavimui. 4D raišką šiuolaikinėje architektūroje formuoja siekis keisti architektūros „veidą“, suteikiant jai daugiau išraiškingumo, įtaigumo ir šiuolaikinio novatoriškumo. Tai lemia specifinius architektūrinės raiškos tikslus ir prioritetus. Šiuolaikinė architektūra įtraukia į save įvairių meno krypčių (videomenas, instaliacija, tapyba, skulptūra, grafika) elementus ne kaip atskirus meno objektus, o kaip neatsiejamus pastato paviršiaus ar vidaus struktūrinius darinius. Pastatas tampa tarpdisciplininiu meno objektu. Interaktyvių hiperpaviršių integravimasis eksterjere ir interjere lemia įvairius ketvirtosios dimensijos aspektus šiuolaikinėje architektūroje, kurie ir yra nagrinėjami šiame straipsnyje. Straipsnyje aptariami įvairūs ketvirtosios dimensijos šiuolaikinėje architektūroje aspektai ir sritys, išskiriami kraštutiniai, charakteringi atvejai, atspindintys platų tikslų ir prioritetų diapazoną. Aptariami, autorių manymu, charakteringiausi šios raiškos atvejai, daugiausiai dėmesio skiriant hiperpaviršių įtakai ketvirtosios dimensijos pasireiškimui šiuolaikinėje architektūroje.

scholarly journals Open Al-Andalus: Hispanic-Muslim Heritage Impact on Spanish Contemporary Architecture

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 66 ◽  
Author(s):  
Sara Izquierdo
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Extensive Reading ◽  
Autonomous Communities ◽  
The Subject ◽  
The 19Th Century ◽  
Contemporary Architecture

Spanish architecture, towards the end of the 19th century and the beginning of the 20th, was characterized by the development of a variety of styles, including Neo-Muslim. The Alhambra of Granada, the Mosque of Cordoba, and the Giralda Tower of Seville, served as inspiration to the design of works that would follow these models, some to a greater extent than others, and would eventually give rise to an architectural trend that would make its way all across Spain. As such, this article attempts to provide some examples of said architecture found in different autonomous communities in Spain, examining them through four typologies, as well as to discuss the consideration and use of the Neo-Muslim style after the second half of the 20th century. The methodology behind this research involved extensive reading and analysis of both general and specific works on the subject, the study of archival materials relative to some of the selected buildings, about which preserved evidence was scarce, as well as taking photographs of the properties included in the text.

scholarly journals Scenery painting in the 19th century in the context of tempera painting on canvas: methodology and materials

2020 ◽  
pp. 1-24
Author(s):  
Sonia Santos Gómez
Keyword(s):  
Knowledge Base ◽  
20Th Century ◽  
19Th Century ◽  
Multiple Functions ◽  
History Of ◽  
Materials Used ◽  
The 19Th Century ◽  
Painting On Canvas ◽  
Modern Industry

Tempera painting on canvas has played multiple functions throughout the history of painting. They were used to cover altars in Lent, to make canopies and ceilings for beds, to act as organ doors, etc. In the 19th century and in the earlier 20th century, they were used as adornment on walls of palaces and theatres, as well as sceneries in the latter ones. Generally, this kind of tempera painting shows large proportions, which demanded a specific methodology of execution. Treatises of the epoch display how the painter, provided with paintbrushes of long handles, as brooms, walked on the canvases while the execution lasted. At that time, pigments derived from the activity of modern industry were already in use, in combination with other materials traditionally used in the previous centuries. This article presents the working methodology and materials used in tempera painting on canvas, mainly during the 19th century, providing a knowledge base for this subject.

scholarly journals Contemporary facades of multistorey residential buildings in Kiev: Videoecological aspect

Spatium ◽  
2016 ◽  
pp. 24-33 ◽  
Author(s):  
Nataliia Kozlova
Keyword(s):  
Residential Buildings ◽  
Modern Architecture ◽  
Capital City ◽  
Visual Environment ◽  
Visual Fatigue ◽  
Simple Description ◽  
High Rise ◽  
Apartment Buildings ◽  
Current State ◽  
Contemporary Architecture

The article is devoted to one of the actual problems concerning the current state of the facades on apartment buildings in residential districts in Kiev - videoecology. The main purpose of the article is to determine the degree of visual aggressiveness of multistorey residential buildings in Kiev. It also investigates the problem of finding the optimal criteria for creating an ecologically healthy and friendly inhabited environment in the capital city of Ukraine. The modern visual environment in the capital is contaminated, not only because of the increasing numbers of promotional billboards, but also because of the contemporary architecture of high-rise buildings such as office buildings, apartment buildings. Their composition is usually based on a simple description of a rhythm. There are also repetitions of the end parts of buildings in ?lowercase? buildings, which are high-rise buildings that alternate with nine or identical apartment groups. It creates a sense of oppressive monotony and leads to psychological and visual fatigue, especially when these repetitions are the only pattern the eye perceives. In the article a theoretical block of ecological-aesthetic criteria is defined, which must be met by the modern architecture facades of multistorey residential houses in Kiev.

scholarly journals Skin to Skin: A Provocative Expression of the Dynamic Relationship Between the Surface of the Body and the Surface of Architecture

2021 ◽  
Author(s):  
◽  
Thomas Ibbotson
Keyword(s):  
Built Environment ◽  
Horizontal Plane ◽  
Ground Plane ◽  
Modern Architecture ◽  
The Body ◽  
Dynamic Force ◽  
Dynamic Relationship ◽  
Building Typology ◽  
Skin To Skin ◽  
Contemporary Architecture

<p>It can be argued that modern architecture has expelled the building’s relationship to the ground. Raised on pilotis, modern buildings constructed the platform as an artificial ground plane. Ultimately, the platform was a two-dimensional plane, flattened to aid our transition across the built environment. This horizontal plane merely tolerated inhabitation. Unfortunately the language synonymous with this plane has been extended into contemporary architecture. It is proposed that the rigidity and stability expressed by the surface of the horizontal plane has failed to reflect the body, stimulate interaction, or challenge the inhabitant of architecture. To free the horizontal plane from its rigid axis this thesis aims to break away from the conventional building typology inflicted by modern architecture. As the force of gravity restricts our inhabitation of the built environment to the horizontal plane we directly engage with this surface of architecture. It provokes the question, how can the design of the horizontal plane engage the body and challenge the inhabitant to intensify the experience of architecture? An exploration of the skin-to-skin relationship between the surface of the body and the surface of architecture directs this thesis toward a provocative design exploration and evokes an expressive horizontal plane. To challenge the restrictive conception of architecture’s horizontal plane the program of inhabitation for this design project explores the practice of yoga. Now conceived as a dynamic force, the body can be activated by architecture’s horizontal plane. This surface provides an expressive canvas with the capacity to embody the dynamic movements of yoga. It aids, activates and challenges the participant’s body and amplifies the experience of yoga. An expressive horizontal plane, central to the inhabitation of a yoga centre, generates a dynamic space that provokes a dialogue of interaction between the inhabitant and the surface of architecture. A dynamic plane has emerged.</p>

The Bacterial Clients of Modern Architecture

2020 ◽  
pp. 6-17
Author(s):  
Beatriz Colomina ◽  
Mark Wigley
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Modern Architecture ◽  
The Body ◽  
Human Organism ◽  
Contemporary Research

The human is an unstable idea; simultaneously an all-powerful creature – capable of transforming the whole ecology of the planet – yet extremely fragile, a murky ghost. Contemporary research into our microbiome portrays the human itself as a mobile ecology constructed by the endless flux of interactions between thousands of different species of bacteria – some of which are millions of years old and others joined us just a few months ago. This challenges conventional understandings of architecture. What does it mean to house the human when we no longer think that the human organism is securely contained within its skin? What is the role of architecture when the humans occupying it are understood to be suspended in clouds of bacteria shared, generated and mobilized by other macro-organisms (pets, plants, insects…) and the building itself; when the human is not a clearly defined organism or in any sense independent; when the architectural client is a massive set of ever-changing trans-species alliances that make the apparent complexity of even the largest of cities seem quaintly uncomplicated. What kind of care do architects offer if we think of ourselves as alliances between bacteria within the apparent limits of the body and throughout the spaces we occupy? What faces 21st century architects in comparison to 20th century architects?

Authentic Emergence of Flexibility in Contemporary Architecture

2015 ◽  
Vol 40 (4) ◽  
pp. 44-49
Author(s):  
Ghazal Farjami
Keyword(s):  
Spatial Configuration ◽  
Environmental Issues ◽  
Modern Architecture ◽  
Structural Systems ◽  
Traditional Architecture ◽  
Modern Period ◽  
Contemporary Architecture ◽  
Modern Era ◽  
Residential Projects

Flexibility is known as an important term in the field of open buildings especially during modern era. Idea of flexibility has been one of the prominent implications in traditional Iranian architecture emerged in spatial organizations. Although, during modern period this quality of spaces has been mostly ignored some of the contemporary architects attempted to reconsider this characteristic in their projects. However, providing an interview with 7 pioneering contemporary Iranian architects and visiting their 25 residential projects it seems that flexibility has been reinterpreted in some of their projects. This research is an attempt for examining the idea of flexibility in 6 projects of 3 of these architects who were obsessed with this spatial term in their architectural works. Based on the architect’s words and analysis of their projects, and also looking for the roots of flexibility in traditional architecture, it can be asserted that there is an authentic emergence of flexibility in these projects. Examining these projects according to three main indicators of flexibility in modern architecture as structural systems, service organization and architectural layout, it is also tried to find their relation with traditional architecture. Being adapted with new lifestyles while ingrained in cultural and environmental issues of its context, idea of flexibility employed as an authentic characteristic of spatial configuration in some of the contemporary buildings in Iran.

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