Geometry in the Architectural Design of Rafael Moneo

2016 ◽  
pp. 694-722
Author(s):  
José Antonio Franco Taboada
Keyword(s):  
Architectural Design ◽  
Architectural Style ◽  
History Of ◽  
History Of Architecture

In the architectural work of Rafael Moneo, winner of the Pritzker Architecture Prize in 1996, geometry is a fundamental element, as he has confirmed through his writings and the very reality of his work. This chapter contains an analysis of the geometric component of his work, through his writings and interviews, but also through the drawings and models of his works that are most paradigmatic or most representative of his architectural style. Also analyzed are the possible influences from other architects and important works from the history of architecture. The conclusion is that the geometric component underlying his works has its roots in Platonic thought and that for Moneo, architectural ideas have an ontological nature, transcending the imperfection inherent in nature and approaching the perfection of Platonic order.

Geometry in the Architectural Design of Rafael Moneo

2019 ◽  
pp. 334-363
Author(s):  
José Antonio Franco Taboada
Keyword(s):  
Architectural Design ◽  
Architectural Style ◽  
History Of ◽  
History Of Architecture

In the architectural work of Rafael Moneo, winner of the Pritzker Architecture Prize in 1996, geometry is a fundamental element, as he has confirmed through his writings and the very reality of his work. This chapter contains an analysis of the geometric component of his work, through his writings and interviews, but also through the drawings and models of his works that are most paradigmatic or most representative of his architectural style. Also analyzed are the possible influences from other architects and important works from the history of architecture. The conclusion is that the geometric component underlying his works has its roots in Platonic thought and that for Moneo, architectural ideas have an ontological nature, transcending the imperfection inherent in nature and approaching the perfection of Platonic order.

Geometric approach to the revitalization process of medieval Serbian monasteries

2015 ◽  
Author(s):  
Magdalena Slavko Dragović ◽  
Aleksandar Čučaković ◽  
Milesa Srećković
Keyword(s):  
Geometric Approach ◽  
Geometric Design ◽  
Point Of View ◽  
Archaeological Sites ◽  
Architectural Style ◽  
15Th Century ◽  
History Of ◽  
History Of Architecture ◽  
Cultural Heritage Preservation

Among the standard approaches concerning cultural heritage preservation, the architectural point of view deserves particular attention. The special place in medieval Serbian history of architecture belongs to the world famous monastery complexes Studenica, Dečani and Gračanica. Beside them numerous significant monuments (churches and monasteries) exist as witnesses of the national testimony, currently in the state of ruins, archaeological sites, or damaged ones. A lot of them have adequate needs for revitalisation, where the start point is engineering documentation. The focus of the research is on the role of specific geometric and engineering graphics tasks when these areas are concerning. Monastery church devoted to Introduction of Holy Theotokos in village Slavkovica (near town Ljig), with three old sarcophaguses, dated back to 15th century, is presented and analysed from several aspects:measuring, architectural style characteristics - geometric design, 3D modelling (classical-CAD and terrestrial photogrammetric) with visualization and presentation.The attention was paid on preservation of authentic architectural style and medieval building techniques, which allow imperfections in realization.The opinion of experienced scientists and specialists involved in all the phases of monument's revitalisation has been followed as a guideline to the final result – a proposed geometric design of the revitalised church in Slavkovica.

The Role of Building Materials in Architectural Design

2014 ◽  
Vol 679 ◽  
pp. 6-13
Author(s):  
Hafedh Abed Yahya ◽  
Muna Hanim Abdul Samad
Keyword(s):  
Design Process ◽  
Architectural Design ◽  
Building Materials ◽  
Historical Evolution ◽  
Core Element ◽  
History Of ◽  
History Of Architecture ◽  
Major Factors ◽  
The Way

The argumentation of previous studies demonstrated the historical evolution of the materials in architecture and the position of the materials in the design process. The purpose is to recognize the role of materials in architectural design, and the materials are a core element of the design process. This paper is about the way materials can be used to create personality and character of the design. The research finds two overlapping roles for materials which are providing technical functionality and building personality. Thus building materials were one of the major factors for new innovation forms through the history of architecture. Keywords: Building Materials, Architectural Design, Technical Functionality, Aesthetic Attributes.

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.

Model Operations: Morphogenesis and the Design Process

2021 ◽  
pp. 602-626
Author(s):  
Carolin Höfler
Keyword(s):  
Architectural Design ◽  
Reciprocal Relationship ◽  
Digital Design ◽  
Responsive Materials ◽  
History Of ◽  
History Of Architecture ◽  
Generative Algorithms ◽  
The 1960S ◽  
Structural Architecture ◽  
Architecture And Design

Abstract Since the emergence of digital design techniques in combination with so-called responsive materials, the concept of organic forms in architecture seems to be gaining a new quality. The resemblance to an organism should no longer apply only superficially but be inscribed in the materiality as well as in the history of origin and functioning. This article addresses these new transformative effects between architecture and biology. They are presented primarily in relation to the structural architecture of the 1960s and the computational architectural systems since the 1990s. One focus of architecture is on dynamic forms that adapt themselves to their environment by means of flexible materials and generative algorithms. Here, architecture as technically animated matter no longer involuntarily competes with creative nature but is seen as part of a reciprocal relationship. This reciprocal relationship is specified by recourse to various architectural models. The models’ approaches suggest that organic-looking forms are generated by simulated biological processes. The article examines this claim of the models from the perspective of the history of architecture and design. It shows how, since the mid-twentieth century, a renewal of architectural design practice has been sought by reformulating morphological questions at the intersection of biological and cybernetic discourses.

scholarly journals Architectural work of Aleksandar Deroko: Beauty of emotional creativity

2019 ◽  
Vol 11 (3) ◽  
pp. 1-42
Author(s):  
Irena Kuletin-Ćulafić
Keyword(s):  
Cultural Heritage ◽  
Architectural Design ◽  
Research Approach ◽  
History Of ◽  
History Of Architecture

This paper studies significant and forgotten, but not less important, built and unrealised designs by Serbian architect Aleksandar Deroko. It seeks to achieve a continuous view in dealing with Deroko`s architectural work versus the historical discontinuity of political, territorial-geographic and social circumstances. It is impossible to separate Deroko as an architect from Deroko as a scholar, researcher, historian of architecture and art, an academic professor, painter, artist, writer, chronicler of his time, protector, conservator and historiographer of Serbian cultural heritage. The main aim of this paper is to apply comprehensive research approach within which his work in the field of architectural design will be considered in a complementary and pluralistic way. Deroko's architectural projects examined in their details and altogether represent distillate of Deroko's erudite personality, which casts shadow on relevant questions of Serbian history of architecture placement: How to understand it, observe and examine it, from Yugoslav or Serbian perspective, from the position of continuity or discontinuity, through characteristics of general or particular?

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.

Stuttgarter Rede über Architektur

2012 ◽  
Vol 3 (1) ◽  
pp. 97-104
Author(s):  
Friedrich Kittler
Keyword(s):  
Media History ◽  
Media System ◽  
History Of ◽  
History Of Architecture

Der Vortrag schlägt vor, nicht mehr den Menschen als letzte Referenz und vertrauten Maßstab der Architektur zu setzen, sondern Architekturen als Mediensysteme zu denken. Eine noch ungeschriebene Mediengeschichte der Architektur sollte daher auch und gerade in historischer Absicht nach formalen Entsprechungen zwischen Techniken des Entwerfens und solchen der Bauten suchen, in denen Praxis und Produkt zusammenfallen. </br></br>The paper proposes the consideration of architecture(s) as a media system, instead of imposing man as its ultimate reference and known measure. A media history of architecture – which remains to be written – should therefore search for formal correspondences between techniques of drafting and those of buildings, in which practice and product coincide.

Sign in / Sign up

Export Citation Format

Share Document