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.

Discuss the Loss of Traditional Culture in Modern Architecture

2011 ◽  
Vol 99-100 ◽  
pp. 42-45
Author(s):  
Qiang Liu ◽  
Nan Shi ◽  
Jiang Chang
Keyword(s):  
Traditional Culture ◽  
Comprehensive Analysis ◽  
Modern Architecture ◽  
Cutting Edge ◽  
Chinese Architecture ◽  
Regional Features ◽  
Contemporary Chinese

Foreign trends are fashionable in contemporary Chinese architecture, foreign cutting-edge architecture ideas and international styles wantonly invade, making more and more national landmark buildings possess foreign appearances, and architectural images are becoming more eye-catching, while ethnic, regional features contained in buildings get lost gradually. Based on the comprehensive analysis of positive and negative examples of construction, this paper tries to find the best conjunction point between traditional culture and modern architecture.

Pyongyang Modern: Architecture of Multiplicity in Postwar North Korea

2021 ◽  
Vol 26 (2) ◽  
pp. 271-296
Author(s):  
Cheehyung Harrison Kim
Keyword(s):  
North Korea ◽  
Architectural History ◽  
Modern Architecture ◽  
Theory And Practice ◽  
Substantial Part ◽  
Work Culture ◽  
Architectural Form ◽  
Postwar Reconstruction ◽  
History Of ◽  
Architectural Development

Abstract This article explores North Korea’s postwar reconstruction through the variegated features of architectural development in Pyongyang. The rebirth of Pyongyang as the center of both state authority and work culture is distinctly represented by architecture. In this setting, architecture as theory and practice was divided into two contiguous and interconnected types: monumental structures symbolizing the utopian vision of the state and vernacular structures instrumental to the regime of production in which the apartment was an exemplary form. The author makes three claims: first, Pyongyang’s monumental and vernacular architectural forms each embody both utopian and utilitarian features; second, the multiplicity of meaning exhibited in each architectural form is connected to the transnational process of bureaucratic expansion and industrial developmentalism; and third, North Korea’s postwar architectural history is a lens through which state socialism of the twentieth century can be better understood—not as an exceptional moment but as a constituent of globalized modernity, a historical formation dependent on the collusive expansion of state power and industrial capitalism. A substantial part of this article is a discussion of the methods and sources relevant to writing an architectural history of North Korea.

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.

The Evolution of Architectonic Aesthetics in the Context of Globalization

2011 ◽  
Vol 250-253 ◽  
pp. 4026-4029
Author(s):  
Bai Ling Zhou
Keyword(s):  
Modern Architecture ◽  
Chinese Architecture ◽  
Pure Experience ◽  
The Aesthetic ◽  
The Individual

Research the evolution of architectonic aesthetics by concentrating on politics and economics in the background of Globalization. The accelerative modernization forces the individual aesthetic needs into the opposite, from which point out the evolution of the post-modern architecture can also be traced into the process from the deviation from astriction to sensibility then to the reflection on basic rationalism and at last to the aesthetic individualism. In conclusion, the trend of individualism, personalization and pure “experience” in architectonic aesthetics will continue its evolution and exert its influence on the development of Chinese architecture.

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>

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.

The Future is Analog

2018 ◽  
pp. 191-218
Author(s):  
Dimitris Gourdoukis
Keyword(s):  
Digital Media ◽  
Digital Fabrication ◽  
Modern Architecture ◽  
Architectural Form ◽  
Parallel Development ◽  
The Future ◽  
Dialectical Opposition

This chapter traces the parallel development of the concept of standardization in architecture and of the idea of the architect as an artist / individual. The juxtaposition between the two goes back to Leon Batista Alberti, underlines modern architecture and reaches the current day where it still defines two different approaches for the production of architectural form through with the aid of digital media. The chapter proposes a third direction that breaks free from the dialectical opposition of the two and follows Deleuze's idea of the analog as a way to operate through modulation. That new direction is illustrated through an example in digital fabrication.

scholarly journals The development of the architectural form of a tower derived from a traditional and philosophical symbol, realized by solutions of high-class technologies. The case of the Bitexco Financial Tower

2018 ◽  
Vol 33 ◽  
pp. 01018
Author(s):  
Tran Van Khai
Keyword(s):  
Ho Chi Minh City ◽  
Architectural Form ◽  
High Class ◽  
Lotus Flower ◽  
System Solution ◽  
Innovative Idea ◽  
Group A ◽  
Ancient Times ◽  
Contemporary Architecture ◽  
The City

The Bitexco Financial Tower, majestically standing tall in the heart of Ho Chi Minh City, Vietnam, rejects the box-shaped, abstract forms of modernism, incorporating an innovative idea of contemporary architecture. Based on the inspiration from the Bitexco Group, a renowned architect designedthe tower that became an iconic landmark of the city in the form of a lotus bud, one of the most iconic symbols of Vietnamese culture since ancient times. High class structural system solution designed by top international professional teams enable the building to rise high with its graceful, statuesque design of the lotus flower shape. CNNGo recently ranked the Bitexco Financial Tower fifth in their listing of the world’s 20 most-iconic skyscrapers.

scholarly journals LA INFLUENCIA DEL LUGAR

2020 ◽  
pp. 279-287
Author(s):  
Pablo Jara-Espinoza
Keyword(s):  
Vernacular Architecture ◽  
Modern Architecture ◽  
Cultural Environment ◽  
Human Being ◽  
Architectural Form ◽  
Palabras Clave ◽  
Mies Van Der Rohe ◽  
Relationship Of ◽  
The Relationship

Ante la necesidad de contar con criterios de orden que otorguen identidad a la arquitectura, y ante la evidente identidad que posee la arquitectura vernácula, considerando la relación de aproximadamente 3600 años entre humano y entorno, inicia la búsqueda de los criterios de orden de esta arquitectura. Al comprobar que sus criterios provienen del lugar, resulta que la universalidad de la naturaleza está presente en su forma. Mediante el análisis de las similitudes entre la arquitectura vernácula y la arquitectura moderna, se identifica la universalidad de los criterios compartidos. Tanto la arquitectura moderna como la vernácula descubren la forma arquitectónica solo al final de un proceso riguroso, en el que la estrategia estructural es resuelta simultáneamente con el programa y las particularidades del lugar, mediante una serie de decisiones tomadas con autenticidad y solvencia, dan como resultado una forma arquitectónica coherente con el entorno natural y cultural, teniendo como protagonista al ser humano. En este sentido, partiendo de los resultados de la investigación, en la cual, se comprobó que el orden formal de la arquitectura vernácula depende de los factores constantes que el lugar posee, este artículo sintetiza los resultados encontrados para analizarlos desde las similitudes teóricas respecto a la relación entre arquitectura moderna y lugar presente en la obra de Mies van der Rohe. Una vez encontradas las similitudes más evidentes se procede a identificar la universalidad en sus estrategias, de esta manera se obtienen criterios de orden que al ser aplicados otorgan identidad a los proyectos arquitectónicos contemporáneos. Palabras clave: Arquitectura, vernáculo, forma, modernidad, lugar, entorno, identidad. AbstractGiven the need to have order principles that give identity to architecture, and faced with the evident identity that vernacular architecture has, considering the relationship of approximately 3600 years between humans and the environment, the search for order principles for this architecture begins. By confirming that its criteria come from the place, it turns out that the universality of nature is present in its form. Through the analysis of the similarities between vernacular architecture and modern architecture, the universality of the shared criteria is identified. Both, modern and vernacular architecture, discover the architectural form only at the end of a rigorous process, in which the structural strategy is resolved simultaneously with the program and the particularities of the site, through a series of decisions taken with authenticity and solvency, resulting in an architectural form consistent with the natural and cultural environment, with the human being as the protagonist. In this sense, starting from the results of the investigation, in which it was proved that the formal order of the vernacular architecture depends on the constant factors that the place has, this article synthesizes the results found and analyzes them by taking into account the theoretical similarities between modern architecture and the place present in Mies van der Rohe's work. Once the most evident similarities are found, the universality in their strategies is identified; in this way, order criteria are obtained, that when applied, give identity to contemporary architectural projects. Keywords: Architecture, vernacular, form, modernity, place, environment, identity.

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