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demnach in der durch das graphische Computing entstandenen Möglichkeit, Dinge vor Augen zu führen, sinnlich erfahrbar zu machen, die zuvor ›in der 1. Vgl. Ivan Sutherland: SKETCHPAD: A Man-Machine Graphical Communication Sy- stem, Cambridge, Mass. (Diss. MIT) 1963. Reproduced as Technical Report Number 574 University of Cambridge Computer Laboratory, UCAM-CL-TR-574, ISSN 1476-2986, 2. Vgl. Ivan Sutherland: »The Ultimate Display«, in: Proceedings of IFIPS Congress 1965, Bd. 2, New York, Mai 1965, S. 506-508. ›Augmented Architecture‹ die

73 Rethinking the Museum. Architecture’s Lost Case WOUTER DAVIDTS For some time the museum world has been afflicted by what Stephen E. Weil once aptly described as a ‘edifice complex’ (Weil 1995a: 42). In recent dec- ades, just about every museum has drastically renovated, expanded or added to the existing building, at least once. After all, building plans for museums create high expectations. Although architecture is stable, fixed by nature and thus motionless, museums seem to look upon it as the most appropriate me- dium to break new ground

The Architectural Continuum Choropoietic Media and Post-Physical-World Environments Constantinos Miltiadis “Space is, of course, one of those words that frequently elicits modification. The complica- tions perhaps arise more out of the modifica- tions […] rather than out of any inherent com- plexity of the notion of space itself. When, for example, we write of “material,” “metaphori- cal,” “liminal,” “personal,” “social,” or “psychic” space […] we thereby indicate a considerable diversity of contexts which so inflect matters as to seem to render the meaning

Domestic Architecture in America An American version of domestic architecture is an eclectic gathering of various styles and trends that European settlers influenced in individual ways. “Ameri- can settlers brought with them the building traditions of their home countries, so that the earliest architecture in the colonies reflected quite accurately the vernac- ular building traditions of the region of Europe where the settlers, or more accu- rately, the builders among them, had come from.”1 As time passed and new set- tlers imported new architectural

An Introduction

Skins in Architecture On Sensitive Shells and Inter faces Susanne Hauser The notion of the openings and closings of surfaces, and thus of the body, has shifted in the past decades. This does not only apply to the human body and its skins, but also to the openings and closings of other bodies, for example those that emerge within artistic and architectural spatial re- flections, processes and designs. There are of course highly metaphorical processes involved – this can be said with certainty – but in what respect? Who is transferring what concept to what

129 Architecture from nothing LIUDMILA & VLADISLAV KIRPICHEV Als ein freies, von politischen Bewegungen unabhängiges Projekt betreiben Liudmila und Vladislav Kirpichev seit 1977 ihre in Moskau ansässige Archi- tektur-Schule, „Experimental Children‘s Architectural Studio“ (EDAS). Ihre Lernmethoden fokussieren dynamische Entstehungsprozesse, die im Dialog mit den Schülern Fragenstellungen von Form, Rhythmus, Textur und Farbe verhandeln. Der folgenden Beitrag „Architecture from Nothing“ (Überset- zung und Bild-/Textarrangement Carolin Lange, alle Abbildungen

Architecture and its Value(s) The National and University Library in Ljubljana Tina Potočnik Architecture and culture are interconnected on several levels.Or at least they should be if we consider the definition provided by Alberto Perez-Gomez, a Mexican-born architectural historian and theorist, who perceives architecture as a reflection of a certain culture: “When we speak about architecture, we refer to significant buil- dings that frame diverse cultural situations” (Perez-Gomez 2008: 158). Vice versa, some architecture, especially that of national importance

Metaphors in Architecture – a Metaphor? Gernot Böhme Architecture as language It was the architectural theorist Charles Jencks, in his writing about post- modern architecture, who underscored the importance of metaphors for architecture. While recognizing in the architecture of his time a lack of the acknowledgement of the importance of metaphor, he thought that that would change, because “metaphor plays a predominant role in the pub- lic’s acceptance or rejection of buildings.”1 Now it can be said, that Jencks himself was caught up in the fashionable

Towards an Architecture of Desire Andri Gerber in Conversation with François Charbonnet and Patrick Heiz, March 19, 2019, Zurich Andri Gerber: Let’s start with a really easy question: How serious is archi- tecture [laughs]? François Charbonnet: Well, architects are responsible for the largest ar- tifacts produced by mankind. Given the fact that these objects are sup- posed to last beyond their immediate use, and that they should convey a specific cultural value about any kind of environment—for successive generations—I’d say architecture is a pretty serious