Architecture

The objective of this investigation is to outline a methodology using computational simulation methods to correlate select climatological factors with the ongoing and accelerating deterioration of the fabric at the Fort Union National Monument site with the end goal to outline areas of at higher risk of deterioration due to these climatological factors.

In identifying the state-of-the-art available at the time when Thomas Jefferson was designing Monticello, including its subsequent renovations, it was discovered that he was aware of the mechanics of intentional, convective ventilation. In correspondence with John Carey on the 4th of July, 1791, the topic of ignipetal force was discussed at length.

It is hypothesized that his introduction of skylights, other than to provide light, acted as solar-induced, convective engines capable of passively moving air through the spaces below. During particular times of the year, when the angle of the sun is appropriately aligned with the walls of the skylight enclosure, it is thought that the solar gain introduced onto these walls is enough to act as a convective engine, initiating the movement of air through the vented glass ‘shingles’ of the skylight itself. In particular the skylight in the bedroom on the first floor was chosen to study this phenomena.

Historically, in situ monitoring of moisture movement in existing walls has been a challenge. Even today, few reliable, validated methods exist which are non-invasive or destructive. The task is made far more difficult for earthen materials (rammed earth, adobe, etc.) for which destructive techniques can be especially damaging, and feasible, nondestructive methodologies are generally absent from the discussion. Given the contemporary, as well as future context of intensifying, global climatic phenomena, particularly the evolving severity and frequency of precipitation patterns, earthen constructions remain among the most vulnerable. This investigation reviews current strategies for moisture monitoring in adobe walls and reviews the implementation of new methods for doing so, namely the use of passive radio frequency identification (RFID) technology as a nondestructive, early indicator of moisture ingress. Following the four-tiered approach established by the National Park Service in its Climate Change Response Strategy 1 , this research not only aims to develop a new monitoring methodology for vulnerability assessment, but to contribute to the dialogue among preservation scientists and site managers by sharing the methodology and its results. The product of this investigation will have broad applicability to other climate sensitive materials and construction types, both new and old.

The sun control device has to be on the outside of the building, an element of the facade, an element of architecture. And because this device is so important a part of our open architecture, it may develop into as characteristic a form as the Doric column.Victor Olgyay (1910–1970), a Hungarian architect who came to the United States in 1947 with his twin brother and collaborator, Aladár (1910–1963), is best known today as the author of Design with Climate: Bioclimatic Approach to Architectural Regionalism (1963), an important book often referenced in the environmental building design field [1]. As leaders in research in bioclimatic architecture from the early 1950s to the late 1960s, the Olgyay brothers could be considered the ‘fathers’ of contemporary environmental building design. Their research and publications laid the foundation for much of the building simulation software in use today. Other than the difference between working on graph paper and using computer-generated graph...

JAE 's White Issue is long overdue. The notion that architectural experimentation requires a rigorous feedback between design and research has been at play in design pedagogy since at least the 1960s and 1970s, which included the seminal research studio by Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas 1 ; the rise of operations research and systems engineering; the urban networks research of Shadrach Woods, the Smithsons, Constantinos Doxiadis, or Kenzo Tange; and the structure and materials research of Buckminster Fuller, Frei Otto, and Robert Le Ricolais, to name but a few. Concerns about the deterministic instrumentalism of systems thinking led to a new wave of humanism and composition, seen especially in the postmodernist uses of both historical examples and junkspace vernaculars as a Disneyesque brand image. The work of Venturi and Scott Brown, ironically, was to lead the way on the heels of the ''duck vs. decorated shed'' conclusions of Learning from Las Vegas. 2 Unlike most postmodernists, however, Venturi and Scott Brown did not abandon research, and their understanding of the relationships between pop culture, branding, and marketing techniques remains sophisticated and timely.

But let the sacred Genius of the night Such mystic visions send, as Spenser saw, When thro' bewildering Fancy's magic maze, To the bright regions of the fairy world Soar'd his creative mind. Thomas Warton, The Pleasures of Melancholy (1747) We have now conducted the reader, step by step, through the apartments on these two fl oors, appropriated to the reception of works of art, and may safely assert that no where within a similar extent does there exist such a succession of varied and beautiful scenery, so many striking points of view, so many fascinating combinations and contrasts-so much originality, invention, contrivance, convenience, and taste.

Skins & Screens, the graduate-level elective studio offered at the University of Pennsylvania, posits the building surface as a dynamic condition, simultaneously real and illusory, opaque and evanescent. Termed sheer opacity, this quality of enclosure provides an investigative focus for the consideration of surface as a dynamic perceptual field, a site for the mediation of physical and perceptual phenomena. Close analysis of selected work of the West Coast art movement Light and Space and that of contemporary installation artists inspired projects that used sheer opacity to examine the possibility of transforming space through the design of the building surface. Projects were developed through a series of "layers" in which students made installations, material constructs, digital simulations, and large-scale detail studies of their proposals.

The ambient character of installation art results from the use of architectural strategies and techniques that effectively structure and organize perception. These include the territorialization of an entire site that the viewer can enter, the use of real materials rather than representations, and an emphasis on the literal interaction of the viewer with the work. Indeed, both the viewer and the space of the gallery, or site, play a constitutive role. In contrast to historiographies that trace its antecedents to land art, conceptual art, and minimalist sculpture, this article traces installation art to radical attempts by painters to spatialize the picture plane,

Skins & Screens, the graduate-level elective studio offered at the University of Pennsylvania, posits the building surface as a dynamic condition, simultaneously real and illusory, opaque and evanescent. Termed sheer opacity, this quality of enclosure provides an investigative focus for the consideration of surface as a dynamic perceptual eld, a site for the mediation of physical and perceptual phenomena. Close analysis of selected work of the West Coast art movement Light and Space and that of contemporary installation artists inspired projects that used sheer opacity to examine the possibility of transforming space through the design of the building surface. Projects were developed through a series of "layers" in which students made installations, material constructs, digital simulations, and large-scale detail studies of their proposals.

Cities and the cinema have been inextricably linked ever since Louis Lumière filmed workers leaving his family’s factory in 1895. Lumière’s cinématographe was smaller and lighter than Thomas Edison’s kinematograph, enabling it to be easily moved about the urban environment. This would eventually lead to the development of the “city symphony” genre—epitomized by films like Walter Ruttmann’s Berlin: Die Sinfonie der Großstadt (1927) and Dziga Vertov’s Man with a Movie Camera (1929)—which portrays the everyday urban life of rapidly-growing and quickly-changing cities. While these early films examined the city as a subject in itself, more recent films—especially in the science fiction genre—have used cities and urban environments as tools to reinforce the thematic elements of the film. As perhaps the most influential form of popular culture of the twentieth century, film is one of the primary avenues through which the public is exposed to ideologies of the modern city. Furthermore, rece...

This paper examines Darko Suvin’s and Kim Stanley Robinson’s assertion that the late-stage capitalism and neoliberalism of our world can be understood as an “antiutopia” that actively works to suppress the imagination of better futures. It argues that the relatively new science fiction sub-genre of solarpunk—which sets itself in direct opposition to the dystopian visions of the more well-known subgenre cyberpunk and imagines worlds that focus on the community rather than the individual, on environmental sustainability rather than environmental degradation, on social justice rather than subjugation and inequality, and on optimism rather than nihilism—offers some of the most promising paths toward the rejection of this antiutopia in favor of an anti-antiutopian (and therefore utopian) approach that actively works to bring about a better future. The paper suggests that the solarpunk futures currently emerging in literature, art, and online communities offer architects, landscape archit...

This book examines the critical role of modern architects in shaping and transforming national Israeli memory with special regard to Jerusalem. Using as a background the attempts of various architects since the 19th century to construct a national Jewish style, the author focuses his analysis on Louis Kahn's design of the Hurva synagogue in the Old City of Jerusalem. This study scrutinizes and pieces together discrepant archival documents, drawings, and accounts of intentions, interpretations, events, policies, and projects in the Jewish Quarter of the Old City of Jerusalem. The book reveals an unrecognized crucial interplay of Kahn's Hurvah design with the competing traditional and national symbols of Jerusalem

This paper highlights the crucial endeavour of the French neoclassical theoretician Quatremè re De Quincy (1755-1849) to appropriate the theory of imitation (Mimesis) in architecture peculiar political use towards the end of the 18th century. Quatremè re De Quincy, who became the Secretary Perpetual of the Academy of Arts (Acadé mie des Beaux-Arts), was perhaps the most influential and prolific neoclassical architectural thinker of the 19th century. Since his election as a representative of the Commune of Paris to the Legislative Assembly of France at the eve of the French Revolution, Quatremè re was active in politics between 1797-1800. The paper argues that Quatremè re, preoccupied with the French Revolution's political ideals, upended the notion of architectural representation and its Vitruvian ideal, "the pedimented primitive hut", as was reproduced by Abbe Laugier. The study will show that, driven by a secular political vision, Quatremè re equated architecture with the "Public will" (la Volonté Publique). Thus, not only Quatremè re redefined architecture in linguistic or socio-political terms, as current scholarship generally contends, more importantly, he also redefined politics and its emerging nation-state, society, and public, all in architectural terms. He dismantled the idealist classical canon of referential "imitation" and replaced it with a "projective abstraction" that became the foundation of a modernist architecture concept. The study correlates the basic constructs of Quatremè re's architectural theory (i.e., allegory, architecture, and character), which he articulated in the (Encyclopé die mé thodique de l'architecture) during his active political career in the early years of the French Revolution between 1789-1794 with contemporaneous documents of his actual design practice when he was the architect in charge of shaping the French Pantheon as the premier national monument of the Revolution.

6.Halim's theoretical attitudes are conveyed through his lectures and a number of periodicals that published some of his projects such the Architectural Record of June 1984, in addition to the proceedings of the Aga Khan seminars, particularly the one on the Architecture Education in the Islamic world, Granada,1986. 'Don't be out of line, else your hearts would be out of line,' and added 'Allah and his angels send down blessing on the front rows."' Abu Daoud 1100 Gardens of the Righteous.

This dissertation examines the critical role of modern architects in shaping and transforming national Israeli symbols with special regard to Jerusalem. According to customary views, Zionist symbols image the secular state of Israel as an emancipation of the Jewish nation from the oppressive Diaspora past. The first part of this study analyzes pre-1967 designs, by architects including Baehrwald, Geddes, Mendelsohn, "Bauhaus" practitioners, and Rau that attempted to construct a Jewish style relating these national symbols. Images of the Diaspora in their designs are shown to conceal areas of tension with official Zionist memory. Louis Kahn's later design of the Khurvah synagogue in the Old City of Jerusalem creatively exploited this tension to redefine the national style. As a case study, Kahn's design distinctly shows that the shaping of national symbols and memory is a process contested not only by competing state institutions, but by marginal elements, in this case individual architects. This challenges the predominant view that national symbols are forged, consolidated, and disseminated by cohesive state institutions, collective power-structures, and ruling elites. The present study scrutinizes and pieces together discrepant archival documents, drawings, and accounts of what were commonly regarded as unrelated intentions, interpretations, events, policies, and projects in the Jewish Quarter of the Old City of Jerusalem, to reveal a crucial unrecognized aspect of Kahn's Khurvah design. I specifically analyze the interplay of Kahn's double metaphor with the competing traditional and national symbols of Jerusalem, such as the old Khurvah, the western Wall, and most importantly, the mythical Temple and the Dome of the Rock. The analysis reconstructs the continued drastic impact of the transformation of Kahn's idiosyncratic metaphor into an authoritative symbol, even more into a subversive utopia, on shaping Jerusalem and national memory. The impact of Kahn's paradoxical metaphor is traced through analysis of subsequent archaeological excavation, planning and designs for the Jewish Quarter and its structures, including the western Wall plaza, the Cardo, and the Khurvah synagogue proposed by Safdie, Lasdun, Bugod and others.

This paper highlights the crucial endeavour of the French neoclassical theoretician Quatremè re De Quincy (1755Quincy ( -1849) ) to appropriate the theory of imitation (Mimesis) in architecture peculiar political use towards the end of the 18th century. Quatremè re De Quincy, who became the Secretary Perpetual of the Academy of Arts (Acadé mie des Beaux-Arts), was perhaps the most influential and prolific neoclassical architectural thinker of the 19th century. Since his election as a representative of the Commune of Paris to the Legislative Assembly of France at the eve of the French Revolution, Quatremè re was active in politics between 1797-1800. The paper argues that Quatremè re, preoccupied with the French Revolution's political ideals, upended the notion of architectural representation and its Vitruvian ideal, "the pedimented primitive hut", as was reproduced by Abbe Laugier. The study will show that, driven by a secular political vision, Quatremè re equated architecture with the "Public will" (la Volonté Publique). Thus, not only Quatremè re redefined architecture in linguistic or socio-political terms, as current scholarship generally contends, more importantly, he also redefined politics and its emerging nation-state, society, and public, all in architectural terms. He dismantled the idealist classical canon of referential "imitation" and replaced it with a "projective abstraction" that became the foundation of a modernist architecture concept. The study correlates the basic constructs of Quatremè re's architectural theory (i.e., allegory, architecture, and character), which he articulated in the (Encyclopé die mé thodique de l'architecture) during his active political career in the early years of the French Revolution between 1789-1794 with contemporaneous documents of his actual design practice when he was the architect in charge of shaping the French Pantheon as the premier national monument of the Revolution.

Cultural heritage (CH) is a unique expression of human achievement which is endangered today. The world is losing many monuments and sites more rapidly than it can even be documented. Its documentation, pro-tection, and proper management are critical to enabling the scholars of heritage to study and interpret it, on behalf of and for the benefit of present and future generations. Documentation prior to any intervention in the CH is now an integral part of any conservation and preventive plan and process. It is also an essential prereq-uisite to form a comprehensive understanding of cultural significance and factors affecting CH conditions. As a baseline, surveying, recording, and documentation are critical for monitoring changes over time, degrada-tion, modifications and/or conservation intervention in addition to risk assessment and mitigation. This an-thology will review 50 International Charters, Conventions and Principles along nine decades (1930-2020) and will highlight 27 out ...

This essay examines a decorative convention-the display of books in modern interiors-that appears in both The International Style (1932) by HenryRussel Hitchcock and Philip Johnson and The Personality of a House (1930) by Emily Post. Looking at books in this way constitutes a partial history of the architectural palette that arises from the privileging of natural over applied
finishes. The internal logic of that practice and its class and gender
characterizations are discussed in the context of the separation of architecture
from interior design. The "natural" palette and its host of attendant conventions
is everywhere visible in contemporary architecture and interior
design and even helps to define the boundary between the two practices, to
explain what is and is not architectural.