A Proposed Method Optimizing Energy Usage for Software Process

Journal of Asian Architecture and Building Engineering, 2014

Kings Road House has become an icon of early modern architecture. This innovative house, described by Schindler as "a cooperative dwelling for two young couples", was considered by Reyner Banham to be a totally new beginning. Although many papers devoted to the house have been published, no research has been conducted into its relationship with the interpreted characteristics of Japanese architecture or the sources from which Schindler may have obtained information about Japan in 1921 without ever having traveled to the country. In this paper, the authors hope to clarify the matter and shed new light on some of the elements of Japanese architecture found in Schindler's House, including the aspects of sun and light control. This was done through research into original documents in archives in California and with the help of contemporary simulation tools, duly tested by means of on-site measurements. The results show clear similarities between key concepts of Schindler House and descriptions of Japanese architecture. Some of these concepts have been considered essential elements of Schindler architecture and were subsequently reproduced in other houses in California.

Journal of Social and Humanities Sciences (IJSHS), 8(3), 27-50, 2024

The Kings Road House, designed by Rudolph Schindler for himself in Los Ange-les, demonstrates the architect’s concept of dwelling, which is unique in the his-tory of modern architecture in certain aspects. Although Schindler’s house reflects spatial, formal and aesthetical developments in Modern architecture both in Eu-rope and the United States, Schindler’s design is unique in the way it unites vari-ous influences in his own crucible of philosophical ideas and attitudes towards contemporary life in 1921, when the footsteps of Modernism was just beginning to be heard. One of the most important results of Schindler’s interpretation of Modernism is his use of the aspects tectonic culture as the genome of a spatial paradigm to invoke and reestablish the primordial bond between human-beings and the environment.

2019

A analysis and evaluation of the Rietveld Schröder House and its impact on the modern architectural movement.

2012

ENHSA-EAAE no 55 Rethinking the Human in Technology Driven Architecture based rethinking of architecture. Last but not least, it follows the ways that the output produced (or imparted) by research, practice and contemporary contemplation on architecture is (tran)scribed into and recycled in architectural design teaching practices. The volume is structured on three main parts. In the rst part there are four essays introducing with inspiring way signi cant aspects of the reconsideration of the human in the way we conceive and understand architecture as creation and practice. Manuel DeLanda, Edith Ackermann, Antonino Saggio and Kostas Terzidis open with their contribution new directions and avenues for re ection on the main theme of the volume. The second part contains essays, which can be considered as coherent introduction to four di erent topics. The rst topic is the research in contemporary responsive architectural design. The second is the theoretical and philosophical considerations of the responsive architecture through the contemporary conceptions of the human. The third topic is the scripting applications, which support the design of responsive architecture. Finally the fourth topic focuses on the teaching of responsive architecture and the nature and form of methods and pedagogic approaches that could be implemented. The Scienti c Committee of the Conference 1 selected these essays to represent each one of these topics. The third part of the essays contains the papers that the Scienti c Committee selected to be presented in the Conference grouped according to the four afore-mentioned topics. A broad spectrum of approaches, conceptions and views can be found on the way contemporary architectural design becomes subject of research, contemplation, experimentation, materialisation and education. The editors expect that this volume will formulate the conditions for an interesting academic input on the basis of which a constructive debate can be formulated on the issue of integration aiming at bridging the most signi cant but arti cial separations in our educational systems, between architectural design modules, construction modules and theory modules. The editors also expect that the innovative approaches presented in the volume constitute a collection of good practice examples able to inspire more teachers and to in uence changes in our educational approaches.

2013

There is absolutely no question about the fact that architecture and movie scenography both rely on common grounds within the esthetic theory. We can also undoubtedly state that scenography is considered as a representation of architecture. A good scenography, however, does not imply an imitation of reality, but a (symbolic) depiction of the latter, resulting, in many cases, in a visionary type of representation. At the present time, architecture must, in turn, take something over from certain techniques of movie scenography, in order to create an environment that might cope with the actual requirements coming from beneficiaries of spaces conceived by architects dealing with interior designs, while at the same time these requirements must be tuned to the actual trends of the third millennium. One can hardly avoid cinema any longer. One would not accomplish much if oneself, as a single individual would abstain from using it. The fascinating effect on the large audience and thus the ominous mass influence remains 1. those were the words of Peter Behrens in 1920, in a time when the movie was trying to find its own way among arts and was a promise that its art would not remain unnoticed when referring to the entire universe of arts. When analyzing the end of the 70's, we notice that those were the years when architecture frantically tried to find certain connections to different art areas. The inspiration linked to the detailed analysis of the prior paradigm in architecture, highlighted by means of a professional and almost modernist work experience, has been highly striven for in painting and sculpture, but also in literature and music. Both within the architecture schools and also when talking about professional work experience, architecture projects were created once a compositional structure is being performed when referring to Vermeer's paintings or to paintings pertaining to cubist painters, Bach's music, but also Meredith Monk's music, literary fragments belonging to Heraclid, but also Moby Dick by Herman Melville and Finnegan's Wake by James Joyce. At the same time, an unpredicted exploration of architectural grounds took place and almost any king of theoretical approach, classified into different categories of scientific proof, has been applied to this study.

DASH, 2014

Journal of the Society of Architectural Historians, 2015

This article examines architectural critique of housing and style as it unfolded in the East German journal Deutsche Architektur (German architecture) from the late 1950s to the mid-1960s. Through an analysis of articles published in the journal as well as primary source documents, Emily Pugh investigates the reception of newly built housing developments in East Germany by a group of influential socialist architects, historians, and critics who were then writing for Deutsche Architektur. Pugh highlights individual architects’ attempts to subvert or resist the control of state and party authorities and considers how these individuals’ efforts might have influenced the development of the East German building economy. She also argues that these architects’ understanding of architectural modernism differed from that of their counterparts in the Cold War West, having been influenced by political and economic circumstances specific to East Germany.

Vitruvio

In 1926 Bruno Taut built his own house in Berlin-Dahlewitz. The German architect had already declared his ideas of housing in the book Die neue Whonung (1924) exemplifying the new concept of modern living-style, according to Neues Bauen. In other theoretical writings he defines the Neues Bauen in relation with new needs, tendencies and aesthetics of architecture, referring to important issues as climate, topography and tradition. The book Ein Whonhaus (1927) stigmatizes the coeval construction process of his house: the thirteen chapters are a detailed analysis which give evidence to every technological and morphological choice. Taut focuses on the relationship between architecture and landscape, type of furniture, functional plan layout, use of glass; especially he enlightens the reader as to the use of colour as a construction material. The house has an unconventional shape, it is a quarter of a circle; in his writings the architect painstakingly explains the impressive plan. With the book Ein Whonhaus Taut delivers to memory his home design, transforming process and ideas related to the modern house. He breaks through conventions and changes the notions of what Modernism could produce. The paper highlights the theoretical production related to the architect’s own house as praxis for doing architecture, emphasizing Taut’s contribution to a dialectic mutual relationship between theoretical and architectural practice, in order to achieve a more conscious and effective design process.

VLC arquitectura, 2018

Resumen: Durante la etapa americana de Mies se acentúa la belleza de la precisión constructiva y la esencialidad del espacio, lo que subordina el programa a la pureza formal. La forma no se inventa, ni es el corolario de la función o la tecnología, sino que es el resultado de anteponer valores trascendentes e intemporales sobre cuestiones secundarias. El arquitecto debe establecer un orden que afiance la formalidad de la obra, pero en la modernidad ya no rige la norma sistemática clasicista. Así que la bondad del resultado es consecuencia de la capacidad del arquitecto y del usuario para compartir códigos visuales. El esfuerzo de Mies en esta etapa será fijar algunas certezas, universales y claras, desarrolladas alrededor de la relación entre el espacio, la estructura y la forma. La casa 50x50 señala un punto de inflexión en dichas intenciones y marca el camino de sus últimas obras.

Historiographies of Technology and Architecture: Proceedings of the 35th Annual Conference of the Society of Architectural Historians, Australia and New Zealand (Canberra: Society of Architectural Historians, Australia and New Zealand, 2018),, 2018

The call for papers began with the observation that contemporary descriptions of the future of environment that is automated and intelligent; building construction via robotic fabrication processes; form and space-making utili ing virtual reality. The conveners asked, in what ways do our current obsessions echo, extend or overturn the profession's historic preoccupation with technology? The privileging of technology within architecture had its most obvious manifestation in the modernist But the projection of architecture as technology has been ever present and has its own deep history. the task of creating architecture has always been subject to modes of representation and analysis that can be thought of as 'technical.' Equally, the discipline of architecture is responsive to changes mediated by the social changes that are wrought by these new technologies. The conveners called for investigations into the changing manifestations of this relationship, welcoming papers exploring historiographies of architecture and technology considered within the global context. While they were particularly interested in papers examining the deployment of architecture as a technology just technologies in the structural and environmental sense, but also: indigeneity and the vernacular; cross-cultural transfer of technology; sustainable and ethical technologies; individual architects and their preferred technologies; future technologies; histories and theories of architectural representation; technology and heritage practices; and even oppositions to technology.