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The purpose of the article is a systematic analysis of people's housing as a holistic model, which combines the three most important factors - design, shape, and decoration. As well as to find out the most critical regional characteristics of such models. The methodology of the study is based on the combination of cross-cultural, typological, art-study approaches, and semiotic analysis. Scientific Novelty is to track the main trends and trends of regional change patterns of housing. Conclusions. As a result of the study, it was discovered that the main factors of the style of the traditional house of Ukrainians are smart possession of a variety of techniques of materials processing, a saturation of the facade and interior by decorations, and artistic products — harmony of design, shape, and decoration. Each of the five regions described in the article had its image of housing, which varied from north to south on Ukrainian terrains. The monochrome interior and exterior characterize the northern (Polissian and Podlaski) types. The invoice of the facade was formed here by a log cabin of timber. The interior walls were washed or plastered by yellow clay. Western (Carpathian) type was characterized by the monochrome of the interior, enlivened by decorative accents (carved or burnt sarcophagus chests, tiled stoves, decorative fabric on a pole, and images). The central (forest-steppe) type had local features on the right bank and the left bank and represented a generalized ethnic type of housing for Ukrainians. The southern (steppe) type was characterized by a particular system of paintings and complicated housing plans. People's homes have existed for centuries as an efficient ecological system that was organically inscribed in the surrounding landscape, underlining, and developing it.
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The long-span concrete prefabricated skeletal system ŠPÚO-ZIPP was originally intended for the construction of Prior department stores in Slovakia, and later was used as a universal open modular system for a wide range of buildings under the name INTEGRO. Using the example of three department stores, the study offers arguments why, from the point of view of architectural interpretation, it is more correct to perceive buildings made from this skeleton as a series than to look at them as individual buildings responding more or less successfully to their context. As such, the architecture is defined more by a compositional or structural principle than by the final shape and program.
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In this essay, we hope to address a few methodological issues in interpreting works of architecture that have gradually shown themselves to be problematic yet at the same time productive. If we accept interpretation as one possible approach to an architectural work, then the fundamental issue of interpretation becomes the question of the sense of the work in relation to, and in distinction from, preestablished and relatively stable meanings. An equally important range of issues, related to the first and fundamental one, has to do with rethinking not just the relationship between interpretation and overinterpretation, but also positioning the interpretative act: i.e., asking whether interpretation takes the work of architecture as its primary point of departure and defers to its composition and nature (its “workliness”), or whether interpretation is considered the fulfilment of the process of creating the work of architecture. Beyond these ranges of problems, there arise two subsidiary ranges characterizing the nature of interpretation. The first concerns an architectural work’s autonomous and heteronomous semantic layers, and the second relates to the association between the “repeatability” of a method of interpretation and the uniqueness of a work of architecture. We endeavor here to remark on each of these ranges of problems while also striving to propose a possible answer to the questions raised within them. In this process, we draw upon established conceptions of art history, semiotics, and architecture.
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On 2 April 1976, the ARARAT exhibition opened at the main museum of contemporary art in Stockholm, the Moderna Museet. Its ambiguous biblical name was taken from the acronym for Alternative Research in Architecture, Resources, Art and Technology, an interdisciplinary research group formed by architects, planners, engineers, biologists and artists. Four years previously, the celebration of the UN Conference on Human Environment in Stockholm, and the alternative events performed in parallel, had revealed architecture as a central political technology within the global crisis of the natural environment and human habitat.1 The international event, as I argue here, later resonated in the articulation of Swedish green activism, installing the desire for an environmentally sustainable habitat among society and, eventually, informing the exhibition’s standpoint. Deploying full-scale housing models, inhabited sculptures, workshops and lectures, ARARAT positioned environment and natural resources as the material, intellectual and even spiritual driving forces for a possible shift in planning and architecture. It wielded a strong critique against consumerist societies and advocated for a new approach in planning. Following many of the ideas voiced at the UN counter-events, the exhibition proposed that in place of a top-down process, planning should be exercised by an empowered and participative community. Nonetheless, it should embrace a reformulated use of technology to shape alternative ways of living in balance with the elements of nature.
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Science fiction films from the second half of the 20th and early 21st century, contain many visions of the future, that were also a reflection on the achievements and shortcomings of the present. In the 1960s, works of cinematography were dominated by optimism and faith in the possibility of never-ending progress. People predicted the vanishing of political divisions between blocks of states and future joint space exploration. The set designers collaborated with scientists, which manifested in the depiction of cosmic constructions far beyond the real technical possibilities.Beginning in the 1970s, pessimism and the belief that the future would primarily intensify the negative phenomena of the present began to increase in films. Fears of the future were saturated with an indication of various possible defects and insoluble contradictions between them. Therefore, while a certain part of dystopian visions portrayed the threat of an increase of crime, another presented the future as saturated with state control mechanisms and the universality of surveillance. The fears shown on the screens were also caused by the growth of large corporations, especially of their growing political influence or possibility of them remaining outside the system of democracy.The filmmakers also presented their suppositions related to the creation of new types of weapons by corporations, the use of which exceeded current legal norms. Particular reservations concerned the research on biological weapons and the possibility of the spread of deadly viruses. Moreover, the development of robotics and artificial intelligence research aroused fear, which must have resulted in the appearance of androids and the inevitable tensions in their relations with people. Hybrids being a combination of human body and electronic components have become a separate problem for filmmakers.Similarly, screenwriters and directors wondered about the development of genetic engineering that led to the creation of mutated human individuals. Some film dystopias considered the possibility of democratic systems collapsing and authoritarian regimes developing in their place, often based on broad public support. Within this variety of dystopia there are also films showing the consequences of modern hedonism and consumerism. The problem is, however, that works critical to these phenomena were themselves advertisements for attractive products.
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Constantin I. Istrati (1850–1918) was a member of the Romanian Academy (since 1889), PhD in medicine and chemistry, professor in physics and, between 1913–1916, he was President of the Romanian Academy. Constantin I. Istrati was named general Commissary of the 1906 National Exhibition, built on The Filaret Plateau, which is nowadays the Carol I Park.
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Purpose – This paper aims to enhance sustainable development in the construction industry by presenting a literature review from the perspective of sustainable development goals (SDG) on marketing in the construction industry, its importance on management strategies, marketing capabilities, and the relationship between SDG and lean and green marketing (LGM) management in the construction industry. Design/methodology/approach – A structured literature review was used as the research methodology to find out how the determinant topics were addressed in state-of-the-art of the literature. A total of 21 combinations of different keywords were applied to the search engine in the title, abstract, and keywords to gather research and review articles published within a period of ten years. As a result, 114 academic papers were examined. Findings and implications – Articles were examined in three stages, focusing on: marketing and construction industry, marketing and its importance on management, and LGM. The gaps in the literature were identified and potential future research areas were highlighted. Limitation – Using Elsevier (www.sciencedirect.com) as the database and focusing on research and review articles written in English only are the limitations of this research. Originality – This research contributes to the construction industry marketing literature, green marketing, and LGM in the construction industry. This research reviews the literature based on a large sample of papers in three stages. It outlines the gaps in the literature and may serve as a guide for further research of marketing and LGM strategy implementation in the construction industry.
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This is a review of the book ΦΙΞFIX 120+ Years of Architecture: Takis Zenetos - Margaritis Apostolidis, a Turning Point in the History of the FIX Building, by Dora Theodoropoulou, 2020, 75€, Epikentro Publishers, Athens, Greece.
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Урбанизација у источној и југоисточној Европи – Урбанизация в восточной и юго-восточной Европе, ур. Срђан Рудић, Алексеј А. Гордин, Историјски институт Београд – Државни универзитет за архитектуру и грађевину (ННГАСУ) Нижњи Новгород, Београд 2019, 256 стр.
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By problematizing the question of the revitalisation of the Velebit region, the author presents the Kapelica of Mirovo project – a project located in the area of central Velebit, right near the locality of Mirovo, which is not an end in itself but is the product of research and a deep connection with Velebit, which in the end have resulted in the conceptual solution which takes into consideration elements of the past, tradition, contemporaneity, yet also anticipates the future– with the aim of the repeated rapprochement of man and the mountain, as well as man and man, and man and his transcendence. At the same time he not only uses an architectural approach but also advocates a comprehensive and interdisciplinary approach to the solution of the problem of revitalisation, which puts the emphasis on the preservation of the tradition and authenticity of Velebit and the Velebit way of life.
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In a world where the boundaries between real and virtual seem to be becoming more and more diluted, a discussion of imagined space (created in the imagination of the individual) or imaginary space (fictitious, unreal, utopian) becomes interesting, especially from the point of view of architecture – a discipline that operates precisely with the drawing of limits, both physical and boundaries of the perception of the real and the imaginary.
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The subject of this paper is the binomial relation between utopia and dystopia, but also the way in which those two concepts influence the visual cultural field. It can be said that in the current status, in which an absence of utopian ideals that are at the basis of the production of art, in the meaning that was associated by Walter Benjamin, is becoming obvious that dystopia has become not only accepted, but also integrated in all the levels of society, implicitly in the visual culture field. Looking at the big picture, it becomes clear that this apparent inevitability can be counteracted only by adhering to the concept of utopian impulse.
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Postmodern cities are dreamed, dreamlike places that are not intended to house the individual, but rather to distract society. In this way and in the manner of Augé, they are a “non-place”, making them a place of transit and enjoyment through symbols and their own experience. The noise, the lights, and the succession of dark and luminous spaces, distract the visitor, making him wander from one side to the other, without a predetermined course. It will be necessary, in turn, to associate all these representative symbols of Postmodern ideology with the visual materialization itself, in order to meet the basic objective of these constructions, which is to create a city as an image of Postmodern culture and society.Disney World is generally understood as a mere amusement park with the appearance of a fantastic city, however, its meaning goes further. Philosopher Jean Baudrillard considers the utopia of the Postmodern city to be, in fact, Disney World. In this sense, it does not represent the simple fantasy of a theme park since it cannot be false, it cannot be a lie because it is the model of a real idea, it is an idealized model, an image of society itself. The aim of this article is to explore how society accepts the manipulation of Disney World through the different visual elements contained in it. But not only that, also the similarity and similarities of that world with American society itself and how Disney World exemplifies the heart of the American Way of Life, this being not only the exemplification of the American way of life, but also of how they should live, since this place is the reflection and image of their society.
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Christopher Alexander is widely acknowledged as one of the leading and original contemporary architectural and urban theorists. A theorist and a practicioner, who has implemented his ideas and concepts in architectural and urban design, has made a lasting impact on architectural and urban thinking. However, being an author of important treatises on architecture and city-making, Alexander is still largely ignored in mainstream architectural and urban discourse. While revisiting the seminal writings of Christopher Alexander and reconsidering reception of his ideas in architectural academy, the article offers the view on why architectural thinker and theorist of an exceptional caliber remains to a certain extent marginalized. The article suggests that holistic concepts of live and durable architecture as well as humane urban design have for decades been against shallow and narrow modernist and post-modernist mainstream thinking which so far has failed to revisit and revise its own sources and developments. It still remains the main obstacle to a more adequate understanding of the (antimodern) holistic way of the designing and thinking proposed by Alexander.
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The notion and concept of biopphilic architecture is discussed in the article and the author also reconsiders its assumptions asking whether it can become on the global scale a tool for solving the problems of quality of life in cities. The notion of biophilia, introduced several decades ago by socio-biologist Edward O. Wilson, has become an object of interest not only in the architectural academy but also by those architectural designers dissilusioned with promises of vanguard modernist ideology and the ongoing “business as usual“. The author attempts to inquire how this concept can make an impact not only on current architectural theory, but also what role it can play in equipping architectural designers with practical tools for reshaping the ailing urban environment. At the same time, the author suggests that it is the “vanguard“ ideology of modernism with its dogmatism that resurfaces in globalised Western architectural discourse. Modernism keeps architectural designers from shifting their attitudes towards reshaping the built environment and halts the momentum of biophilic architecture to solve the most acute problems of the built environment.
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The prevalence, perspectives and forms of wooden architecture in Lithuanian cities are analyzed. The most common wooden buildings and their features are discussed. Examples of architecture in other countries reveal wooden construction aspects which respond to many needs of human existence and the quality of the environment. Aspiration to create a sustainable, healthy, comfortable, and reasonable anthropogenic environment makes us think about what we are using for construction of contemporary buildings and why. New wooden buildings demonstrate important and very actual tendencies of the world architecture which are noticeable in Lithuania too. The growth of the popularity of wooden buildings indicates the rebirth of wooden architecture in the cities, a new peculiar age of wooden architecture.
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The article discusses the beginnings of monastic life at Rocca di Garda.
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The foundation of churches and chapels of the Passion of Christ, i.e. the New Jerusalem in the Czersk poviat near Warsaw in the second half of the 17th century was the work of Poznań bishop Stefan Wierzbowski. He handed over the main church and several roadside shrines to the care of the Order of Friars Minor of the Lesser Poland Province (commonly known as the Bernardines).
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Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture the lesson learned from the analysis of the art debate.
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