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The use of fictional narratives as a conduit for experimentation and speculation in architecture has been widely practised by paper architects and students alike; but what are the qualities of fiction that give it credibility as a tool for such investigations? What is the nature of fiction that can enable an architectural discourse? Is it a form of a thought experiment? Can it be seen as an instrument for experimentation that can reveal new insights, understanding or even new knowledge? This essay will seek to answer these questions, especially the idea of architectural fiction as a thought experiment. After defining these notions, it will look at how the structure and makeup of fiction can enable it to be thought of as an experimental instrument. It will look at the differences and similarities between literary fiction and architectural fiction before looking into the creation of possible worlds as a starting point for fictional scenarios. The question arises what role does possible world and modal statements that sometimes accompany it play in the experiment? Modal statements are important as architectural fiction can be used for a source of bibliomancy; or a way to investigate political, social, cultural or environmental tensions through the conduit of architecture. Fiction, as a thought experiment, has been debated. Philosophers have long held that literary fictions are thought experiments all be it a particular kind (Egan.2016. p.139). Can this be said of architectural fiction? The dichotomy when considering fiction as a thought experiment is that fictions are a nonfactual poiesis; yet, it said to reveal some truth in the form of knowledge. There has been debate about the epistemic value of thought experiments in fiction (Egan.2016. p.139). They, like real experiments, "seek to raise, make salient, or answer question or set of questions, by exploring the relationship between two or more variables"(Egan.2016. p.140). Real experiments, however, are done in the lab under controlled conditions and thought experiments are done, in the "Laboratory of the Mind"(Brown. 2011 quoted in Egan.2016. p.140). Fictional thought experiments are set up as allegories (Frey (1957) cited in Egan.2016. p.141, Frey 1957.p.80); it uses meaning constructed through the tools of language including signs, signifiers, symbolism and metaphors to enable more abstract thinking and imaginative cognitive engagement. Margherita Arcangeli states that "Once imagination is seen as the key to the ' cognitive black box' of the thought experiment, we will move a step closer to a simulative imagining-based account of thought experimentation' (Arcangeli, 2010.p.571). It is the mining of imagination and possible epistemic value that lies within it that make thought experiments a possible instrument for gaining knowledge. The use of language in literary fiction provides an aesthetic value to narratives, as does visual representation play a similar role in fictional architectural discourse. The aesthetic value has been said to be irrelevant to the thought experiments; however, when discussing literary fiction Egan states that it enables the investigation to be more vivid and therefore plays a role in the arguments (Egan.2016. p.146). What role does the media and aesthetics used in architectural fiction play in the experiment? Through the analysis and critique of a number of fictional architectural projects; this essay seeks to understand the use of fiction as an experimental, speculative instrument in architecture.

This paper is the introduction to the Space and Culture special issue "Inside inside," which examines the persistent use of architecture as punishment. It provides an overview of the use of architecture as punishment with specific reference to Anglo-American prison architecture. It additionally examines developments occurring in architecture and the architectural profession contemporary with the emergence of the modern prison and acknowledges the geospatial politics of Guantánamo Bay Detention Center on the year of its 20th anniversary.

International Journal of Advanced Computer Science and Applications(IJACSA), 3(8), 2012 ; The growth of various software architectural frameworks and models provides a standard governing structure for different types of organizations. Selection of a suitable framework for a particular environment needs much more detailed information in various aspects and a reference guide of features should be provided. This paper brings out the history of software architecture with a new evolution tree. It also technically analyses well known frameworks used in industries and other governmental organizations and lists out the supportive tools for them. This paper presents the comparative chart that can be used as a reference guide to understand top level frameworks and to further research to enable and promote the utilization of these frameworks in various environments. ; http://thesai.org/Downloads/Volume3No8/Paper_14-Software_Architecture-_Evolution_and_Evaluation.pdf

This study examines the relationship between religion, majority-minority intergroup relations, and vernacular domestic architecture. Specifically, it looks at three facets of intergroup relations, power, status, and conflict, and their interrelationships with architecture. Through an ethnographic study focusing on the Zoroastrians, a religious minority in predominantly Muslim Iran, and their domestic architecture, we indicate how the design of the home and of the neighborhood expresses religion-related hegemonic social relations, power differentials, status distinctions, and conflict. We show that architectural features such as location, designs of houses, heights, and presence or absence of special devices, such as badgirs and "sacrificial spaces," play a part in the enaction of power, status, and conflict while forming a record of them. Architectural features can aid in the survival and preservation of a group's cultural identity, and be symbolic of resistance. We indicate how for the Zoroastrians, architecture became a means of resistance-a survival strategy-and how the home design began to incorporate fortress-like qualities to protect and preserve their unique religious identity and cultural traditions. We recommend the adoption of a socioarchitectural approach that involves simultaneous examination of both the social world and the material world, as examination of either produces an incomplete and partial picture.

This article examines the attitudes of studio instructors in architecture and landscape architecture departments throughout the United States toward the designer's role, sources of knowledge and inspiration in design, related disciplines, and essential skills. A cluster analysis of instructors' responses to a questionnaire identified five groups according to conceptions of professional identity: master designers, communicative designers, political designers, researcher designers, and those who see design, research, and political skills as almost equally important. The two most common self-conceptions are "master" and "negotiator." In-depth interviews with some instructors further elucidated each approach. The results revealed the coexistence of a multiplicity of ideas and convictions within a shared ethos and suggested various strategies for increasing the effectiveness of design education and practice. The article concludes that the professional identity of designers is being transformed from that of isolated creative individuals to that of politically active professionals.

How can we provide good spatial orientation for people with dementia?This question is addressed extensively in a selection of professional essays and projects that also carve out specific requirements for various disciplines. The book is a useful guide to all disciplines involved in design and planning but also to friends and family memebers. Eckhard Feddersen is an architect specializing in building forchildren and the elderly. Insa Lüdtke is an architect and journalist.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Interiores e Reabilitação do Edificado apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre ; N/A

"Historical studies on the involvement of architecture in twentieth-century politics have overlooked its contribution to building Spain's democracy. This pioneering book seeks to fill that void. Between the late 1970s and early 1990s, Spain founded representative institutions, launched its welfare state, and devolved autonomy to its regions. The study brings forth the architectural incarnation of that threefold program as it deployed in the Valencian Country, a Catalan-speaking region on Spain's Mediterranean shores. There, social democratic authorities mobilized architects, planners, and graphic artists to devise a newly open public sphere and to recover a local identity that Franco's dictatorship had repressed for decades. The research follows the impetus of reform and its contradictions through urban projects, designs for cultural amenities, and the renovation of governmental and professional bodies. Architecture for Spain's Recovered Democracy contributes to current debates on nationalism and the arts, the environments of democratic socialism, and postmodernism and neoliberalism. As a result, it widens our understanding of how peripheral regions may yield egalitarian architectures of resistance. This book is written for students and researchers in architecture and planning, art history, spatial politics, and Hispanic studies, as well as for a general readership interested in inclusive politics in the built environment"--

In this article, a brief look at the history of ancient Iranian art before Islam, its characteristics during the Parthian rule, and the study of the monuments left over from that period, especially the palaces and the influence of ancient Greek architecture on them. Parthian period, due to the succession of the Seleucids, the Greek and Iranian domination over the Greek culture and architecture were widespread in Iran, one of the most important periods of the history of Iran. The Parthian era culture is a culture that tries to dominate the remains of Greek civilization and culture to bring Iran to re-establish. Parthian win this battle and inspiring inventions and innovations of the Sassanid civilization and Islamic culture of Iran. Overall, what is interesting is the dramatic Parthian architecture are among the Porticoes wide open courtyard surrounded by columns attached to the wall. Plaster Vonda colored object of interesting architectural elements farthest era of special features. The use of materials and the use of adobe bricks with mortar gained sharply. Perhaps one of the advantages of this new material, creating massive arch of the dome is first and then create a new architectural style were the architects of the Sassanid indebted. City maps with Hypoderm been carried out in some cities. But the main feature of the Parthian city circular design in cities such as Marv, Ctesiphon and Hart seen.

The career of Sir Aston Webb (1849-1930) is arguably one of the most impressive of all late-Victorian and Edwardian architects. Living in an important era in British social, political and cultural history, Webb's career and rise to prominence paralleled one of the most exciting and transitional periods in the history of British architecture, with his course reaching its peak by achieving the rank of Royal Institute of British Architects (RIBA) President, the President of the Royal Academy (RA) and RIBA Town Planning Chairman. Renowned architectural historian Alastair Service (1977 and 1979) for instance, noted that regardless of the architectural ideals of the period the greatest practice in terms of the sheer volume of work or money earned was that of Webb's, yet history has largely ignored Webb's importance partly due to his designs lacking the stylistic creativity of many of his generation. This proposed paper therefore will thus rectify this situation through highlighting Webb's largest work, the Queen Victoria Memorial Scheme (1901-12) –a monumental undertaking on a par with contemporary American City Beautiful projects, which with the London County Council's Kingsway- Aldwych plan 'Hausmannised' the metropolis. By this means the work will also demonstrate how Webb was not merely an architect of unappreciated ability, a designer who arguably more than any other of his time helped define British civic design and town planning in practice prior to the onset of World War One in 1914. ; La carrera de Sir Aston Webb (1849-1930) es posiblemente una de las más impresionantes de todos los arquitectos tardovictorianos y de la época eduardiana. En una importante época de la sociedad, la política y la historia británicas, la carrera de Webb y su salto a la fama anduvieron paralelos a uno de los períodos más excitantes en la historia de la arquitectura británica, alcanzando su pico de protagonismo cuando le concedieron el rango de Presidente del Royal Institute of British Architects (RIBA), el de Presidente de la Royal Academy (RA) y el de Presidente de Town Planning de la RIBA. El célebre historiador de arquitectura Alastair Service, por ejemplo, apuntó que, a pesar de los ideales arquitectónicos del período, el mayor arquitecto en términos de volumen total de trabajo o de dinero ganado fue Webb, aunque la historia haya ignorado casi absolutamente su importancia, debido en parte a que sus proyectos carecían de la creatividad estilística que poseían muchos de sus coetáneos. Es por ello que en este artículo se intenta rectificar esta situación, subrayando la importancia del trabajo más grande de Webb, el proyecto del Queen Victoria Memorial (1901-1912) –una empresa monumental a la misma altura que los proyectos American City Beautiful, que junto al plan London County Council's Kingsway-Aldwych "haussmanizaron" la metrópolis. De este modo, este trabajo también demostrará que Webb no era simplemente un arquitecto de incomparables aptitudes, sino que posiblemente fue el diseñador que más ayudó en este período a definir el diseño cívico y la planificación urbana británicas de un modo práctico, antes del comienzo de la Primera Guerra Mundial en 1914.

After the failed revolution in 1956 an intensive development began around the Lake Balaton in Hungary. It was a manifestation of political détente but was driven also by the economic interest, as an investment in tourism. The new regional plan included a survey on monuments, which was extended also on vernacular built heritage. The paper presents the findings of the survey and compares them with the planned and realised buildings, and with the architects' manifestations. The investigation includes public buildings which gave the bulk of building activity in the first period, but it analysis also the awardwinning designs of weekend houses submitted for a competition in 1958. The research concludes that while decades later some architects remembered this time as when 'the spirit of the vernacular was in the air' the buildings were not fully in tune with this statement, against the previously welldocumented built heritage. The duality of placeform and product-form that is of tradition and technology – or vernacular and modern – was interpreted by the majority of architects as either/ or problem. by the middle of the 1960s this battle ended with the victory of technology. ; info:eu-repo/semantics/publishedVersion