Suchergebnisse

Architecture has become an important discourse for new expressions of post-national identity in general and in particular for the emergence of a `spatial' European identity. No longer tied to the state to the same degree as in the period of nation-building, architecture has become a significant cultural expression of post-national identities within and beyond the nation-state. The article looks at four such discourses, first, taking the Millennium Dome in London and the Reichstag in Berlin, we show that architecture can express in a reflexive way contested and ambiguous national identities; second, the case of architecture in post-communist European societies illustrates the dual identity of architecture as a project of building and of re-building; third, the EU's search for a cultural form is discussed with respect to the architectural designs on the Euro banknotes; and finally the question of architecture as a relation to a lived space is considered with regard to cityscapes as yet another expression of a tendentially spatialized European identity.

Architecture reflect itself since Vitruvius, but it is difficult to define its epistemological base, so interpretations are sometimes developed in other disciplines. Thinking architecture is about reflection and extension of architectural concepts, cultural practices, and interrelated areas of art, philosophy, politics, etc. Methods of research and interpretation of architectural phenomena and actions belong to different sciences. Incompleteness of understanding is obvious, and it points us toward a paradigm of complex thinking. Understanding the art, including architectural themes and the phenomenon, is originated in the history of art and aesthetics. Although psychology and philosophy in the world of phenomena, carry over as a scientific discipline, we do not fully reveal the character of space and the kind of phenomena in it. Contemporary theoretical field of architecture is largely a product of postmodern architectural thought. This paper examines the position from which to build a modern architectural phenomenological opinion through three methodological models - creative, emotional and rational. This research should contribute to the way of understanding contemporary architectural phenomenon, with the intention of providing a general level of credibility and understanding in order to open the possibility of methodological application for a specific job or field.

In Terminal Architecture, Martin Pawley argues that nearly all modern architecture is misconceived. To embrace a genuinely innovative architectural future would entail a radical shift in values and Pawley considers new vocabularies to achieve this aim. The vision described in Terminal Architecture is an apocalyptic one, spelling the end of architecture and the city as we know them, and cannot fail to stimulate debate. "Brilliant and beautifully written"--Jonathan Glancey, The Architects' Journal

ABSTRACTAn understanding of the nature of service architecture and modularity is crucial to service design and innovation. Two sets of approaches are developed that further our understanding and support decision making. First is a systematic decomposition approach to architecture modeling that allows organizations to understand their current architecture, evaluate alternative architectures, and identify key interfaces between different parts of the service. Second, the article develops a service modularity function (SMF), a mathematical model indicating the degree of modularity deriving from unique services and the degree to which the modules can be replicated across a variety of services. Three areas are identified that can contribute to competitiveness: the possession of unique service modules or elements not easily copied in the short term by competitors; the ability to exploit these through replication across multiple services and/or multiple sites; and the presence of a degree of modularity, which in turn supports both customization and rapid new product development. The SMF can support decision making in the design of services and the exploitation of service innovation. In particular, the relationship between architecture and modularity and the roles of service contact personnel in the customization of services is shown to be complementary. It is proposed that service customization can be either combinatorial (the combination of a set of service processes and products to create a unique service) or menu driven (the selection of one or more services from a set of existing services/products to meet customer needs).

This thesis seeks to understand what covers the concept of urban project in French like rule and reality in the fields with architecture and installation of space. This expression is carrying many significations and new urban ideas. By effect of marketing and mediatization, it undergoes semantic slips and constitutes an ambitious rhetoric for contradictory realities. The ambiguity of its definition is summarised in four concepts : the refusal, the revival, the continuity and the complementarity in four concepts : the refusal, the revival, the continuity and the complementarity. The refusal of a functionalist town planning and a totalitarian architecture to support historical logic, the revival of sectoral logic to conceive a town planning of the networks, continuity in the process of modernisation, and finally, the complementarity between theory and the practice, between the nostalgic and the futuristic ones for pragmatic logic. The interest of this modest contribution turns to the development of a new field of research being based on the idea of complementarity between planning, town planning and the architecture conveyed by the concept of urban project. ; Ce travail cherche à comprendre ce que recouvre la notion de projet urbain comme règle et réalité dans les domaines de l'architecture et de l'aménagement de l'espace. Depuis son apparition dans les années 70, elle est utilisée dans la théorie pour l'ensemble des significations qu'elle véhicule et dans la pratique pour concrétiser l'urbain convoité par des opérations d'envergure. Par son pragmatisme, elle qualifie presque l'ensemble des formes urbaines en cherchant bien entendu à expérimenter de nouvelles idées et démarches mises en place par un certain nombre de spécialistes des théories urbaines. Par excès et effet de mode, elle se résume à elle-même en adoptant seulement une certaine rhétorique, un certain langage théorique ambitieux et des réalités contradictoires. S'agit-il alors d'une conséquence de la polysémie, de l'usurpation des théories sur l'urbain ou tout simplement d'un glissement sémantique ? Les lectures diachroniques et synchroniques des discours sur le " projet urbain " mettent en évidence des situations conflictuelles et des prises de position de la part des architectes et des aménageurs. Chacun définit son idée du projet et la défend jusqu'à en faire une démarche ou une théorie. Plusieurs méthodes sont ainsi émises. Elles se résument en quatre notions : le refus, le renouveau, la continuité et la complémentarité ; Le refus d'un urbanisme fonctionnaliste et d'une architecture totalitaire pour favoriser des logiques historiques, le renouveau des logiques sectorielles pour un urbanisme des réseaux, la continuité dans le processus de modernisation et enfin la recherche de la complémentarité entre la théorie et la pratique, entre l'analyse et le projet et entre les nostalgiques et les futuristes pour des logiques pragmatiques. La confrontation des principes théoriques avec la réalité urbaine montre la conformité de certaines théories avec quelques opérations. Ainsi, le " projet urbain " est étroitement lié aux différents programmes (VHS, DSQ, Banlieue 89, Grand projet urbain.) en les enrichissant par quelques principes théoriques sur l'"urbain". L'intérêt de cette modeste contribution se tourne sur le développement d'un nouveau champ de recherche s'appuyant sur l'idée de la complémentarité des idées sur le projet et sur l'urbain

This thesis seeks to understand what covers the concept of urban project in French like rule and reality in the fields with architecture and installation of space. This expression is carrying many significations and new urban ideas. By effect of marketing and mediatization, it undergoes semantic slips and constitutes an ambitious rhetoric for contradictory realities. The ambiguity of its definition is summarised in four concepts : the refusal, the revival, the continuity and the complementarity in four concepts : the refusal, the revival, the continuity and the complementarity. The refusal of a functionalist town planning and a totalitarian architecture to support historical logic, the revival of sectoral logic to conceive a town planning of the networks, continuity in the process of modernisation, and finally, the complementarity between theory and the practice, between the nostalgic and the futuristic ones for pragmatic logic. The interest of this modest contribution turns to the development of a new field of research being based on the idea of complementarity between planning, town planning and the architecture conveyed by the concept of urban project. ; Ce travail cherche à comprendre ce que recouvre la notion de projet urbain comme règle et réalité dans les domaines de l'architecture et de l'aménagement de l'espace. Depuis son apparition dans les années 70, elle est utilisée dans la théorie pour l'ensemble des significations qu'elle véhicule et dans la pratique pour concrétiser l'urbain convoité par des opérations d'envergure. Par son pragmatisme, elle qualifie presque l'ensemble des formes urbaines en cherchant bien entendu à expérimenter de nouvelles idées et démarches mises en place par un certain nombre de spécialistes des théories urbaines. Par excès et effet de mode, elle se résume à elle-même en adoptant seulement une certaine rhétorique, un certain langage théorique ambitieux et des réalités contradictoires. S'agit-il alors d'une conséquence de la polysémie, de l'usurpation des théories sur l'urbain ou tout simplement d'un glissement sémantique ? Les lectures diachroniques et synchroniques des discours sur le " projet urbain " mettent en évidence des situations conflictuelles et des prises de position de la part des architectes et des aménageurs. Chacun définit son idée du projet et la défend jusqu'à en faire une démarche ou une théorie. Plusieurs méthodes sont ainsi émises. Elles se résument en quatre notions : le refus, le renouveau, la continuité et la complémentarité ; Le refus d'un urbanisme fonctionnaliste et d'une architecture totalitaire pour favoriser des logiques historiques, le renouveau des logiques sectorielles pour un urbanisme des réseaux, la continuité dans le processus de modernisation et enfin la recherche de la complémentarité entre la théorie et la pratique, entre l'analyse et le projet et entre les nostalgiques et les futuristes pour des logiques pragmatiques. La confrontation des principes théoriques avec la réalité urbaine montre la conformité de certaines théories avec quelques opérations. Ainsi, le " projet urbain " est étroitement lié aux différents programmes (VHS, DSQ, Banlieue 89, Grand projet urbain.) en les enrichissant par quelques principes théoriques sur l'"urbain". L'intérêt de cette modeste contribution se tourne sur le développement d'un nouveau champ de recherche s'appuyant sur l'idée de la complémentarité des idées sur le projet et sur l'urbain

Lucio Fontana's collaboration with architects, which continued to progress over the entire period of his creative experience along with his more famous artistic and spatial production, offered important opportunities for experimentation and research. The artist worked with architects such as Luigi Figini, Gino Pollini, Giò Ponti, Luciano Baldessari, Marco Zanuso, Osvaldo Borsani and Ico Parisi, and it was actually the architects who first intuited the innovative scope of his research. It involved works of a temporary nature carried out for exhibitions, trade fairs and celebrations of historical events, some of which went missing at the end of the events, but also some that became an integral part of extant architecture. Indeed, the artist made numerous environmental works for public buildings, hotels, cinemas and private homes, using traditional materials such as ceramics, mosaics and plaster, as well as new media such as fluorescent colours, black lights, neon lights, and more. As often happens, and as needs and tastes changed, the works were decontextualized and assumed a different connotation.Here below is a description of the choices made during three of the seven restorations we carried out in the last few years on environmental works created by Fontana between the mid-1940s and the end of the 1950s, which were taken from their original location and moved to new sites.