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In: Choice Architecture in Democracies, S. 285-308
In: The Sustainable Laboratory Handbook, S. 37-42
In: Bulletin de la Classe des Beaux-Arts, Band 53, Heft 1, S. 252-262
In: Latino Studies
This bibliography addresses the discourse between Latina/o/xs and various architectural and spatial traditions. In the architectural context of the United States, Latina/o/x communities have struggled to carve a space for themselves, sometimes described as a third, subaltern, or alter/native space. Peoples of Latin American descent have experienced persecution in certain architectural settings, operating in consort with state strategies to stereotype, relegate, and criminalize Latina/o/x bodies. Examples here include the border wall dividing the United States and Mexico, urban development projects that segregate and displace historic populations, prison systems holding disproportionate numbers of minorities, and border facilities designed to control and contain immigrant communities. State-sponsored violence—witnessed historically in public lynchings during the 19th century and police brutality used to suppress the Chicano Movement of the 1960s—has likewise produced a feeling that architectural environments, particularly those in the public sphere, remain out of reach for Latina/o/xs. Yet, the architectural history of Latina/o/xs can be said to precede the formation of the United States by more than a thousand years, particularly if we consider the broader history of architecture in the Americas and the Caribbean. It is a history that reaches back to ancient monumental sites of Indigenous peoples in Mesoamerica, the Andes, Amazon, Caribbean, and US Southwest. It projects forward through Spanish and Portuguese urbanization during the colonial period, including African influences that accompanied the trauma of slavery in the Americas after 1492, and Asian material cultures that followed indentured laborers during the 19th century. It is a history that moves forward through nationalist beaux-arts and neoclassic works of the 19th and early 20th centuries into the international modernist styles of the mid- to late 20th century, associated with notable architects like Luis Barragán of Mexico and Oscar Niemeyer of Brazil, among many others. Those architects of the modern era produced spaces that would include multiple publics in a bid to rethink national identities in places like Brazil, Cuba, and Mexico. Haunted by the socio-racial and gendered hierarchies of the colonial era, modern architects strove toward utopic decolonial solutions in the built environment. We might productively place Latina/o/x architecture within those histories of the wider hemisphere, as a facet of that striving toward a decolonial future. There are political, cultural, and historical reasons, however, to study Latina/o/x architecture on its own terms. To do so requires us to critically assess the limits of categories like "Latin American" and "Latina/o/x," which are often confused, disputed, and in flux. These categories impossibly encompass huge and diverse populations. The term "Latin American" attempts to define peoples and cultures across the Spanish-, French-, and Portuguese-speaking Americas and Caribbean, while "Latina/o/x" describes members of the Latin American diaspora, particularly in the United States. Within these shifting terms of inclusion and exclusion, Latin American architecture has received notably more attention in scholarly literature, to the detriment of Latina/o/x contributions. This is, in part, because of historic discrimination faced by immigrants from Latin America in the United States and elsewhere. It also reveals a lacuna in histories of architecture more broadly, and the practice of architecture itself, which has tended to be dominated by heteronormative, white, Anglo-male norms and narratives. In the early 21st century, Latina/o/xs account for less than 10 percent of registered architects in the United States according to the American Institute of Architects (AIA). Nonetheless, with a population at nearly 40 million, Latina/o/xs are the largest minority group in the United States, projected to comprise a quarter of the population by the year 2050. The lack of representation in the field of architecture, compared to demographic realities, makes clear why the study of Latina/o/x architecture is of critical importance. The following bibliography works against social and historical factors that would ignore or erase Latina/o/xs from architectural discourse. This bibliography will focus on major works of scholarship that discuss Latina/o/xs as both users and producers of architecture. Special attention is paid to the ethnic and cultural diversity of Latina/o/x architecture, from the largest historic populations of Mexico, Puerto Rico, and Cuba to the vernacular building practices and decolonial aesthetics of an increasingly transcultural and transregional Latina/o/x population.
As we move further into the 21st century, architects, planners, landscape architects and the general public are increasingly concerned with climate change, environmental degradation, energy and water consumption and the role the built environment plays in contributing to or addressing these issues. Buildings consume almost 40% of the energy used in this country. The way we access buildings, the materials used to construct them, the demands of users within the building all require the earth's increasingly precious resources. So how did we get here? How did our built environment evolve to require so much energy, water and so many resources? It is easy to think that our environmental concerns regarding architecture's role in the environment are new to society. However, environmental worries are not new. This course explores the history of sustainable architecture with a look back to vernacular building styles and passive design strategies that addressed climatic factors. We will investigate the Industrial Revolution as it transformed buildings and transportation and study the varied responses to the degradation of the natural world through the Arts and Crafts Movement and writers and thinkers of the 19th century. We will contrast our study of early environmentalists and their ideas for the built environment with more mainstream efforts of architects and designers of the 19th and 20th centuries, including Frank Lloyd Wright and le Corbusier, to better understand the formation of architecture's historical cannon and the environmental outliers who critiqued the dangers of the 'Machine Age.' We will then explore more accelerated trends of the 1960s and '70s that paralleled the birth of modern environmentalism in the wake of exposés such as Rachel Carson's Silent Spring. Finally, the course will conclude with an examination of recent ideas surrounding 'green' buildings such as LEED certification and the Living Building Challenge. Understanding the history of the built environment offers a powerful lens for understanding our environmental future. Such history shows us our mistakes and successes and will help us move forward thinking critically about how we can live in the future. "History is not everything, but it is a starting point. History is a clock that people use to tell their political and cultural time of day. It is a compass they use to find themselves on the map of human geography. It tells them where they are but, more importantly, what they must be." John Henrik Clarke The course will include guest speakers, lectures on Mondays and Wednesdays, and discussions about readings on Fridays (in Dickinson 109). There will be a mid-term and final, and two written assignments: one a short, written response and the second, a longer research paper.
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Academia did San Luca later served model for the Académie royale de peinture et de sculpture founded in France in 1648, and which later became the Académie des beaux-arts brought revolutionary development of the European architecture which lead to the development of philosophical schools over the world. The Industrial Revolution was a one of the pivoting points in human history and cultural. Idea of a professional architect with formal training and academic qualifications is a product of the 19th century, when architectural courses were instituted for the first time at the Ecole Des Beaux-Arts in Paris and later at the Architectural Association in London in 1847. Developing academic qualification result in new trends of architectural theory that differentiates between a building and "a piece of architecture", which was about aesthetics and experience of architecture movement and impact of philosophical and intellectual basis for architecture education. The ever growing socio, economic and political interest among the intellectuals at the turn of the 19th century and the ever growing number of artists and architect embracing had resulted in new architectural trends away from wealthy clients. These trends were introducing an architecture that was meant to address working class and develop economical architecture that copes with them. These movements included: Arts and Crafts, Art Nouveau and the Bauhaus. In the United States of America, the Bauhaus principles revolutionized art education, previously dominated by the Beaux-Arts method. Bauhaus influence in education and in practice, the modernist movement flourished. The Bauhaus movement became responsible for the modern face of architecture in many of the American cities such as Chicago and New York. Chicago has been described as "row upon row of Mies vander Rohe buildings" By means of discussing the development of the different philosophical schools and relating them to different architectural movements and the architects who embraced these philosophical ideas ...
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In: Synthesis Lectures on Computer Architecture 21
Multithreaded architectures now appear across the entire range of computing devices, from the highest-performing general purpose devices to low-end embedded processors. Multithreading enables a processor core to more effectively utilize its computational resources, as a stall in one thread need not cause execution resources to be idle. This enables the computer architect to maximize performance within area constraints, power constraints, or energy constraints. However, the architectural options for the processor designer or architect looking to implement multithreading are quite extensive and varied, as evidenced not only by the research literature but also by the variety of commercial implementations. This book introduces the basic concepts of multithreading, describes the a number of models of multithreading, and then develops the three classic models (coarse-grain, fine-grain, and simultaneous multithreading) in greater detail. It describes a wide variety of architectural and software design tradeoffs, as well as opportunities specific to multithreading architectures. Finally, it details a number of important commercial and academic hardware implementations of multithreading
In: The Enterprise Engineering Series 4
In: Essays in art and culture
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
In: Routledge research in architecture
"Metaphors are diversly and intricately embedded in architectural practice and discourse. Precisely for this reason, this volume argues and sets out to explore, how they can be engaged to critically interrogate architecture's social, cultural and political dimensions - past and present - and to productively challenge and intervene with established perspectives, debates and practices. Mapping out not just potentials but also addressing the challenges, limitations and dangers inherent in using metaphors in architectural research and practice, the volume prominently illustrates the ambiguity and contradictoriness inherent in both metaphors and the process of engaging and exploiting them. Covering a broad range of historical and geographical cases and concerns, the contributions illustrate effectively that metaphors can expand or narrow our engagement with architecture, and consolidate or legitimise but also destabilise and challenge established social, cultural, disciplinary and political structures, concepts and categories. With its aim to explore metaphors as both subject and method to critically challenge and expand established practices, perspectives and standards in architectural research and practice, the volume will be of interest for scholars working across the architectural humanities, including architectural history, theory, culture, design and urbanism, as well as for researchers concerned with architecture and the city from fields such as cultural, visual and area studies as well as art history"--
Architecture Depends presents an original thesis that brings social theory, including that of Zygmunt Bauman and Bruno Latour, to bear on architectural theory and practice. Drawing on theories of critical pedagogy, contingency, and reflective practice, it presents a new paradigm for architectural thinking, recognised by the 2009 RIBA President's Award for Research (prize for outstanding university-based research). Reviews include Blueprint, Architects' Journal; the Times Higher Education Book of the Week; features on Nightwaves (BBC R3), Thinking Allowed (BBC R4). Publisher's text about the volume: Architecture depends — on what? On people, time, politics, ethics, mess: the real world. Architecture, Jeremy Till argues with conviction in this engaging, sometimes pugnacious book, cannot help itself; it is dependent for its very existence on things outside itself. Despite the claims of autonomy, purity, and control that architects like to make about their practice, architecture is buffeted by uncertainty and contingency. Circumstances invariably intervene to upset the architect's best-laid plans—at every stage in the process, from design through construction to occupancy. Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection. With Architecture Depends, architect and critic Jeremy Till offers a proposal for rescuing architects from themselves: a way to bridge the gap between what architecture actually is and what architects want it to be. Mixing anecdote, design, social theory, and personal experience, Till's writing is always accessible, moving freely between high and low registers, much like his suggestions for architecture itself. The everyday world is a disordered mess, from which architecture has retreated — and this retreat, says Till, is deluded. Architecture must engage with the inescapable reality of the world; in that engagement is the potential for a reformulation of architectural practice. Contingency should be understood as an opportunity rather than a threat. Elvis Costello said that his songs have to work when played through the cheapest transistor radio; for Till, architecture has to work (socially, spatially) by coping with the flux and vagaries of everyday life. Architecture, he proposes, must move from a reliance on the impulsive imagination of the lone genius to a confidence in the collaborative ethical imagination, from clinging to notions of total control to an intentional acceptance of letting go.
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