Suchergebnisse

El origen de esta reflexión escrita es un curso de doctorado impartido en la ETSA de Sevilla desde el año 1994 hasta la actualidad, por la profesora Dra. M.Cruz Aguilar y por la autora de este artículo, y que se trazó como objetivo encontrar relaciones de afinidad entre las Artes Plásticas y la Arquitectura a lo largo del s.XX. Es necesario aclarar, antes de seguir adelante, que, además de nuestras habituales sesiones teóricas, el curso se ha venido enriqueciendo todos estos años con la participación de numerosos invitados de diversas procedencias, artistas casi todos ellos en activo y que con su testimonio personal nos han ilustrado de una manera fehaciente la evidencia de estas relaciones arte-arquitectura. Así, y entre otros, Enric Miralles y Juan Lacomba nos visitaron por separado en el bienio 1994-5, Juan Navarro Baldeweg lo hizo en 1998, en el año 1999 estuvo en nuestras tertulias Guillermo Pérez Villalta y, por último, en Enero de este año estuvo con nosotras la escultora vienesa Eva Lootz. Por otro lado, el soporte teórico del curso se ha planteado a modo de recorrido, que pretendía ser crítico y reflexivo, por los principales acontecimientos del panorama artístico del siglo XX. Es evidente que son los procesos de pensamiento que subyacen en cualquier hecho artístico, materializado en una obra de arte concreta, los encargados, en última instancia, de justificarlo. En este sentido, tan válida sería la obra de enfoque objetivo-racionalista (cubistas, puristas, suprematistas, neoplasticistas, constructivistas,. hasta los high-tech) como las aparentemente más subjetivas o irracionales (fauves, expresionistas, dadaístas, surralistas, organicistas, . incluso postmodernos y deconstruccionistas). Un segundo gran capítulo abordado en el curso ha sido el relativo a las denominadas vanguardias históricas, es decir, a todas las tendencias artísticas o -ismos acontecidos básicamente hasta mediados de los años treinta. Esta etapa supuso un enriquecimiento mutuo de los diferentes artistas y de sus respectivos lenguajes plásticos; el agruparse en asociaciones los llevó a reflejar sus conclusiones en manifiestos cuyo objetivo último era una auténtica transformación de la sociedad. Al buscar relaciones, en esta etapa postbélica, entre arte y arquitectura, no podemos dejar de mencionar el Guggenheim Museum de Wright del 1959, auténtica arquitectura escultórica, pero tampoco y en la misma línea, la iglesia de Notre-Dame-du-Haut (1950-1955) de Le Corbusier. Lo mismo sucede con la obra más emblemática de Louis I. Kahn, el Parlamento de Dhaka en Bangladesh (1962-83), con sus extraordinarios efectos de luz, o con el Ayuntamiento de Säynätsalo (1952) de Aalto, donde la poética del paisaje y los materiales convierten a la obra en algo diferente y distante de la "modernidad radical"; algo parecido a lo que sucede con Eero Saarinen, Hans Scharoun o Utzon. Se trata de una etapa en la que en las artes plásticas se experimenta una evolución del expresionismo abstracto (Escuela de N. York) al Informalismo europeo y a la abstracción post-pictórica, para desembocar después en el Op Art y el Arte Cinético, y todo ello habiendo desaparecido por completo la estrecha vinculación entre artistas que se produjo en las vanguardias históricas de los años veinte y quedando, sólo, un sustrato cultural común que sirve de alimento para cualquier manifestación artística. ; The origin of this written reflection is a doctoral course given at the ETSA of Seville from 1994 to today, Dr. professor. M.Cruz Aguilar and the author of this article, and charted the goal of finding relations affinity between the fine arts and architecture along the s.XX. It is necessary to clarify, before proceeding, which, in addition to our usual theoretical sessions, the course has been enriched all these years with the participation of numerous guests from various sources, most of them artists active and with his personal testimony us They have been illustrated in a consistent manner the evidence of these relationships art-architecture. Thus, among others, Enric Miralles and Juan Lacomba we visited separately in the biennium 1994-5, Juan Navarro Baldeweg did in 1998, in 1999 it was in our gatherings Guillermo Pérez Villalta and finally, in January this year was with us Viennese sculptor Eva Lootz. On the other hand, the theoretical support of the course has been raised as a tour, pretending to be critical and reflective, for the main events of the twentieth century art scene. Clearly they are the thought processes that underlie any artistic fact, materialized in a concrete work of art, managers, ultimately, to justify it. In this sense, the work would be as valid goal-rationalist approach (Cubist, purist, Suprematist, neoplasticists, constructivist, . to the high-tech) as the apparently subjective or irrational (Fauves, Expressionists, Dadaists, surralistas, organismic, . even postmodern and deconstructionist). A second great chapter addressed in the course has been on the so-called historical avant-garde, that is, to all artistic trends isms occurred or basically until the mid-thirties. This stage was a mutual enrichment of different artists and their respective artistic languages; The grouped in associations led them to reflect their findings manifest whose ultimate goal was a true transformation of society. When looking for relationships, in this postwar period, between art and architecture, we can not fail to mention the Guggenheim Museum Wright 1959, authentic sculptural architecture, but also in the same line, the church of Notre-Dame-du-Haut ( 1950-1955) of Le Corbusier. The same applies to the most emblematic work of Louis I. Kahn, the Parliament of Dhaka in Bangladesh (1962-1983), with its extraordinary light effects, or the City of Säynätsalo (1952) Aalto, where the poetic landscape and materials make the work into something different and distant from the "radical modernity"; something like what happens with Eero Saarinen, Hans Scharoun or Utzon. It is a stage in the visual arts an evolution of abstract expressionism (School of N. York) Informalismo European and post-painterly abstraction to then flow into the Op Art and Kinetic Art is experienced, and all it having disappeared completely close link between artists that occurred in the historical vanguards of the twenties and being only a common cultural substrate that serves as food for any art form.

Borrowing from a range of theories on spacemaking and material religion, and with contributions from anthropologists working in the United Kingdom, Mali, Brazil, Spain, and Italy, this fascinating and comprehensive study develops an anthropological perspective on modern religious architecture including mosques, churches, and synagogues. Religious Architecture examines how religious buildings take their place in opposition to their secular surroundings and, in so doing, function not only as community centers in urban daily life, but also as evocations of the sublime that help believers to move

This article substantiates the possibility of using the material of temple architecture in studies of religious perceptions of man. In studying the religious teachings of man, we rely on the religious anthropology of K. I. Nikonov. We also used the methodology of L. Jones's "hermeneutics of sacred architecture" and A. Corben's temenology to study temple structures and sacred spaces. Our approach allowed us to explore believers' understanding of temple architecture as a self-understanding. It has been shown that temple architecture can be used to reconstruct the history of religious teachings on man, as well as to deepen philosophical knowledge of the essence, structure, and basic aspects of believers' understanding of themselves.

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.

Material is the substance of the world of things. Literary sources suggest that materiality was part of aesthetic perception, loaded with meaning and bound to function even in antiquity. To date, this complex reading of material has not been adequately represented in archaeological research. The present volume addresses this oversight by examining the decorative use of material in Roman Italy between the Late Republic and Early Imperial period.

For the opening of the new art museum MAXXI in Rome designed by Zaha Hadid, 90 works from the museum's permanent collection will be exhibited along a single route winding inside and outside the museum in an open dialogue with the site-specific installations of ten international architectural studios. Three works from the series Antarctic Village - No Borders by Lucy + Jorge Orta have been selected for this inaugural display and the visitor will be guided through an exploration of the complex concept of space understood in both the environmental senses, as a place of imagination and as a political and social dimension.

The topic of this doctoral work is the collective effort leading to the establishment of doctoral qualifications in art, design, architecture and adjoining areas. These are fields that do not have the same academic traditions as the classical university disciplines, but now endeavour to obtain a position in academic society. The project is an investigation into how the making of art and design in doctoral works can respond to the criteria of doctorateness in European formal frameworks; in particular the Dublin Descriptors of the Bologna Process. This is the main objective of my analysis of nine doctoral theses, all including components of artworks. The theses originate from four higher education institutions in four European countries, representing different adaptations of the international frameworks. Sources of information for the investigation include a broad range of publicly available documents, including international agreements, national and institutional regulations and doctoral theses. These are interpreted from a hermeneutic perspective in a structure of curriculum inquiry. The theses are analysed through a mapping process, relating them each to the other, and to the broader research landscape. Issues arising from the analysis include the purpose and results of the research projects, the research methods that are used, and the role of artworks and the making of art and design in the projects. These issues are related to a continuum between two extremes in the research landscape: on the one hand that art is research, and on the other hand that art can only be the object of research. The analysis indicates that doctoral candidates within art, design and architecture regard their disciplines to be emerging research fields, and that proper research methods are not yet fully defined. As a consequence the candidates make substantial efforts towards defining and legitimating research methods for their projects. Art, design and architecture are dealing with our man-made environment from small scale to the planning of cities. This requires a broad variety of specialisms that cross the borders of academic domains – the humanities and the social and natural sciences. The artistic or creative practice tends to be an extra component, not included in these domains. This component of creative practice raises challenges for the making disciplines in their ambitions of meeting the demands of doctoral qualifications. The role of this element – the creative practice – in doctoral works is what I have investigated in my study. The formal frameworks of qualifications tend to raise challenges for the development of doctorateness in these fields. What is seen through this study, is that conversely, the development of doctorates in art, design and architecture can also challenge the formal frameworks. The incorporation of creative fields into academia is affecting the conventional university disciplines, causing a debate on questions such as the role of the making of art and design in doctoral projects, the methods of research in the arts or artistic research, and whether to allow artworks to be included in doctoral submissions. These questions have not been solved by the development of international formal frameworks, and there are different national and institutional solutions. This study claims that there is a twin track in this development, a dynamic process between governmental regulations on the one hand, and academic expertise on the other. What is seen in the analysis of the international formal frameworks in this study is that there is an ambiguity in the Dublin Descriptors of the Bologna Process: on the one hand are the formulation of the descriptors that indicate a conventional concept of doctoral qualifications. On the other hand is a wide and inclusive definition of research, underscoring that this term is not to be used in a conventional or 'scientific' way, added in a glossary in a footnote to the descriptors. For the interpretation of the Dublin Descriptors, I needed to clarify their formal status in order to decide whether they raise obligations for the Bologna Member States or not. For this purpose, I have studied the Bologna Process, not to clarify the forces and powers as such, but as a means of identifying the formal status of the Dublin Descriptors.