History and theory of architecture

Статья посвящена педагогической деятельности художников-передвижников в Императорской Академии художеств на рубеже XIX–XX веков. В данной работе проведен анализ переписки художников, воспоминаний и работ учеников, комментариев их современников, а также официальных документов Академии, рассмотрены идеи преподавания передвижников, их значение для обновления художественного образования, а также взаимодействие передвижников с Академией в данный период. Автор статьи указывает на возникновение новой тенденции в Академии благодаря усилиям художников-передвижников — переход от классицизма к реализму и модерну, основанному на творческой свободе. 

This paper presents a reflection on the educational activities of the Peredvizhniki at the Imperial Academy of Arts at the turn of the 19th and 20th centuries. A comprehensive examination of the artists’ letters, their students’ memoirs and works, as well as the comments of their contemporaries and the documents of the Academy of Arts, reveals further insights into the educational ideas of the Peredvizhniki and their significance for the renewal of art education, as well as the interaction between the Peredvizhniki and the Academy of Arts in this period. The author observes that there was a new trend emerged due to the efforts of the Peredvizhniki within the Academy, which is a turn from classicism to a composite claim covering realism and the ideas of modern art, and is characterised by the desire for artistic freedom.

The development of railway housing and welfare architecture by the Hungarian State Railways (MÁV) greatly contributed to the urban planning and architecture of fin-de-siècle Zagreb and Rijeka. As part of its expansive infrastructural development, MÁV introduced residential settlements with housing, canteens, schools, and meeting halls, reflecting a progressive welfare strategy. Through archival research and comparative analysis, the authors explore the planning, standardisation, and social function of these settlements in relation to similar projects in Budapest and across Hungarian and Croatian towns. A key finding is a 1903 official MÁV document confirming that housing in provincial towns was built to the same architectural and technological standards as in the capital, challenging previous assumptions of inferior quality. Situating these estates within the broader framework of railway-driven urbanisation, the study aims to elucidate MÁV’s coordinated architectural policy and the role of these settlements in the urban fabrics of Zagreb and Rijeka.

This paper deals with one of the most famous rewritings of Sophocles’s "Oedipus at Colonus", the "Gospel at Colonus" by Lee Breuer and Bob Telson, first performed in 1983. This will be a two-stage discussion. In the first part, a close analysis and comparison between some relevant parts of Sophocles’s text and Breuer’s one will be proposed to show the different strategies adopted by the modern playwright to "accommodate" the original pagan text into the totally new Christian-Pentecostal context staged. It will be argued that in the second part of the play the Christian afflatus of the rewriting intensifies, ultimately conveying Breuer and Telson’s final message of a possible conciliation between white and Black, paganism and Pentecostal Christianity. The second part will take a closer look at the figure of Oedipus and at his radical change from his past pagan condition to the newly obtained Christian power: from a vulnerable wanderer in search of a place to die in and have his sins forgiven to a symbolic redeemer of all humanity and dispenser of joy and hope for all the people gathered in the Pentecostal church and beyond.

Nel presente contributo prendo in esame la normativa prodotta nel Ducato di Parma, Piacenza e Guastalla alla fine del Settecento esclusivamente con riferimento alla compravendita delle cosiddette belle arti, con la finalità di operare un confronto con le leggi emanate sull'argomento da Maria Luigia D'Asburgo durante il suo governo (1814-1847); in quanto l'esempio parmense rappresenta la cartina al tornasole perfetta della volontà del legislatore europeo del tempo nel disciplinare i temi connessi alle belle arti, disciplina volta a ricercare un difficile equilibrio tra difesa del bello e controllo dell'arte. Infatti, se da un lato appare evidente l'interesse espresso per l'arte dalla sovrana, che incoraggia i lavori della Accademia, intende conservare le principali opere artistiche dello Stato, e favorisce il mercato degli artisti a lei contemporanei; dall'altro bisogna segnalare un altro volto della legislazione della duchessa, connesso a una disciplina liberticida e improntata alla censura.

The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, w...

The purpose of this paper is to describe the uniqueness of spatial arrangement of Wajo traditional villages in Nagekeo district, which is designed based on local wisdom. Traditional settlements in Indonesia have a spatial concept that has the potential to become the basis of contemporary architecture. The spatial arrangement of traditional settlements of Wajo village is interesting to disclose the principle and its constituent elements as one of Indonesia's architectural properties that maintaining local culture. The problem under study is the dominant (important) aspects underlying the spatial concept of traditional village settlements Wajo custom. The method used is to study literature in various writings on the spatial layout phenomenon of traditional settlements, as well as the elaboration of physical theories (structuring principles) and non-physical theories (identification and orientation) to find the dominant relationships that form the spatial layout of the Wajo traditional village. The analysis is based on Schulz's phenomenological paradigm and Salura's design principle theory. From the results of the analysis, it was found that the spatial concept of the Wajo traditional village is a relation of the perception of the surrounding environment, site, shape, figure and natural-cultural cycle influenced by dominant factors namely the topdown orientation (sacred and profane) and physical adaptation of the topography of the place, as well as elements binding (datum) in the form of tribal order (the existence of mosalaki), cultural symbols (customs), and spiritual (ancestors).

Oltre a rappresentare una testimonianza di straordinaria rilevanza per la conoscenza delle tecniche costruttive e dei principi teorici dell’arte di edificare secondo i Romani e i Greci, Il De Architectura di Vitruvio contiene un repertorio lessicale di notevole ampiezza e complessità, fondamentale per la ricostruzione del vocabolario architettonico antico e per l’indagine sul rapporto tra lingua, prassi edificatoria e trasmissione del sapere. Ma come si sono evoluti questi rapporti nel tempo? E in che modo è mutato il grado di comprensione dei termini vitruviani, influendo sulla loro trascrizione, traduzione e interpretazione?

Il convegno muove dal proposito di esplorare questi quesiti a partire da una prospettiva interdisciplinare, vagliando il lessico vitruviano nelle sue molteplici articolazioni: come riflesso di preesistenze archeologiche, come oggetto di analisi filologica e come aspetto della sua fortuna culturale.

2 Éduqué dans l'environnement libéral et fantaisiste de ses célèbres parents, le dessinateur populaire Okamoto Ippei 岡本一平 et la poétesse et romancière Okamoto Kanoko 岡本かの子, Okamoto Tarō se forma à la peinture aux Beaux-Arts de Tokyo. Installé en France à partir de 1929, il y découvrit l'art abstrait grâce aux oeuvres de Picasso en 1932, puis il étudia la sociologie à la Sorbonne sous la direction de Marcel Mauss. Mobilisé en Chine en 1942, il rentra au Japon en 1946 pour recommencer à peindre sur de nouvelles bases, son oeuvre d'avant-guerre ayant brûlé sous les bombardements. L'année 1946 marque ses débuts comme peintre et penseur des avant-gardes japonaises d'aprèsguerre. Inventeur de la théorie picturale du « bipôlarisme » (taikyokushugi 対極主義) en 1947, fondateur de divers collectifs d'avant-garde associant art et littérature, dont Yoru no kai 夜の会 en 1948 avec l'homme de lettres Hanada Kiyoteru 花田清輝, il ne cessera dès lors d'explorer les contours de l'art total. À ces préoccupations se joindront, à partir en 1948 avec l'homme de lettres Hanada Kiyoteru dès lors d'explorer les contours de l'art total. À ces préoccupations se joindront, à partir en 1948 avec l'homme de lettres Hanada Kiyoteru des années cinquante, l'exploration des liens de l'art avec le quotidien et avec la société, en vue de tenter de donner le jour à une forme d'art populaire en prise sur l'homme nouveau de l'après-guerre. Okamoto Tarō est mort en 1996, à l'âge de 85 ans. La médiatisation, entretenue par l'artiste comme une expression de cette forme d'art, a fi ni par occulter le rayonnement de sa pensée, exposée dans de nombreux écrits. Celle-ci peut apparaître, rétrospectivement, plus féconde pour l'histoire de l'art japonais que l'oeuvre plastique -exception faite d'une partie de l'oeuvre de l'avant-guerre et de l'immédiat après-guerre. Mais porter un jugement défi nitif sur l'oeuvre et la pensée semble prématuré, l'exploration de celles-ci demeurant fragmentaire. Médiatisé jusqu'à faire parfois fi gure d'histrion, le peintre Okamoto Tarō 岡本太郎 (1911-1996) 2 est familier du grand public, tant pour ses déclarations que pour son oeuvre picturale haute en couleur et à l'iconographie d'accès facile. Son oeuvre de pionnier, principalement ses liens avec les avant-gardes japonaises de l'après-guerre, bien que plus

Marianna Charitonidou’s book Architectural Drawings as Investigating Devices (2023) presents a survey and key insights into the recent history of representation in architecture. Marianna’s focus is through architects that challenged the discipline through key revolutionary drawings. With examples ranging from Le Corbusier’s Dom-Ino diagram to Mies’ collages, the book investigates insights into the Modern Movement. But it also includes certain tensions that make it relevant and interesting, for instance, John Hejduk’s axonometric projections experiments and Peter Eisenman’s formal axonometric diagrams are placed in contrast to Tschumi’s axonometrics. While Hejduk and Eisenman are presented as representational and formal, Tschumi’s drawings are rather political acts based on the semantics of the architecture program.

Yayınevinin yazılı izni olmaksızın, kitabın tümünün veya bir kısmının elektronik, mekanik ya da fotokopi yoluyla basımı, yayımı, çoğaltımı ve dağıtımı yapılamaz. Nobel Yayın Grubu, 1984 yılından itibaren ulusal ve 2011 yılından itibaren ise uluslararası düzeyde düzenli olarak faaliyet yürütmekte ve yayınladığı kitaplar, ulusal ve uluslararası düzeydeki yükseköğretim kurumları kataloglarında yer almaktadır.

Las tortas que se venden en Mercado Centenario
de Tepatitlán de Morelos, Jalisco, en el local
ubicado a la izquierda de la puerta oriente,
entrando por ésta, tienen ya casi un siglo de
tradición. Las inventó el señor Hermenegildo
Martín del Campo Franco, que nació el año de
1900. Estas tortas se conocen como “Tortas Don
Meregildo”, en honor a su creador.
La comida es parte inherente de la cultura
de un pueblo, la combinación de sabores, texturas
y colores son una representación simbólica
de la identidad compartida de una sociedad,
que se van tejiendo a la par que su historia.
Las manifestaciones culinarias se entrelazan
con los momentos históricos, como todas las
expresiones socioculturales, la gastronomía
se transforma y se adapta para responder a las
necesidades y gustos de los habitantes en determinado
espacio y tiempo, y sus transformación en lo que han variado es en que los chiles jalapeños ahora son
enlatados por marcas industriales, pero los demás ingredientes
siguen siendo de producción local e incluso artesanal, como el
pan, la crema y las zanahorias y cebollitas encurtidas.

In this article, I introduce a methodology based on the use of deep understanding, perception, and imagination with reference to courses taught in architectural and study abroad programs. Through the use of “tools” such as research, experience, and narrative, students learn how to explore and develop an understanding of a place through various versions of reality.
Can students reach a deeper (interpretative) understanding of the complexities of architecture? Are they able to grasp the connections between social life, spatial qualities and the environment? Can students develop/envisage/propose new contemporary sustainable ways of living based on their research and experience?
Stories/narratives connect language with mimetic actions, with habits that in turn connect our physical and mental experience with place, space, and the environment. This knowledge from within ourselves also involves emotions, connecting us with space and the environment. In this way, the architecture behind a built work may be regarded as the outcome of the broader complexity of life. How can different scales, spaces, materials and situations be made so as not to act as mere responses to an architecture and ways of dwelling through form and fashion? What is the social and ethical function of architecture as an essential record of architectural tradition in relation to people, place and environment? Students need the tools to understand and interpret the contemporary complexity and local traditions in modern life. Narratives that relate to places and communities, and draw on the experience and knowledge of the students, suggest a different way of engaging with the world and the creative process.

This overview of the history of urbanism in Serbia reveals the sustained and growing role of women architects in urban planning, design, and research from 1900 to 2015. Initially engaged in municipal projects, women assumed leading positions in the post-war reconstruction, socialist modernist planning, and expansion of Belgrade and other cities. By the 1960s and 1970s, they had become an indispensable creative force in major planning institutes and professional networks, and from the 1980s onwards, their presence in academia, research, and professional associations surpassed that of their male colleagues. Neoliberal transitions in the 1990s and 2000s redirected their activities toward non-governmental and supranational organisations, critical urban practices, as well as international consultancies and the academic diaspora. This long-term perspective emphasises both the institutionalisation and diversification of women's contributions to urban development, offering new insights into gender, professional, cultural and urban transformation in Serbia and the broader socialist and post-socialist context.

The fundamental issue concerning churches in Jakarta today is the loss of the sacred value of buildings, especially since the construction of church architecture in Indonesia still imitates and adheres to Westernism from colonialism. The Church of Cathedral "Santa Maria Pelindung diangkat ke Surga", Jakarta, was chosen in this study, because it is the main Catholic church in Indonesia and is a witness to the historical heritage of the Dutch colonial period. This research sets out a qualitative research method that employs a theoretical study approach to analysing the church building's surface structure, deep structure and direction of church building development. The novelty in this research is the idea of a design guideline for Catholic churches in Indonesia, which comes from the study of 'Surface Structure' and 'Deep Structure', in the form of structural form diagrams and Catholic church architectural theory. This is fundamental because the study of Catholic church architecture often focuses on styles, architectural styles, and decorative elements and does not even touch on Nusantara architecture. The findings of this theoretical study, based on qualitative research, indicate that Catholic church architecture must pay due consideration to the principles of tropical architecture that are applicable in this context: 1) Spatial structure, namely the composition of the physical structure, hierarchy, and spatial strata reflected in the volume as a spatial experience; 2) Landscape as a transitional space between humans and their creations; and 3) Architectural elements that direct the signs and symbols of the faith.

The chapter ‘Urban Life on the Water. Concepts, Models and Prototypes for Marine Habitats in Japan 1958-2025’ tackles the historical and urban conditions behind a series of cutting-edge architectural projects and city planning innovations in Japanese coastal cities developed since the 1950s after the resurgence of Japan following the end of the Pacific War.

Please submit your abstract for issue n. 19 of Studi e Ricerche di Storia dell'Architettura (the ERIH PLUS Journal of the Italian Association of Architectural Historians), focusing on the the coexistence – in every site, building, construction site – of textures, practices, and values belonging to different epochs, often incongruous, at times dissonant. Deadline: October 10, 2025 – Forthcoming June 2026

Passive solar design (PSD) embodies a perennial methodology for constructing sustainable and energy-efficient edifices that integrate with the surrounding nature. Utilizing the sun's plentiful and sustainable energy, passive solar solutions diminish dependence on fossil fuels, decrease energy consumption, and improve thermal comfort without mechanical devices. This chapter examines the principles of PSD, assesses the latest advancements in passive heating and cooling methods, and investigates their impact on energy efficiency and thermal comfort in structures. It
emphasizes tactics specifically designed for harsh climates, including both hot and cold environments, where severe temperatures and high solar intensity necessitate unique solutions, particularly for hot and arid conditions. Its relevance lies in its ability to address urgent global concerns, such as climate change and energy constraints, while creating healthier and more economical living areas. This chapter provides researchers, architects, and students with a thorough understanding of how passive solar principles can be smoothly incorporated into building design. The chapter gives professionals useful tools to maximize energy efficiency by exploring the mechanisms of heat flow—radiation, convection, and conduction—and how they are applied through building orientation, form, thermal mass, and natural ventilation. Additionally, it looks at climatic and microclimatic elements, providing information on how environmental circumstances influence design choices.This research is especially useful for people looking to design climate-responsive architecture. Architects will receive advice on how to design buildings that balance aesthetic, functional, and environmental objectives, while students will obtain a basic understanding of sustainable design principles. Researchers can use the precise classifications of passive solar heating and cooling systems. This chapter provides a roadmap and actionable insights for designing buildings that minimize energy needs while maximizing occupant comfort, with an emphasis on solutions specific to hot and arid areas. Finally, it emphasizes the vital role of PSD in crafting a sustainable future and empowers its readers to contribute to ecologically responsible architecture, especially in hot and arid areas.

This paper argues for a much broader role of Green Building by emphasising the relevance of spiritual aspect to its practice values. It focuses on a worldview that is grounded in Islamic intellectual tradition that promotes a holistic vision of sustainability with three major aims. Firstly, it is to present a critical evaluation of the secular view of current Green Building practice that relies on rating systems as a measurement of value. Secondly, this paper seeks to highlight the fact that the spiritual aspect is absolutely essential, which seems to be the underlying quality that is missing in today’s society. We have lost the spiritual understanding of nature that has been embedded in our tradition, particularly in the traditional Malay architecture. Lastly, it is to provide an alternative worldview by learning from the tradition that holds the most promise for sustainability. It connects revelations that contain a spiritual message for humans with its symbolic cosmology with all...

Kollhoff. La sorprende che gli architetti si interessino alle sue idee sull'architettura e i problemi urbani? Wenders. Mi sorprenderebbe se la domanda si riferisse in particolare all'architettura. Però i problemi urbani, che mi interessano molto, sono un'altra cosa. Credo che i miei film lo dimostrino. Penso che i film siano un prodotto e insieme una parte dell'ambiente urbano, così come la musica. Gli architetti che si interessano di urbanistica dovrebbero essere informati sul tipo di musica che si ascolta, l'arte che si fa, i film che si girano. Altrimenti come potrebbero parlare di urbanistica? Kollhoff. Ci sono indizi in questo senso che mi affascinano e mi hanno portato alla conclusione che i cineasti hanno formulato determinate questioni con maggiore precisione, con un'attenzione più profonda e persino prima che le pensassero gli architetti o gli urbanisti, ammesso che lo abbiano mai fatto. Una volta lei osservò che «a volte si può accettare che l'industria del cinema non possa permettersi l'idealismo, però ciò che non si può tollerare è il disprezzo verso lo spettatore e verso la realizzazione del film. Bisogna mettere un freno a tutto ciò». A riguardo, lei ricorda L'amico americano. Dice che questo film non ha un contenuto politico esplicito, ma non è alienante, i personaggi non sono manipolati e dunque nemmeno gli spettatori lo sono. Afferma che questo film tratta principalmente l'idea del cinema come puro divertimento. Si potrebbe avvicinarla all'idea di un'architettura che diverte, che non si prenda sui serio, come fa attualmente. Wenders. Si, certo. Occorre fare un salto per passare dal parlare di film che hanno a che fare con l'architettura a discutere direttamente di architettura. Ho l'impressione che il principale punto d'incontro fra le due arti sia il denaro, ma le accomuna anche la loro natura di arti che trattano un tema che interessa alla maggior parte della gente: "come si dovrebbe vivere?". Il cinema risponde in un modo diverso dall'architettura. L'architettura si pone il problema sempre e in un modo più concreto, a lungo termine. In ciò che si costruisce occorre vivere realmente. Nel cinema ci si pone interrogativi cui si risponde solo a volte. Nell'architettura la domanda e la risposta è una e "per tutta la vita". Nel cinema, grazie a dio, non è questo il caso e uno può uscire quando vuole. Invece, una volta costruita una casa, la gente deve starci dentro. Nella città, una volta strutturata in una certa maniera, ci sono centinaia di migliaia di persone intrappolate. Naturalmente si vive diversamente con l'architettura che con il cinema, ma pongono la stessa domanda: "come si dovrebbe vivere?" (naturalmente l'industria del divertimento non si chiede mai questa cosa a priori). In un'altra occasione ho detto che non esistono film apolitici, ma che tutti, in particolare quelli destinati a divertire, hanno un gran peso politico. Sicuramente, quanto meno politico vuol essere un film, più lo è. E aggiungerei, se l'architettura non dà risposta alla domanda: "come si dovrebbe vivere?", perderà il suo significato e aumenteranno le possibilità che qualcuno ne paghi le conseguenze. Che si intende per architettura che diverte rispetto all'industria dello spettacolo? È un tipo di architettura disegnata per piacere al maggior numero di gente possibile con la minore resistenza possibile per ottenere il massimo dei benefici, essendo sempre giustificata perché

The United Arab Emirates (UAE) has made significant progress in developing its heritage and handicraft industries over the past decade. However, the changes since its establishment in 1971 have reshaped its heritage landscape. Two key handicrafts, the madkhan and jerz, are highly valued for their authenticity in Ras Al Khaimah, Fujairah, and the Musandam Peninsula in northern Oman. Their resurgence in contemporary culture by heritage associations and locals in the northern emirates reflects the UAE’s commitment to preserving both tangible and intangible heritage. Although seemingly unrelated, these crafts are intertwined in the minds of their makers, forming part of a shared manufacturing tradition in the region. This policy paper provides an overview of the madkhan and jerz’s origin, production, and display as traditional artifacts of Ras Al Khaimah. It also proposes measures for national and local museums and community representatives to protect and nurture these crafts from endangerment.

Mimar Cengiz Bektaş, yaz okulu düzenlemek için yer arayışı içindeyken 1994 yılında Balıkesir'in Edremit ilçesi Güre Mahallesi'nde, zeytin toplayan işçilerin kaldığı kerpiçten yapılma iki oylum, bir ahırdan oluşan mekanların bulunduğu araziyi satın almıştır. Bu arazi, hem doğası hem de mevcut yapılarıyla Bektaş'ın tasarım anlayışına ve eğitimi pratikle birleştirme hedeflerine uygun bir alan sunmaktadır.

Dans ce rapport d'étude, j’explore comment Toyo Ito réinterprète la nature à travers la Médiathèque de Sendai, en mettant en lumière son approche singulière de l’architecture contemporaine. J’analyse les concepts, les matériaux et les formes.

The controlling of the building climate requires an immense energy consumption worldwide. In modern buildings, the heating energy amount can be reduced into reasonable level by the use of building insulation and low u-value facade parts. In most countries the energy needed for building cooling is a significant amount of the total building energy consumption. At office buildings the necessary cooling energy often exceeds the consumed heating energy. Therefore modern building may use a variety of shading systems to reduce the input of solar radiation into the rooms. Beside manually operated systems especially electronically operated ones seem to be the future standard in buildings. Despite their huge comfort and efficiency these electronically operated systems are often limited to higher standard buildings and wealthier regions. Therefore this paper describes as intermediate results of an ongoing research project several concepts of the integration of energy autonomous shading and ventilation systems. All of them base on the use of temperature sensitive shape memory alloy as actuator for the moving of mechanical components. They do not need any electrical energy or electrical components, like controllers, motors or infrastructure. The concept is demonstrated in various applications from shading blinds, shading lamellas, night cooling ventilation or forced ventilation for necessary room air exchange. Promising main applications, as night cooling or shading lamellas are investigated and demonstrated in lifesize mock-ups.

The controlling of the building climate requires an immense energy consumption worldwide. In modern buildings, the heating energy amount can be reduced into reasonable level by the use of building insulation and low u-value facade parts. In most countries the energy needed for building cooling is a significant amount of the total building energy consumption. At office buildings the necessary cooling energy often exceeds the consumed heating energy. Therefore modern building may use a variety of shading systems to reduce the input of solar radiation into the rooms. Beside manually operated systems especially electronically operated ones seem to be the future standard in buildings.Despite their huge comfort and efficiency these electronically operated systems are often limited to higher standard buildings and wealthier regions. Therefore this paper describes as intermediate results of an ongoing research project several concepts of the integration of energy autonomous shading and vent...

İkamet etme biçimimizin, yeryüzü ile kurduğumuz ilişkinin, sorgulanır olmaya başladığı kapitalosen dünya düzeninde mimarlık üretiminin sahip olduğu/olabileceği statik bakış geçerliliğini yitirmeye başlamıştır. Buna göre insanlığın yüzleştiği antroposen çağı tahayyülleri alternatif oluşlar üzerine 'ya eğer' sorusunu sormayı gerekli kılmış, insan ve insan olmayanların ilişkiselliği tartışmaya açılmıştır. İnsanın merkeze alındığı günümüz kavramlarının geçerliliğini yitireceğini iddia eden antroposen yaklaşımında ise öznenin pozisyonu üzerine eleştirel bir duruş sergilemektedir. İnşa edilmeye çalışılan yeni ontolojik bakışta da insanın, bulunduğu ev sahibi pozisyonundan yerinden edimi ile insan olmayan tüm faillerle aynı dayanışma halkasına dahil edilmesi hedeflenmektedir. İnsan için yapımı merkeze alan "ideal" mimarlık üretimi arayışının ilişkiselliği hedefleyen tutumunun aksine, oyuna girecek aktörlerin her an değişeceğini hesaba katan bir anlayış mimarlığın "ideal" tanımına ne denli gölge düşürecektir? Ya da şeylerin birbirleriyle kurduğu ilişki ile anlamlı bir zemine oturacağını kabul eden korelasyoncu mimarlık bakışının aksine, ilişkiselliği arka plana alan, bu sayede özneyi ve nesneyi aynı ontolojik düzlemde değerlendiren bir mimarlık yaklaşımının gelecek anlatılarına vaat ettikleri neler olabilir? Nitekim, mimarlık nesnesi üzerine yeni bir mimarlık kavrayışı ortaya koymayı hedefleyen nesne yönelimli mimarlık, spekülatif realizm yaklaşımının söylemlerini temel alarak mimarlık nesnesinin otonom olduğunu iddia etmektedir. Bahsedilen bu otonomluk öznenin tahakkümü altında, otör bir mimar figürü ile üretilmiş korelasyoncu mimarlık anlayışını reddederek, yeni ilişkileri dinamik tutmayı hedefleyen "kopukluk" kavramının izini sürmektedir. Dolayısıyla bilinmeyenin bilgisine ulaşabilmek için olasılıklar evreninde alternatiflerin birlikteliklerine ihtiyaç vardır. Ancak bu birliktelikler hiçbir zaman tek bir ilişkiden ibaret olmamalıdır. Nesnenin öznenin hiyerarşisinde olmadığı nesne-özne ikiliğinin ortadan kalktığı, öznelerin birer nesne, nesnelerin ise birer özne pozisyonunda söz söyleyebileceği heterarşik bu üretim pratiği, ilişkiselliği muğlaklaştırarak spekülatif bir mimarlık anlayışı tariflemektedir. Bu muğlaklık bahsedilen statik mimarlık tavrını dışarıda bırakır duruşu ile kapitolosen krizlerine karşı çözüm üretebilecek esneklikte, ilişkisellikleri romantikleştirmeyen, sonsuz olasılıklar evreninde geleceğin alternatif durumlarına karşı açık uçlu 'kopuk' bir mimarlık tariflemeye zemin hazırlamaktadır. Bu bağlamda gerçekleştirilen bu çalışmada, mimarlık nesnesinin statik tavrını reddeden kopuk mimarlık kavramsallaşması üzerinden, spekülatif bir mimarlık anlayışı geliştirmeye çalışan Güney Kaliforniya Mimarlık Enstitüsünün (SCI-Arc) teorisyenlerinden/pratisyenlerden Tom Wiscombe, Gilles Retsin ve Peter Trummer'ın çalışmaları spekülatif tasarım pratiklerini anlamak adına literatür araştırması kapsamında odağa alınmıştır.

Technology and automation in the field of cultural heritage provide an opportunity for the restoration of historical buildings that would otherwise remain abandoned and overlooked amid the current development of cities in Latin America. The present paper proposes the restoration and regeneration project to transform an abandoned former prison in the city of Melipilla, Chile, into a public library, upgrading and opening its spaces to the public and making contemporary use of this crumbling landmark that has a high potential of social renovation. The case study is the repurposing of a building of considerable cultural interest, neglected in an historical central urban tissue, by creating a new function and demonstrating the feasibility of upgrading an older structure to comply with current parameters of indoor environmental quality (IEQ) (i.e. light intensity and thermal comfort) through the appropriate use of passive energy controlled by means of a digital twin approach and automation of adaptive measures.

The set of seventeen monumental stone sculptures decorating the unique space of the sala terrena of the Archbishop’s Castle in Kroměříž has long attracted the attention of art historians thanks to its exclusive iconographic programme. This study presents findings regarding the authorship of the hitherto anonymous sculptures, and interprets them primarily within the context of the social connections of the community of artists from Lake Lugano and adjacent regions migrating across Europe in the early modern period. The sculptural ensemble was created by Fedele Raggi (c. 1637–1693), brother of the important sculptor and plasterer of the Roman Baroque, Antonio Raggi (1624–1686). Although the Raggi family settled more permanently in Rome during the course of the 17th century, they originally came from Vico Morcote on the shores of Lake Lugano, and maintained close ties with that community. Thanks to various clues and contexts, it is possible to place Fedele Raggi’s presence in Kroměříž within the coordinates of the structures of one of the artistic networks of those migrant masters who worked for the Bishop of Olomouc and Prince Karl of Lichtenstein-Castelcorno (1624–1695). The text also draws attention to a possible connection between Raggi’s time in Kroměříž and Baldassarre Fontana. This plasterer from Chiasso was strongly influenced not only by Bernini, but also by his compatriot Antonio Raggi, whom he probably knew personally from Rome. The study provides all the known information on Fedele Raggi, including the discovery of a similarly extensive set of sculptures recently attributed to Fedele in the Palazzo Crotta in Agordo. A substantial part of the study is given over to the contextualisation of Fedele’s activities in Kroměříž and, in particular, a consideration of the commissioning strategies of Bishop Karl of Lichtenstein-Castelcorno.

In recent years, several cross-shaped structures have been discovered in Central Asia in the territory of Uzbekistan and Kazakhstan. Scientists associate this area with the ancient state of Kangju also called Kang or Kangha. There are cross-shaped structures in Kangju the purposes of which are unknown. Many researchers have made efforts to understand these structures of Kangju, to no avail. Instead, there are different interpretations. Some believe that they were cult buildings, while others suggest that they are fortifications. In this context, this article examines two crossshaped buildings in Tashkent: Shashtepa and Mingurik in order to establish their origins and the purposes. The study uses a comparative analytical method within the framework of case studies as an approach. To obtain data, three research methods were used: a survey of literature, comparisons with analogies and interviews. The article concludes that the cross-shaped buildings of Kangju, Shashtepa and Mingurik in particular, are religious buildings. Their original layouts, similar to the ancient Eastern mandala, comprise similar symbolism and reflect the sacred nature of these buildings. Shashtepa of the 2nd century BC is currently the oldest cross-shaped building in the region under consideration. Hence, it is obvious that it was the prototype of other cross-shaped layouts of Kangju. This monument, which has chronological priority and the form of an "ideal temple", absorbed the ideological ideas of the common Indo-Iranian space that had been formed over thousands of years. The further spread of cross-shaped buildings outside the Tashkent oasis indicates the development of this type of building and the possible expansion of the Kangju state.

Since urban morphology was first established as theories and methods in the 1950s and 1960s, architects and planners have sought to apply it to urban regeneration. The Italian school of urban morphology led Aldo Rossi to develop a typological approach to citymaking in the late 1960s. Giancarlo De Carlo built on urban morphology's methods of analysis and sought to the community participation it called for in his work in the 1970s through the 1990s. De Carlo, a founder of Team X, hoped to use urban morphology to transform urban regeneration, demonstrating this possibility in projects at Urbino and Genoa, and establishing the International Laboratory of Architecture and Urban Design (ILAUD) as a vehicle for making this happen. Despite these efforts, urban morphology proved difficult to apply in the real world of urban regeneration. In the 1990s, Space Syntax emerged as an offshoot of the British school of urban morphology, focusing on urban analyses of cities that could be carried out using data analytics. In 2003 and 20l5, respectively, urban acupuncture and tactical urbanism were put forward as ways to simplify urban morphology's methods and focus on interventions at different scales as the medium of its application. Today, artificial intelligence (AI) has the potential to make urban morphology actionable and transform urban regeneration, as De Carlo hoped. This article reviews this history and offers a prognosis.

Stone is a hallmark of architecture in Jordan. It is a local material, and its use has taken different roles in architectural design. It is used as mere sheathing and serves no major structural function, but it usually forms part of load-bearing walls. As such, the architect is at great liberty in its use in buildings. Yet, its use has had implications for the designer and the design approach. In numerous cases, it has been used as ornament with a rhetorical function; while, at other times, it has acted as a form-giver, delimiting and circumscribing the designer's choice of forms. In more contemporary usage, it has been contrasted with steel and glass to produce a contrast of old and new. This study traces these uses in Jordan since the 1950s and contributes to the long-standing debate about the nature and use of materials in architecture and their influence on architectural design.

A spirited abecedarium-style book that shows how architects have engaged with animals as references and metaphors in modern and postmodern architecture.

In The Architect and the Animal, 26 different architects look at how 26 different animals, from A to Z, have found their way into modern architectural discourse. The animal was typically approached in this discourse not through its various cultural or symbolic identities but as a body examined under a formalistic scientific lens. In this volume, the authors explore a less operative—and more meaningful—understanding of animal references and representations in twentieth-century architecture. Both playful and serious, there is nothing quite like this book.

Hardcover
ISBN: 9780262049696
Pub date: November 25, 2025
Publisher: The MIT Press
160 pp., 8 x 10 in, 5 color photos, 23 color illus.

Animal creatures have been lurking around the world of modern architecture, hiding in plain sight, for over a century. The Architect and the Animal captures their impact and importance in a delightfully whimsical repertoire. In vignette after vignette, the usual parade of famous designers and buildings is rendered strange again, becoming a novel and surprising festival of surrealism, biomorphic form, and alternative political imaginations.
~Lucia Allais, Associate Professor and Director of the Buell Center, Columbia University

As this riveting lexicon shows, the animal inhabits the history of modern architecture not just as an inspiration, a model, or a symbol, but as an intercessor to alternative mythographies and topologies.
~Maarten Delbeke, ETH Zurich

Reparation is the new restoration. In its ethical approach it exemplifies a different attitude towards the built environment and the concept of conservation. Expanding on Wilfried Lipp’s notion of the “repair society” as the guiding principle for the 21st century, reparation goes beyond the pragmatic and material nature of restoring damaged goods to making right what was wrong in a broader sense. As such, it has the potential to define an innovative approach to adaptive reuse, highlighting its social or political dimension and linking it to the current debate on decolonisation.

Edite dal Percopo nel volume di lettere «a principi ed amici» del 1907, tre note missive di Giovanni Pontano, scritte tra il 1493 e il 1495, si configurano non solo come preziose testimonianze storiche sulla percezione dell’impatto dell’avanzata francese nella corrispondenza coeva, ma anche come veri e propri memoriali di carattere politico. Il tema centrale che le accomuna è la rapida discesa in Italia di Carlo VIII, evento che minacciava di destabilizzare ulteriormente i già fragili equilibri politici della penisola.
Sebbene Pontano non avesse mai raccolto le sue lettere in un liber organico e compiuto - consuetudine diffusa tra gli umanisti dell’epoca - il suo epistolario privato si distingue nettamente all’interno del vasto corpus di missive redatte per conto dei sovrani aragonesi. Queste lettere si rivolgono sempre a interlocutori di rilievo, riflettendo il ruolo di primo piano che Pontano occupava all’interno della corte e della società napoletana.
La lettera del 12 ottobre del 1493, scritta ad Aversa, durante l’imperversare della peste a Napoli, è un attento esame delle posizioni dei vari stati italiani nei confronti di Ferrante d’Aragona alla vigilia della discesa di Carlo VIII. La seconda missiva, indirizzata - come dimostrato dal Percopo - ad Alfonso II d’Aragona, è datata 11 luglio 1494, nel momento in cui gli eserciti francesi avevano appena cominciato l’invasione della penisola. La terza missiva, indirizzata a Ferdinando II d’Aragona, porta la data del 9 febbraio 1495, pochi giorni prima dell’ingresso di Carlo VIII a Napoli.
Se nella prima lettera Pontano si concentra su suggerimenti diplomatici, esortando il sovrano a monitorare e prevenire le mosse dei propri avversari utilizzando ancora soluzioni diplomatiche, nell’ultima il tono muta sensibilmente. Qui Pontano assume un atteggiamento più deciso, fornendo consigli tattici e strategici in vista di una risposta militare all’invasione francese. I suggerimenti di natura militare si riferiscono non solo alle modalità operative da adottare, ma anche alla gestione complessiva del conflitto in relazione alla gravità del momento storico. L’obiettivo ultimo di Pontano, in questo contesto, è opporre un’estrema resistenza all’avanzata nemica, cercando al contempo di limitare al massimo i danni per il sovrano e per il Regno.

The paper compares two remarkable fortified historic towns namely Rhodes Town (Rhodes) and Valletta (Malta). In history the two cities were the seats of the Knights of St. John, a formidable military force in the Mediterranean (1306 to 1522 and 1530 to 1798, respectively). Both still possess a rich urban heritage including extensive fortifications. Both are listed as World Heritage Sites. Both are dynamic urban centres and important tourist destinations. The paper compares the similarities and differences on matters of planning and conservation. In particular it will consider to what extent conservation initiatives enable the two cities to cope with modern-day urban and tourism pressures.

La storia / Le storie Benedetto gravagnuoLo L'interminabilità degli interrogativi e i limiti dell'interpretazione Werner oeChsLin L'architetto moderno e la storia FranCo purini Architettura e storia tra finalismo e casualità andrea Branzi Un Rinascimento inquieto vinCenzo Fontana Per una storia concreta dell'architettura MarCo spesso Le forme e lo spazio geografico. Architetture del dominio genovese in Corsica 1571-1768 CapitoLo iii Le storie speciali giuLio pane La storia dell'architettura "come pensiero e come azione"

The article analyzes the experience of participation of MARHI stu
dents in the Commercial oikodomonym business game, which modeled socio professional interaction and was intended for mastering basic skills of the architect’s socio-communicative competence. The external social environment was represented by future applicants. They participated in the selection of oikodomonim, the architectural object designed by the students. In this way, the students had the  opportunity to “try on” the commercial function of the architect, making the building
recognizable and attractive through the name.

Este libro es un estudio monográfico, rigurosamente documentado, sobre el arquitecto Lorenzo Joseph Rodríguez de Spíndola. Nacido en Guadix en 1701, viajó a la Nueva España en 1730, donde se consolidó como una figura clave en la arquitectura novohispana del siglo XVIII y un impulsor de una modalidad estilística que se extendió por todo el virreinato.
A través de una revisión inédita de sus orígenes, se analizan sus primeros años en Andalucía y su posterior establecimiento en la Ciudad de México. Asimismo, se examinan su formación y las influencias artísticas en los ámbitos hispánico y novohispano, fundamentales para comprender su proceso creativo. Rodríguez de Spíndola poseía un dominio excepcional de los principios teóricos y técnicos, reflejado en obras de gran relevancia, como el Sagrario de la Catedral de México.
Este estudio analiza dicha edificación desde perspectivas histórica, constructiva, espacial y estética, destacando su complejidad formal y las fuentes arquitectónicas que influyeron en su diseño. Se examinan los tratados de arquitectura que sustentaron su propuesta, evidenciando cómo logró articular una visión innovadora y sofisticada en cada detalle de su obra.

This  article  prioritizes  the  concept  of  public  space  as  a  virtual  domain  rather  than  focusing on its physical attributes. Through Peter Eisenman’s Cannaregio Town Square (1978), the text seeks to question the notion of “space,” using a project that engages with absences rather than presences within the urban context of Venice. Just as the elements utilized  are  not  presented  in  their  physical  state,  the  project  itself  is  not  intended  to  be constructed. In this sense, it can be understood as an architecture that originates from  a  virtual  context  and  returns  to  it,  positioning  drawing  as  the  tool  capable  of  manipulating these absent elements (sometimes referred to as mnemonic or spectral throughout  the  article)  and  of  realizing  it  as  architecture  on  its  own  right.  To  do  so,  the  text  is  divided  into  three  parts:  first,  it  addresses  the  circumstances  surrounding  the project’s development; then, it explores its conceptual contributions; and finally, it discusses its formulation as space. The aim is to critically examine the creation of this “space,” framing it as an urban memorial, even if not a tangible one.