Search

Window views can enable restorativeness. Previous studies define characteristics of natural environment that trigger restorativeness, but fewer studies are dealing with restorative characteristics of urban environment. The purpose of this study is to identify qualities that enable restorativeness in natural and urban window views. Using a questionnaire survey as a method for obtaining the research data, responses of architectural students are analysed. To identify restorative potential in window views evaluation method according to Kaplan’s Attention Restoration Theory (ART) is used. Additional evaluation method for urban views is applied using Lynch’s theory of designing urban space that people can enjoy. Our findings show that urban views can be analysed according to Lynch’s visual qualities to identify the restorative potential of urban environments. Our findings also show that Lynch’s criteria may coincide with Kaplan’s criteria for assessing restorativeness. To define restorative potential in urban views in an early design phase, new evaluation methods are needed to transcend the renowned Kaplan’s Attention Restoration Theory into more approachable design mechanisms for designers and decision makers. Well-being of the inhabitants in a future dense urban environment will only be provided with an adequate window view.

Fotorealizam se javlja krajem 60-ih i početkom 70-ih godina u Sjedinjenim Američkim Državama sa središtem u New Yorku. Trgovac Louis K. Meisel osmislio je ime stilske pojave i svojim radom obuhvatio priznate fotorealiste na području SAD-a, ali i šire. Formirana skupina fotorealista kategorizirana je prema odabiru tema zbog svoje usredotočenosti na određenu temu ili motiv. Mediji su znatno utjecali na to kako fotorealisti percipiraju svoje okruženje i odabiru motive. Fotografija je prenamijenila sliku i pružila joj detaljni uvid u ono što je nevidljivo i prolazno ljudskom oku. Umjesto borbe s pojavom novih medija, umjetnici su odlučili surađivati i koristiti tehnologiju u obliku pomoćnog sredstva. Photorealism occurs in the late 1960s and early 1970s in the United States with its center in New York. Merchant Louis K. Meisel coined the name of the stylistic phenomenon and in his work included renowned Photorealists in the United States and beyond. The formed group of Photorealists is categorized according to the choice of themes because of their focus on a particular theme or motif. The media have significantly influenced how Photorealists perceive their environment and how they choose motives. The photograph repurposed the image and gave it a detailed insight into what is invisible and transient to the human eye. Instead of fighting the emergence of new media, artists have excelled at collaborating and using technology as an aid.

In 1799 the architect Juan López Freire, son, made the first engraving of a view of the city of Santiago, looking towards its western façade. This panorama is of undeniable interest to the history of Compostela, as it is the first graphic record of ‘Monumental Santiago,’ the result of a series of new constructions and interventions in the urban layout that took place during the 16th, 17th and 18th centuries. This article is dedicated to the location where the preparatory sketches were made, and to identifying each of the buildings shown. En 1799 el arquitecto Juan López Freire, hijo, lleva a la estampa la primera vista impresa de la ciudad de Santiago, su frente occidental. La panorámica presenta un interés ineludible para la historia de Compostela, constituyendo el primer testimonio gráfico del Santiago Monumental, resultado de las nuevas construcciones e intervenciones en el entramado urbano llevadas a cabo en los siglos XVI, XVII y XVIII. En el presente artículo se reconoce el lugar desde donde se han hecho los bocetos preparatorios, concretamente Sarela de Abaixo, y se identifican uno por uno los edificios representados, definiendo la iconografía arquitectónica de la Compostela del setecientos. [gl] En 1799 o arquitecto Juan López Freire, fillo, leva á estampa a primeira vista impresa da cidade de Santiago, o seu frente occidental. A panorámica presenta un interese ineludible para a historia de Compostela, constituíndo o primeiro testemuño gráfico do Santiago Monumental, resultado das novas construcións e intervencións na estructura urbana levadas a cabo nos séculos XVI, XVII e XVIII. No presente artigo localízase o lugar dende onde se fixeron os deseños preparatorios, concretamente Sarela de Abaixo, e identifícanse un por un os edificios representados, definindo a iconografía arquitectónica da Compostela do setecentos.

En este artículo se da a conocer una vista panorámica inédita de la ciudad de Santiago de Compostela que fue realizada en 1666 por un integrante del séquito del 1er Conde de Sandwich con ocasión de su desembarco en el puerto de A Coruña para dar comienzo a su viaje de embajada a España. Pese a no tener un carácter excesivamente realista, la vista posee, no obstante, un interés indudable, dada la escasez de representaciones pintadas que existen sobre la Ciudad Apostólica en ese tiempo.

In 1799 the architect Juan López Freire, son, made the first engraving of a view of the city of Santiago, looking towards its western façade. This panorama is of undeniable interest to the history of Compostela, as it is the first graphic record of ‘Monumental Santiago,’ the result of a series of new constructions and interventions in the urban layout that took place during the 16th, 17th and 18th centuries. This article is dedicated to the location where the preparatory sketches were made, and to identifying each of the buildings shown.En 1799 el arquitecto Juan López Freire, hijo, lleva a la estampa la primera vista impresa de la ciudad de Santiago, su frente occidental. La panorámica presenta un interés ineludible para la historia de Compostela, constituyendo el primer testimonio gráfico del Santiago Monumental, resultado de las nuevas construcciones e intervenciones en el entramado urbano llevadas a cabo en los siglos XVI, XVII y XVIII. En el presente artículo se reconoce el lugar desde donde se han hecho los bocetos preparatorios, concretamente Sarela de Abaixo, y se identifican uno por uno los edificios representados, definiendo la iconografía arquitectónica de la Compostela del setecientos. [gl] En 1799 o arquitecto Juan López Freire, fillo, leva á estampa a primeira vista impresa da cidade de Santiago, o seu frente occidental. A panorámica presenta un interese ineludible para a historia de Compostela, constituíndo o primeiro testemuño gráfico do Santiago Monumental, resultado das novas construcións e intervencións na estructura urbana levadas a cabo nos séculos XVI, XVII e XVIII. No presente artigo localízase o lugar dende onde se fixeron os deseños preparatorios, concretamente Sarela de Abaixo, e identifícanse un por un os edificios representados, definindo a iconografía arquitectónica da Compostela do setecentos.