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Copyright of International Journal of Professional Business Review (JPBReview) is the property of Open Access Publications LLC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article's primary objective is to illustrate how an understanding of the historical and cultural context of a location can significantly enhance students' academic workshops, fostering interdisciplinary knowledge acquisition and aiding them in designing projects for international architectural competitions. Frequently, such projects tend to conform to global trends, often imitating fashionable patterns without regard for the local context, traditions, or cultural nuances. The first section of this article describes the methodology employed in international student workshops. The second section delves into the application of the problem-based learning method (PBL) when conceiving projects for architectural competitions, emphasizing the importance of factoring in historical and cultural heritage when selecting design concepts. The third section provides a comprehensive analysis of the workshop outcomes and initiates a discussion on the pivotal role of historical context and the significance of cultural awareness in this educational context. [ABSTRACT FROM AUTHOR]

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses the architectural design process by exploring different theoretical and practical perspectives. It analyzes issues such as user participation, the relationship between theory and practice, the pursuit of a universal architectural language, and the importance of theoretical grounding and practical experience through the contributions made by architect Elvan Silva, theorist Christopher Alexander, and architect Le Corbusier. Additionally, elements such as contextualization, aesthetics, sustainability, and accessibility in the development of significant architectural projects are discussed. The article highlights the dynamic and interconnected nature of the design process, emphasizing the importance of continuous dialogue among the involved parties. The ultimate aim is to create architectural spaces that meet the needs and aspirations of people while becoming harmoniously integrated into the urban context.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The exhibition dedicated to the 80th anniversary of Andrey Vladimirovich Bokov opened on the day of his jubilee, 26 September, at the Pushkin State Museum. Two parts of the exhibition included two components of A. V. Bokov’s creative activity – architectural graphics and collages composed of photos of his realised projects.

Copyright of Revista Proyecto, Progreso, Arquitectura is the property of Proyecto, Progreso, Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the architectural works of the leaders of the Russian avant-garde, the most acute innovative proposals are implemented without violating the framework of the historically established value-civilization format. This is especially vividly reflected in the famous project of the tower by architect V. Tatlin (1919), in the project of “The Red Pavilion” in Paris by architect K. Melnikov (1925) and especially in the competitive projects of the building of the People’s Commissariat of Heavy Industry (Narkomtiazhprom) on Red Square by architects Konstantin Melnikov and Ivan Leonidov (1934). Guided by deep traditional ideas, the authors sought to spiritualize the new building of the People’s Commissariat of Heavy Industry on the main square of the country. Developing the centuries-old theme of Moscow architecture – the idea of unity and salvation of the world – the avant-gardists of the 20th century embodied it anew, on a different scale and with new means. В архитектурных произведениях лидеров Русского авангарда самые острые новаторские предложения развёрнуты без нарушения рамок исторически сложившегося ценностно-цивилизационного формата. Особенно ярко это отражено в известном проекте башни архитектора В. Татлина (1919), в проекте «Красного павильона» в Париже архитектора К. Мельникова (1925) и особенно – в конкурсных проектах здания Народного комиссариата тяжёлой промышленности (НКТП) на Красной площади архитекторов Константина Мельникова и Ивана Леонидова (1934). Ведомые глубинными традиционными представлениями, авторы стремились одухотворить новостройку НКТП на главной площади страны. Развивая многовековую тему столичной архитектуры – идею единения и спасения мiра, – авангардисты ХХ века воплотили её заново, в иных масштабах и новыми средствами.

Kamu erişimine açık yapılar olan “kamusal mekân” niteliğindeki hizmet binaları herkes için ortak ve erişilebilir alanlar olarak tanımlanmaktadır. Kamusal mekân, kamunun isteklerine göre şekillenen aynı zamanda bir kurumun kontrol ve idare ettiği mekânlardır. Kamu hizmet binalarının taşıdığı devlet erkinin eksenindeki sorumluluk, kullanıcı ile kurulan ilişkide belirleyici olmaktadır. Tapu ve Kadastro Müdürlüğü Hizmet Binaları, arşivlerinde mülkiyet bilgilerini saklayan, servis mekânlarında kamuya hizmet sunan, ofis mekânlarının da olduğu kamusal yapılar olmalıdır. Bu araştırmanın kapsamı kamu hizmet binaları mekânsal kurgu ve organizasyonu ile mimari proje tasarım süreçlerinin Rize Tapu ve Kadastro Müdürlüğü Hizmet Binası üzerinden tanımlanmasıdır. Tasarımı biçimlendiren ve işlevselliği sağlayan gereklilikler, yapının mimarisiyle birlikte açıklanmıştır. Çalışmanın amacı, tasarım sürecinin bilgiye dönüştürülmesi ve bu süreçteki deneyimlerin paylaşılmasıdır, bu aynı zamanda bir süreç tasarımını kapsamaktadır. Mekânsal kurguyla birlikte mimari tasarım sürecine odaklanan bu çalışma, benzer nitelikteki yapılar için ihtiyaç programı oluşturulmasında ve mekânsal organizasyonları için kaynak teşkil edecektir.

Copyright of Revista CPC is the property of Revista CPC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of NEU Journal of Faculty of Architecture (NEU-MFD) / YDÜ Mimarlık Fakültesi Dergisi is the property of NEU Journal of Faculty of Architecture (NEU-MFD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents the first results of an ongoing survey of photographers and photographic studios in 19th and early 20th-century archival records created by the municipality of Bucharest, Romania. Following the gradual development of urban regulations in the 1830s and 1840s, any construction work carried out within the boundaries of the city was subjected to a formal building permission handled by the municipal architect, and later by the Technical Department of the municipality. This pertained as well to the construction of studios or the alteration of pre-existing structures in view of accommodating a photographic studio. The archival fonds thus generated provide us with a largely untapped primary source for the history of photography in Bucharest. The archival records discussed in this paper concern two of Bucharest's foremost photographers in the 19th century, Carol Szathmári and Franz Duschek. Corroborated with cartographic material and press sources, the retrieved building permissions bring significant clarification to the chronology and the changing urban contexts of their photographic practice, while the accompanying architectural projects shed new light on the spatial organization of their residences and studios. The arguments advanced in this paper notably lead to the identification of Duschek's surviving studio house on strada Nouă (today str. Edgar Quinet), and to the localization of several exterior shots in the immediate vicinity of Duschek's provisional studio in No. 21 Calea Mogoșoaiei. [ABSTRACT FROM AUTHOR]

Copyright of Estudios del Hábitat is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents an experiment involving the community of Lac-Megantic (Québec, Canada), academic actors from different fields (architecture, urban planning, geography, arts), as well as students. This exercise takes place within the post-disaster context of the 2013 rail disaster, without a common project defined upstream. The chosen approach combines transdisciplinary, cognitive and spatial dimensions of the transition experiment. It evolves over time in a series of opportunities, and is both experimental and experiential. We show how transitional and transformational values, associated with the living environment and its resources, are central in the reflection of the Megantic community and student future professional practices.

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Organizational paradoxes persist. In their persistence, they resist closure; we demonstrate how, by using an exemplary project, that of the construction of the Sydney Opera House. By analyzing paradoxes encountered in the construction of a notable contemporary architectural project, we discuss how dialogical interactions enable options to emerge in the form of responses that were not previously evident. Engaging paradoxes dialogically requires accepting rather than denying contradictions, meaning that rather than resolving them in favor of one pole or the other, the contradictions remain in play. Monologic interactions—favoring dominant and singular voices, rather than producing consensus—repress dissent, leading to conflict, through suppressing paradox. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is no doubt that the cultural and social understanding of gender has influenced the way in which spaces are designed and used, imbuing them with imposed roles and stereotypes, according to the activities carried out in them. This research proposes a methodology for analyzing the housing unit in the collective housing project from a gender perspective. The aim of the work is to conduct a critical analysis of Spanish contemporary housing to offer a self-assessment tool to validate the design of egalitarian housing in accordance with a multidimensional approach. To this end, a series of parameters have been identified in order to visualize imbalances, inequalities or even subordination in the use of domestic spaces. Then, the method was tested in a series of case studies about the paradigmatic production of public housing in Madrid during the 2000-2010 decade. The results show the shortcomings and contributions of the projects studied, which helps us generate a catalogue of effective design strategies when it comes to proposing egalitarian housing that is sensitive to domestic tasks. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of TE & ET: Revista Iberoamericana de Tecnología en Educación y Educación en Tecnología is the property of School of Computer Science, La Pata University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista AUS is the property of Revista AUS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista CPC is the property of Revista CPC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How do architects know whether their design was successful and if the building performs as intended? This is important to improve the standard of the built fabric, to show the value in good design, for the architect to learn whether the spaces achieved the desired aims, and to check sustainability performance. This research investigates the types of feedback received and studied by architects in Victoria to learn from their own built works. A literature search identified possible informal and formal feedback methods and emerging feedback methods. A general pilot study was conducted by interviewing six senior architects in practice regarding their practices' feedback sources and methods of disseminating that knowledge. Additional feedback sources identified included the defects liability period, practice specific commissioning procedures, photography visits, and architectural services interviews. Knowledge dissemination methods included feedback reported directly to design teams, management & staff meetings, staff email, formal presentations, practice intranet software and updates to practice quality assurance procedures. Concerns raised by practitioners included procurement methods that actively discourage post occupancy analysis (POA), client unwillingness to pay for POA, and impacts on building performance of client or builder cost-based decisions. [ABSTRACT FROM AUTHOR]

Copyright of O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The adoption and adaptation of digital tools in architecture have configured an intense process of assimilation of their own logic. The digital turn in architecture could be understood as the one that replaces the architecture of industrialization with the architecture of information, but, and, above all, the one that goes from thinking in mechanical terms to doing it in algorithmic and digital terms. The effects of digitization on architecture, as a historical disciplinary process, are characterized in two previous stages, as two turns of the digital in architecture in the process that goes from mechanics to Digital Materiality (M.D.). The present article intends to advance in conceptual precisions from the selection and analysis of texts focused on the understanding and explanation of a complex process whose gestation has been going on for several decades, M.D. as the current stage of assimilation of the digital logics in the processes of architectural ideation.

Copyright of ESTOA: Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca is the property of ESTOA Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examined the use of analogy in architectural design. Its main goal was to provide an understanding of how experts and novices alike used visual analog thinking to generate satisfactory solutions during their design process. A series of controlled experiments were conducted in order to examine how this cognitive strategy contributes to improving the resolution of design problems in each group of participants. Students and architects were asked to solve a set of unusual design problems. They were stimulated by exposure to visual images, and were given explicit instructions for using the analogy. The results showed that novices and experts were able to reason by visual analogy and used deep analogies. It was found out that the experts identified and recovered analogies from out-of-domain images. Novices, however, identified a large number of out-of-domain images, but recovered the analogies of out-of-domain and out-domain images to the same extent. Novices, unlike experts, did not add constraints to the initial design problem, but produced a large number of solutions. These results were found significant implications for the teaching of architectural projects. [ABSTRACT FROM AUTHOR]

The many standards in place in France often appear as an obstacle to environmental transition in architectural projects. The French government has thus expressed desire to implement exemptive measures inside the ESSOC and LCAP laws, which raise questions about the establishment and approach of standards. In the context of this article, we examine whether these laws encourage an ecological approach to architectural materials. We first examine three laureate projects from the competition "Permis d’innover" (LCAP law), which have the particularity of opening up new perspectives for the valorization of architectural materials through an experimental approach that deviates from standards. We then query the efficiency of the use of "non-approved" materials and their capacity to redefine new performance conditions. The government’s interest in these alternative strategies, along with its commitment to support exemptive devices (LCAP and ESSOC laws) reveal the dimension of a new approach for architectural projects which tend to overcome the regulatory framework. At the same time, the capacity of other materials to create new ecological solutions would consolidate this field of experimentation in progress.

Editorial of the issue Narrating the City, in_bo vol.11, no. 15 (2020).

Resumen La experiencia que aquí se presenta es resultado de la aplicación de una metodología de enseñanza y aprendizaje interdisciplinar (literatura hispanoamericana y arquitectura), transversal (combinando distintos conocimientos de áreas disímiles con elementos cotidianos y de interés social) y plural, con un anclaje real. Para ello, se ensayan operaciones de lectura, búsqueda, observación, elección, interpretación y realización de un proyecto de arquitectura a partir de la lectura de 22 relatos donde el protagonista es un lector. Desde la descripción de las cualidades espaciales del contexto de cada personaje por parte de alumnos de literatura es posible establecer una serie de perfiles urbanos que pueden ser encontrados en distintas ciudades. El conocimiento del espacio psicológico o “metafórico” de cada lector, en cambio, permite elaborar una serie de perfiles personales y cualidades espaciales “internas” que pueden ser generadas por alumnos de arquitectura en los lugares encontrados. A través de propuestas de intervención se persigue mejorar las condiciones para la práctica de la lectura en la ciudad o se induce a vivir la experiencia psico-ambiental de cada lector en el lugar elegido. Esta estrategia docente permite superar algunos prejuicios del alumnado de los primeros cursos de arquitectura, ampliando de forma constatable el concepto previo de espacio para construir un pensamiento más rico sobre la realidad observada, una lectura personal y proyectada hacia las múltiples potencialidades del espacio urbano de la actualidad. Abstract The experience here presented comes from the application of an interdisciplinary teaching methodology (Spanish-American literature and architecture). It is also transversal (combining different knowledge of several areas with quotidian and social interest elements) and plural, linked to real-life. To this end, a process of searching, observing, choosing, interpreting and making an architecture project was developed from the reading of 22 stories whose main character was a reader. From the literature students’ descriptions about the spatial qualities context of each character, a series of urban profiles found in different cities can be established. The knowledge of the psychological or "metaphorical" space of each reader, on the other hand, allows developing a series of personal profiles and "inner" spatial qualities that can be generated by students of architecture in the places found. Using proposals of intervention, the students will be able to improve the conditions for the practice of reading in the city or to induce the psycho-environmental experience to be lived by each reader in the chosen place. This teaching strategy allows us to overcome some of the students’ inherent prejudices during their first years of the architecture degree. It expands as well the previous concept of space in order to build a richer thinking about the observed reality and a personal reading, projected towards the multiple potentialities of the current urban space.

Copyright of Revista Espacios is the property of Talleres de Impresos Oma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ESTOA: Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca is the property of ESTOA Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)