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The pavilion is a time-honored architectural form in the Chinese silhouette with strong regional characteristics. Its appearance and technical means are often adaptively combined according to the characteristics of local architecture. The "kiln–house isomorphism" is a unique construction technology of the Shanxi construction type in China. Therefore, the "kiln–house isomorphism" is generally adopted for the construction of pavilions in Shanxi. This study focuses on Xiaonanzhuang Village, Yuci District, Jinzhong City, Shanxi Province. Taking the Xiang-ming Pavilion, the core building of the village, as an example, we analyze the architectural characteristics of the "kiln–house isomorphism" in the pavilion in this area, describe the general construction rules of the region, and conduct a deep investigation of the five "cultural isomerism" factors of the pavilions in the region, namely, geomancy, etiquette and music, beliefs, clans, and cultivation and study. The results of this research will enrich the regional knowledge of such pavilions and add new objects for the protection of local architectural heritage, providing a theoretical basis for the contemporary adaptive reuse of pavilions in the Yuci area from a cultural perspective. [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.)

The pavilion is a time-honored architectural form in the Chinese silhouette with strong regional characteristics. Its appearance and technical means are often adaptively combined according to the characteristics of local architecture. The “kiln–house isomorphism” is a unique construction technology of the Shanxi construction type in China. Therefore, the “kiln–house isomorphism” is generally adopted for the construction of pavilions in Shanxi. This study focuses on Xiaonanzhuang Village, Yuci District, Jinzhong City, Shanxi Province. Taking the Xiang-ming Pavilion, the core building of the village, as an example, we analyze the architectural characteristics of the “kiln–house isomorphism” in the pavilion in this area, describe the general construction rules of the region, and conduct a deep investigation of the five “cultural isomerism” factors of the pavilions in the region, namely, geomancy, etiquette and music, beliefs, clans, and cultivation and study. The results of this research will enrich the regional knowledge of such pavilions and add new objects for the protection of local architectural heritage, providing a theoretical basis for the contemporary adaptive reuse of pavilions in the Yuci area from a cultural perspective.

Pagodas and pavilions (ge 閣) are the most popular and representative multi-story buildings since Buddhism was introduced to China. While providing visitors with a new visual experience, they have also largely reshaped the urban space and skyline in medieval China. The former originated from India and Central Asia and was transformed in China, developing a unique style; The latter originated more from the creation of Chinese architects and became a model of typical Chinese-style Buddhist architecture. Briefly, the pagoda matured earlier than the pavilion, and continuously developed while maintaining its basic style; the pavilion-style Buddhist architecture gradually developed later and finally matured after the Tang and Song dynasties (618–1276), partially presenting a different spatial logic from the pagoda, and bringing a new visual experience. In my opinion, although the pavilion may not necessarily be as large as the pagoda in terms of volume and absolute height, it can provide believers with greater visual impact in the internal space for worship, due to the cross-story giant Buddhist statues; the closer integration of Buddha statues and architecture makes it replace or share the core position of the pagoda in some monasteries and even become the visual center of the entire religious space. Due to the existence of the pavilion, viewers can not only worship the Buddhist statues on a two-dimensional plane or by looking up at the statues from the bottom, but have also gained a three-dimensional perspective, to worship directly at the Buddha's shoulders, neck, and head. In the Buddhist grottoes, the layout of the early single-layer or multi-layer horizontally distribution of caves on cliff was also changed due to the excavation of the cross-layer giant statue grottoes, covered by multi-story pavilion-style buildings, providing viewers with a visual experience similar to that of the pavilions of great statues. Additionally, there is a new visual experience of worshiping the Buddha in a vertical circle, in cases such as Bamiyan and the Leshan Giant Buddha. [ABSTRACT FROM AUTHOR]

The Pavilion of Hangul pixels at the Expo 2010 in Shanghai attested to South Korea's booming economy and rising popularity of its culture in the contemporary era. However, Korea's early experience with expositions demonstrates its struggle with nation branding and autonomy. To debrief this tumultuous path, this paper examines the visual culture of Korea in international and national-scaled expositions from 1893 to 1929, encompassing the end of dynastic history, the short life of the Korean Empire, and the colonial era. The role of designership and audience in presenting Korean culture is analyzed under autonomous and colonial contexts. This research would serve to enhance the understanding of Korean nationalism through various visual representations of Korea and its culture in early modernity.

This paper investigates the role of "The Yellow Pavilion" intervention by Architecture for Humans in reclaiming Rexhep Luci Street as a public space and promoting urban interventions in Prishtina. The temporary structure was installed for a week to transform the street into a public space, and the paper presents the findings of its impact on the neighborhood and city. By examining the effectiveness of temporary interventions, the article highlights the benefits and limitations of tactical urbanism while also considering the potential for this kind of intervention to create social connections, promote community engagement, and revitalize urban areas. Ultimately, this research contributes to understanding the value of temporary public spaces in urban design and planning. [ABSTRACT FROM AUTHOR]

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Pavilions are flexible, open architectural structures, usually erected in parks and gardens. And they played a significant role in the political and cultural propaganda through international exhibitions in the 19th century, as well as in the presentations of new technologies and materials. By focusing on the concept of temporality, this study takes a novel approach and examines the role of the pavilion from the perspective of nomadic, wandering cultures through a case of Serpentine Pavilion Project. This study is based on the interpretive and critical approach which relies on gathering cases and references about the phenomenon or literature in hand. We provide a history overview and trace the changes in the concept of place at the dawn of the modern era, investigating how the Serpentine Pavilion reflects a modern understanding of placeness. Essentially, it argues that the pavilion, as a special temporary architectural form, can be used as the foundation of modern discourse on placeness. As a material and spatial alternative to such placeness, the pavilion constitutes an important architectural type.

Copyright of Selçuk University Journal of Faculty of Letters is the property of Selcuk Universitesi Edebiyat Fakultesi Dergisi 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.)

Pagodas and pavilions (ge 閣) are the most popular and representative multi-story buildings since Buddhism was introduced to China. While providing visitors with a new visual experience, they have also largely reshaped the urban space and skyline in medieval China. The former originated from India and Central Asia and was transformed in China, developing a unique style; The latter originated more from the creation of Chinese architects and became a model of typical Chinese-style Buddhist architecture. Briefly, the pagoda matured earlier than the pavilion, and continuously developed while maintaining its basic style; the pavilion-style Buddhist architecture gradually developed later and finally matured after the Tang and Song dynasties (618–1276), partially presenting a different spatial logic from the pagoda, and bringing a new visual experience. In my opinion, although the pavilion may not necessarily be as large as the pagoda in terms of volume and absolute height, it can provide believers with greater visual impact in the internal space for worship, due to the cross-story giant Buddhist statues; the closer integration of Buddha statues and architecture makes it replace or share the core position of the pagoda in some monasteries and even become the visual center of the entire religious space. Due to the existence of the pavilion, viewers can not only worship the Buddhist statues on a two-dimensional plane or by looking up at the statues from the bottom, but have also gained a three-dimensional perspective, to worship directly at the Buddha’s shoulders, neck, and head. In the Buddhist grottoes, the layout of the early single-layer or multi-layer horizontally distribution of caves on cliff was also changed due to the excavation of the cross-layer giant statue grottoes, covered by multi-story pavilion-style buildings, providing viewers with a visual experience similar to that of the pavilions of great statues. Additionally, there is a new visual experience of worshiping the Buddha in a vertical circle, in cases such as Bamiyan and the Leshan Giant Buddha.

Copyright of Journal of Railway Science & Engineering is the property of Journal of Railway Science & Engineering Editorial Office 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 departure from socialist realism in the late 1950s allowed architects to reach for innovative forms. These included free-standing pavilions: low, horizontal buildings with extensive glazing. One of them was the former Furniture Showroom in Gdańsk opened in 1961. It was designed by Lech Kadłubowski who might have drawn some inspiration from Vjenceslav Richter's Pavilion of Yugoslavia at the EXPO '58 in Brussels, which was known in Poland from trade press publications. Creating a sharp contrast with the neighbouring historic Highland Gate and the Foregate Complex, the modernist Furniture Showroom seemed to stand in opposition to the surrounding architecture, and yet fit in the urban and historic context thanks to the reference it made to the height of the defensive embankments that had once existed at the location. Due to defects in materials and workmanship as well as its remodelling in the 1970s, the former Furniture Showroom lost its original aesthetic appeal. As a result of economic changes after the political transformation at the end of the 1980s, the low free-standing pavilion became obsolete as a commercial building. High prices of plots for commercial development and commercial space rental make it profitable to demolish pavilions from the 1960s and 1970s, and replace them with multi-storeyed buildings. The former Furniture Showroom will likely share this fate. The situation of the former Furniture Showroom reflects a broader problem: interesting post-war buildings often fail to be perceived as part of historic heritage by both the general public and preservation experts, because they evoke negative associations with the communist regime in Poland. This leads to the degradation and loss of valuable post-war architecture. [ABSTRACT FROM AUTHOR]

1. IntroductionQalat Islamabad building is located in Fahraj city, at the eastern end of Kerman province, on the outskirts of southern Lut Desert, in the coordinates of 47.480 ° 28 'north latitude, 7.008 ° 59' east longitude and 550 m above sea level. The region has a hot and dry climate, irregular and low rainfall, severe temperature differences day and night and sandstorms. Fahraj is adjacent to Sistan and Baluchestan and South Khorasan. Historical geographical texts of the early and middle Islamic centuries have repeatedly mentioned Fahraj among habitable cities on the edge of the desert. Qalat Islamabad monument was identified during archeological studies of Bam cultural landscape in 2013. In the present study, which was conducted in field and library methods, the architecture of the building was studied. One of the objectives of this study was to determine the use and the possible date of building construction. Methodology The method of research in this paper is descriptive-analytical and data collection has been established by conducting a field survey and studying written documents. DiscussionThis building is located on a hill with a height of 3.60 m above ground level. The general plan is square with the dimensions of 17 × 17 meters. The main components of this building are a room in the center, twin porches on the west and east sides, a single porch on the north side, an entrance on the south side, four spaces in the four corners of the building and a perimeter corridor. This building has some deviations from the north axis and is slightly inclined to the west. The central room is square with dimensions of 4.70 × 4.70 m. The cover of this space has completely collapsed and no information about it is available. On the east and west sides of the central room, two arches are built symmetrically. The depth of these arches is 40 cm, the width of the arches is 130 cm and the existing height is 1.5 m. On the north side of the central room, an arch similar to the other two sides has been built, with the difference that there is a door in one corner that leads to the north porch. All the spaces around the central room have access to the central room through doorways. The main entrance is on the south side, which leads to the central room. The width of this entrance is 172 cm on the exterior and 156 cm at the end and entrance to the central room. Most of the cover of this entrance gate has collapsed and there are few traces of its entrance. On both sides of the entrance, two pairs of arches are symmetrically installed on the south side. The map of this part of the building is reminiscent of the entrance porch of Firoozabad Palace. However, it varies in dimension and size. There is a porch in the middle of the exterior of the north side. The width of this porch is 1.72 m and its depth is at least 2.18 m. There is a doorway in the end corner of this porch that leads to the central room. The roof of this porch has completely collapsed. The twin porches are one of the most prominent parts of the building. These porches are built symmetrically on the east and west sides. The width of the opening of each porch is 2.40 m and its depth is nearly 2 m. The current height of the porches is 2.5 m. The only remaining coverings of the building are on the west porches and a little on the east side. The coverage of each porch is covered with an arch in the shape of a Oval(Shaljami). At the end of each porch, there is a door that leads to the central room and is located symmetrically on both sides of the arches on the east and west sides of the central room. The cover of these doorways is triangular and made of large bricks. Parts of a corridor can be observed on the east side of the building, and the width of this atrium is 90 cm. Parts of the outer wall of the corridor with a length of 6.80 m and a height of 2.30 m are still standing. This wall is built along the eastern side of the building. The scattered remnants of this corridor on other sides indicate that a vestibule probably surrounded the building. The materials used in the construction of the building are the clay.The dimensions of the bricks used in the construction of the building are 40 cm and its thickness is 10 to 9 cm. The dimensions of the bricks in the triangular cover of the gates are 43 to 45 cm. The northeast corner is a room with a rectangular plan and dimensions of approximately 2.5 m. The northwest corner appears to be symmetrical to the northeast corner; however, the position of the south corner corners is not clear. In the right corner of each space, there is a door that leads to the central room. Some instances of it can be observed in the facades of Sarvestan and Firoozabad palaces, in Sassanid works left from Kuh-e Khwaja and the largest example of it can be observed in the Oval (Shaljami) arch of Taq-e Kasra. Conclusion The plan of the Islamabad building is comparable to that of buildings such as; Rahimabad pavilion located a short distance from Qalat in Islamabad, Vandadeh fire temple in Meymeh of Isfahan and Chahartaghi north of Ardakan in Yazd from the Sassanid period. The plan of this rectangular building is the center of the central dome building with four equal porches in four main directions and perpendicular to the central space with a slight difference has a similar structure to Qalat Islamabad. In addition, the central pavilion of the Lashkari bazaar in Ghazni has a similar plan. This building belongs to the Ghaznavid period and the fourth century AH. The general plan of the Islamabad building is also comparable to the map of some palaces and residences of the nobility of the third to fifth centuries AH in Marv city. The building of Islamabad may be the remains of a palace from the Sassanid period. However, what makes this use questionable is the possible corridor around the building. The rest of the corridor stretches along the east side in front of the twin porches. The corridor is one of the features of the religious architecture of the Sassanid period. Although it may have been just one way. Furthermore, the corridor can be seen in works such as the fire temple of Kuh-e Khwaja with late Parthian and early Sassanid history. Kuh-e Khwaja Fire Temple, Tal-e Jangi and Konar Siah are some examples of fire temples with corridors from the Sassanid period. Qalat Islamabad building with its central square space, porches with Oval(Shaljami) arches in the east and west directions and entrance with Ahang arch in the south and asymmetrical porch in the north looks like a pavilion in terms of function. It is comparable to some palaces and fire temples of the Sassanid period and the early Islamic centuries. Besides, based on the evidence on the east side, the existence of a corridor around the building makes the existence of a religious building possible. Existing porches with Ahang and Oval(Shaljami) arches, symmetry, materials used and pottery findings can be presented from the late Parthian to late Sassanid period and early Islamic period to dating the Qalat building in Islamabad.

In recent decades, pavilions have emerged as a popular vehicle for exhibitions of architecture: these often spectacular structures and immersive environments becoming both the object and subject of display. Yet, despite their ubiquity, and the increasing interest of art galleries and institutions in exhibiting and commissioning architectural projects, the pavilion has largely escaped interrogation within the discourse and practice of curation. Taking three recent Australian pavilion programs as its focus, this essay examines the diverse challenges of curating this kind of full-scale architecture, and the ways in which architecture is curated in or through them. In particular, the Australian pavilions raise important questions concerning the curatorial work: what is being curated, by whom, and to what ends? Such questions are critical to understanding the changing place of architecture in contemporary culture, but also the limits and opportunities presented by architecture in an ever-widening field of curation.

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Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters 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.)

Der Place Ville Marie befindet sich im Herzen von Montreal, direkt am Boulevard René‐Lévesque. Dieser Platz wurde renoviert, um so zu einem der beliebtesten städtischen Treffpunkte Montreals zu werden. Aus den vormals vier Lichtkuppeln wurde ein großer zentraler Eingangspavillon aus Glas geschaffen, der einen direkten Zugang in den daruntergelegenen Bereich bietet. Zur Leistung von seele gehörte die Planung und Montage des 45 × 15 m großen Glasdaches, das sich ca. 1,2 m über dem Boden befindet. Das etwa 680 m2 große Dach besteht aus 15 × 2,5 m großen Isolierglasscheiben. Diese werden von Glasträgern aus 8 × 12 mm Verbundsicherheitsgläsern (VSG) aus teilvorgespanntem Glas (TVG) mit einer Höhe von 900 mm getragen. Im Rahmen des vorliegenden Beitrages werden Besonderheiten der Konstruktion und Montage diskutiert. Für die Verbindungstechnik wird beispielsweise eine Kombination aus Bolzen‐ und Einlaminiertechnik verwendet. Im Eingangsbereich kragen Glasschwerter mehrere Meter aus und stellen damit besondere Anforderungen an die Statik. Um die hohen Schneelasten abzutragen, werden in diesem Sonderbereich 14‐fach‐Laminate verwendet. Design Engineering and Installation of Glass Structures in Canada. The Place Ville Marie is located in the heart of Montreal, directly on the Boulevard René‐Lévesque. This square has been renovated to become one of the most popular urban meeting places in Montreal. The former four dome lights were transformed into a large central glass entrance pavilion that provides direct access to the area below. seele's services included the planning and installation of the 45 × 15 m glass roof, which is located approx. 1.2 m above the ground. The approximately 680 m2 roof consists of 15 m × 2.5 m insulated glass panels. The regular roof panels are supported by 8 × 12 mm laminated safety glass panels with a height of 900 mm. In the context of this article, special features of construction and installation are discussed. For example, a combination of bolting and laminating techniques is used for the joining technique. In the entrance area, glass beams cantilever several metres and thus place special demands on the statics. In order to bear the high snow loads, 14‐ply laminates are used in this special area. [ABSTRACT FROM AUTHOR]

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Inspired by Giorgio de Chirico's painting exhibited in Venice in 1948, the exhibition Le Muse Inquiete (The Disquieted Muses) celebrated the Venice Biennale's 125th anniversary. Held in the central pavilion, this was the first archival exhibition jointly organised by the directors of all artistic sectors of the Biennale: visual arts, cinema, theatre, dance, architecture and music. A wealth of material including letters, posters, videos, photographs and in some cases also artworks hinted at the Biennale's extensive visual history. The exhibition showcased institutional memory filtered through the narrative prism of encounters between the muses, daughters of Mnemosyne, the god of memory, and key historical episodes. The timespan started in the 1920s, presented both as a moment of historical upheaval and a turning point for the Biennale with the creation of its archives, or the institutionalisation of its own memory. This review explores the exhibition's narrative choices and shows its strategic dimension in light of the Biennale's new directorship, i.e. the strong emphasis on the institution's multidisciplinary nature and the role of its archive. [ABSTRACT FROM AUTHOR]

This paper presents an implementation result and performance evaluation of pavilion management services that does not only provide real-time status of the pavilion in the forest but also prediction services through machine learning. The developed hardware prototype detects whether the pavilion is occupied using a motion detection sensor and then sends it to a cloud database along with location information, date and time, temperature, and humidity data. The real-time usage status of the collected data is provided to the user's mobile application. The performance evaluation confirms that the average response time from the hardware module to the applications was 1.9 seconds. The accuracy was 99%. In addition, we implemented a pavilion availability prediction service that applied a machine learning-based SVM (Support Vector Model) model to collected data and provided it through mobile and web applications. [ABSTRACT FROM AUTHOR]

In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019. [ABSTRACT FROM AUTHOR]

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Copyright of En Blanco: Revista de Arquitectura is the property of Universidad Politecnica de Valencia 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.)

El singular encargo para la realización de una arquitectura temporal construida enteramente con briks reciclados derivaría en una innovadora experiencia docente para los más de 120 alumnos de la asignatura de Proyectos 1 de la E.T.S.A de Granada del curso 2009-2010 que participaron en este proyecto y para los autores de este texto que actuaron como docentes, directores y coordinadores. Al margen de cuestiones eminentemente técnicas ligadas al diseño de una nueva fábrica resultado del cosido, apilamiento, yuxtaposición o trabado de un simple cartón de leche, el reto que supuso construir el Pabellón de Tetrabriks, nombre por el que se conocería a este proyecto, obligaría a replantear la tradicional separación entre teoría- práctica, alumno-profesor o universidad-empresa en la enseñanza de arquitectura. Este ejercicio pedagógico pondría en crisis la idea de “aula” como espacio de enseñanza sustituida por la de “taller” como lugar flexible, sin fronteras, a caballo entre el ámbito docente y el profesional. Un lugar además en el que acercar al alumno a la dimensión más tangible de la arquitectura a través de una enseñanza supeditada al trabajo con modelos físicos. El resultado sería un ejercicio pedagógico absolutamente integrador, participativo y colectivo en todas y en cada una de las etapas del proyecto. A lo largo de este texto se irán desgranando las distintas fases por las que atravesaría la propuesta desde el encargo inicial a la ejecución final, los dispositivos desarrollados así como la metodología llevada a cabo para la realización de tan enriquecedora como compleja experiencia. Abstract The special commission for the construction of a temporary architecture built entirely with recycled briks would lead to an innovative teaching experience for 120 students from E.T.S.A of Granada in the 1st Year Project Design subject during the course 2009-2010 who participated in this project and for the authors of this text who acted as teachers, directors and coordinators.Aside from the eminently technical issues linked to the design of a new wall resulting from the sewing, stacking, juxtaposition or locking of a simple milk brik, the challenge of constructing the Brik Pavilion (the name by which this project would be known) would aim to rethink the traditional separation between theory-practice, student-teacher or university-business in architectural teaching.This pedagogical exercise would set in crisis the idea of a “classroom” as a teaching space replaced by "workshop" understood as a flexible place, without frontiers, between teachers and professionals. A place where the student could approach to the most tangible architectural dimension thanks to a teaching method based in work with physical models.The result would be an absolutely integrative, participative and collective pedagogical exercise in each and every one of the project stages. Throughout this text we will explore the different stages through which the proposal passed by, from the initial order to the final execution, the devices developed and the methodology carried out for the realization of such enriching as a complex experience.

Alexandre Dufour (1759–1835) gave his name to the pavilion that is the Gabriel wing’s pendant, and which was refurbished in 2015 to welcome visitors to the Château de Versailles. However, this architect has remained almost unknown, with specialized dictionaries including him only on the basis of his relationship to Charles Percier and Pierre Fontaine. After a first section devoted to clarifying Dufour’s origins and training, this article highlights the decisive role Fontaine played in the development of his career. The article details the various functions he held: starting simply as a works supervisor on sites Fontaine was responsible for, Dufour was then attached to the estate of Versailles from 1808. He successively held the positions of inspector, assistant architect and finally chief architect, and for twenty-four years devoted himself tirelessly to his task, working first for the Emperor, then Louis XVIII and very briefly Louis-Philippe. The last section details the architect’s various projects for the Château de Versailles under the Emperor and above all the very controversial stages of the construction, between 1814 and 1829, of what remains the most enduring trace he left in Versailles, that is the Dufour Pavilion.

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza 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 Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. 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 main goal of author’s research is to design and construct grid shell structures, which are subsequently realized as experimental structures in full scale. These structures should make the place suitable for various events and also a friendly, pleasant, relaxing and free time space. By thinking about how such structure should look like and what materials and structure types are suitable, there were many kinds of lightweight structures considered.

This paper explores the relationship between architectural design and research in the context of a particular example, the development of the Irish pavilion for the 14th architectural biennale in Venice 2014 (Infra-Éireann) and its reiteration and expansion in Ireland for the State’s centennial celebrations 1916–2016 (Making Ireland Modern). Originally responding to Rem Koolhaas’s call to investigate the international absorption of modernity, the pavilion sought to engage with the properties of the architectures of infrastructure in twentieth and twenty-first-century Ireland. Central to this proposition was that infrastructure is simultaneously a technological and cultural construct, one that for Ireland occupied a critical position in the building of a new, independent post-colonial nation state. Presupposing infrastructure as consisting of both visible and invisible networks, the idea of a matrix became a central theoretical and visual tool in the curatorial and design process for both the pavilion and its contents. To begin with this was a two-dimensional grid used to identify and order what became described as a series of ten infrastructural episodes. These were determined chronologically across the decades between 1916 and 2016 and their spatial manifestations articulated in terms of scale: micro, meso and macro. What emerged in the design and research process was a dialectic relationship between the pavilion and its content as logistical and conceptual concerns merged to realise an adaptive framed modular structure, imagined as an embodied manifesto and, analogous to infrastructure, as having no fixed form.

In this article we explore the links between the Pavilion-Sculptures (1968-97) and the Ulm School of Design (1953), both of which formed part of the work of the multitalented artist and architect Max Bill. Through a graphic analysis, we study aspects such as location, movement, or spatial composition in his work, discovering the existence of a connection in the way he planned projects in different disciplines, and the influence of architecture on his sculpture in these two cases. We detect an abstract and historicist presence in the work of this defender of "concrete art," who, a priori, avoided symbols. Historicist concepts are also found in the work of this artist, heir to the modern principles of the Bauhaus, which he updated to create the Ulm School of Design. [ABSTRACT FROM AUTHOR]