This article examines the role taken by the domestic interior as a performing character in many familiar entertainments, particularly those of a comic, melodramatic, or fantastic nature. The attribution of personality...
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This article examines the role taken by the domestic interior as a performing character in many familiar entertainments, particularly those of a comic, melodramatic, or fantastic nature. The attribution of personality and agency to spaces, objects, and settings has led to a variety of stereotypes that have become stock characters in the human comedy. These stereotypes can be traced in both "elite" and in popular culture since the mid-eighteenth century. Such animated interiors, with their quasi-magical character, embody and reflect something of both the dreams and the anxieties of the societies and times that created them. In particular the article examines the evolution of two such stereotypes whose characters formed the setting for "magical" performances in the nineteenth century, and suggests that they continue to have a place in the popular imagination today
PurposeThis study aims to present a novel Genetic Algorithm-Based design Model (GABDM) to provide reduced-risk areas, namely, a "safe footprint," in interior spaces during earthquakes. This study focuses on ...
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PurposeThis study aims to present a novel Genetic Algorithm-Based design Model (GABDM) to provide reduced-risk areas, namely, a "safe footprint," in interior spaces during earthquakes. This study focuses on housing interiors as the space where inhabitants spend most of their daily lives. design/methodology/approachThe GABDM uses the genetic algorithm as a method, the Nondominated Sorting Genetic Algorithm II algorithm, and the Wallacei X evolutionary optimization engine. The model setup, including inputs, constraints, operations and fitness functions, is presented, as is the algorithmic model's running procedure. Following the development phase, GABDM is tested with a sample housing interiordesigned by the authors based on the literature related to earthquake risk in interiors. The implementation section is organized to include two case studies. FindingsThe implementation of GABDM resulted in optimal "safe footprint" solutions for both case studies. However, the results show that the fitness functions achieved in Case Study 1 differed from those achieved in Case Study 2. Furthermore, Case Study 2 has generated more successful (higher ranking) "safe footprint" alternatives with its proposed furniture system. Originality/valueThis study presents an original approach to dealing with earthquake risks in the context of interiordesign, as well as the development of a design model (GABDM) that uses a generative design method to reduce earthquake risks in interior spaces. By introducing the concept of a "safe footprint," GABDM contributes explicitly to the prevention of earthquake risk. GABDM is adaptable to other architectural typologies that involve footprint and furniture relationships.
Modern glass facades of the early and mid 20(th) century have always been synonymous with innovative and sophisticated building concepts. These building skins were often established as a feature reflecting internation...
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ISBN:
(纸本)9781845641962
Modern glass facades of the early and mid 20(th) century have always been synonymous with innovative and sophisticated building concepts. These building skins were often established as a feature reflecting international stylistic standards, enhancing the prestige of builders and occupants - although often independent from or even in contradiction with climatic requirements and local conditions. In particular, in Central Europe varying strategies for the revitalisation of modern glass walls, facades and windows have been developed and realised. Multi-storey and high-rise buildings from the 1950s and 1960s, such as Haus Hardenberg by Paul Schwebes (1955-56) and Europa-Centre by Helmut Hentrich and Huber Petschnigg (1965), both in Berlin, are typical facade constructions. The very diverse approaches of revitalisation of Haus Hardenberg and the Europa-Centre will serve as examples to be compared and described with regard to different planning and decision frameworks. Both buildings have passed through certain episodes of modification and revitalisation. Both are preserving their original appearance, but while the original facade construction of Haus Hardenberg has been maintained and modified, the single glass facade of the Europa-Centre has been totally changed into a double facade system. The architectural design, construction, functions and environmental qualities will be described and evaluated with regard to the original concepts and requirements. These buildings will be presented addressing their impact on the refurbishment of modern building skins in general and in relation to increasing energetic requirements. In this context newly developed steel profiles have been investigated to be used as an alternative for the revitalisation of protected facade constructions. The way in which Modern Movement buildings in other countries and continents can be adapted to climatic and socio-economic conditions will also be discussed.
Color is an important and fundamental part of interiorarchitecture. It is present on every element in the space around us with its unique manifestation. India is a country with a rich history of architecture. Red is ...
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In this text, I have elaborated my thoughts on some of the contemporary challenges in higher education and how they relate to teaching and learning within the discipline of the interiors. I see the field of interiors ...
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In this text, I have elaborated my thoughts on some of the contemporary challenges in higher education and how they relate to teaching and learning within the discipline of the interiors. I see the field of interiors deeply rooted in multisensory ways of knowing. The predominant condition of the discipline in my view is a certain persistence towards ambiguity, towards a professional and creative field that is in constant state of being in-between and becoming. I have also elaborated that the embedded approach in education cannot fall under a specific theory of learning, but rather celebrate the diversity of activities in teaching and learning that go beyond singular didactics. I have structured the text around three case examples of different pedagogical situations in order to reflect on various teaching and learning conditions within interiors education. The examples wish to buttress the necessity for holistic discourse for comprehending the pedagogy of interiors, that span from encountering of an individual to curriculum development. I wish to draw attention to the potential in the discipline of interiors itself, that may embed inherent pedagogical qualities as abilities for shared approaches towards the uncertain;interiors of pedagogy. Thus, arguing that the practice of interiors may leap far beyond vocational didactics as an active agent continuously defining its own way of learning. The text wishes to contribute further discussion on how to approach and find ways of knowing and learning in interiors. This hopefully springs debate around professional practice and pedagogy in higher education.
Today, interior education is characterized by many and variegated approaches and interpretations. Worldwide it is a field in rapid transformation and in search of identity based upon vivid explorations of its theoreti...
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Today, interior education is characterized by many and variegated approaches and interpretations. Worldwide it is a field in rapid transformation and in search of identity based upon vivid explorations of its theoretical underpinnings. Triggered by the rich perspectives offered within academia, and at the same observing an increased distance towards the everyday, material interior and its basic elements, the interior Master program of the Faculty of design Sciences (University of Antwerp-Belgium) set up a explorative pilot studio: the Morphology of interior Space. This studio addresses 'lost' knowledge and practices of interiordesign, aiming to re-actualize its elemental premises and promises. It revolves around a profound and critical investigation, rediscovery and reassessment of the basic elements of the material, enclosed interior-the door, floor, wall, ceiling and window-put in relation to phenomenological approaches. This particular format, this studio maintains, holds the key to novel insights in the domain of interiors. This paper explains and explores the studio practices of Morphology of interior Space, sharing its structure, methodology, educational and disciplinary aims as well as its outcome exemplified by works of students.
This paper reviews a cross-section of methodological studies undertaken in architecture since the Second World War. Despite a variety of orientations, technically, conceptually and philosophically, most studies reflec...
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Sloterdijk's view of the world as a "grand interior" responds to the progressive interiorization of the environment "where both culture, and even nature, have increasingly become indoor affairs.&quo...
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Sloterdijk's view of the world as a "grand interior" responds to the progressive interiorization of the environment "where both culture, and even nature, have increasingly become indoor affairs."(1) A junior design studio offered at the University of Texas at Austin (Fall 2016 and 2017) sought to examine interior space as an autonomous microcosm, both in meteorological and atmospheric terms. Students were asked to design an interior space for collective bathing. The bathhouse, as a design exercise, responds to the increasingly autonomous nature of the interior at a material, climatic, cultural, and social level. Bathhouses can be understood as manufactured microcosms, in other words, man-made environments that establish an analogous and dialectic relationship between its internal microsphere and the external natural world. In the context of a design studio, students were encouraged to design how both tangible and intangible conditions concurrently contribute to the perception of space. Modulating meteorological variables, light, temperature, and humidity were key compositional tools within the studio. Material surface treatments and meteorological conditions were designed in conjunction to enrich one another in the production of an enhanced atmosphere. A multisensory design approach sought to expand the student's understanding of the body's physiological engagement with space. The most intimate contact between the body and architecture takes place at the bath space. The body, as generator of interior space, in its physiological and cultural complexity, was at the heart of this design exercise.
Activation is the process of preparing people, equipment and facilities for moving and start-up. It is little understood, but integral to the success of facility. It starts well before and extends beyond the phases of...
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Post-occupancy evaluation (POE) is a diagnostic tool and system which allows facility managers to identify and evaluate critical aspects of building performance systematically. This system has been applied to identify...
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