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Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Child-friendly cities are places that support opportunities for children's play and community connection in safe urban environments. A dominant practice in urban planning and design has been to separate people and their activities spatially (i.e., residential zones, learning zones, play zones) and this coincided with the remaking of cities around private vehicular travel which together necessitated carving out safe spaces for children play. This has meant that children's play has been geared towards permanent equipment in fenced-off playgrounds or more formal educational settings. However, the inclusion of temporary play spaces in cities to support community engagement in the local environment is growing to combine urban design, play and community wellbeing initiatives. This paper documents the experiences of stakeholders of a temporary play space in an inner-city suburb of an Australian city. This work includes key perspectives of the architects and designers and local council members to evaluate how a 12-week activation of a temporary play space came into being and what can be learnt from this collaboration. [ABSTRACT FROM AUTHOR]

This article studies the architectural design and cultural significance of Villa Namazee, a modernist building designed by Italian architect Gio Ponti in Tehran. The study explores how the building, once a symbol of modernity and progress, has been neglected, delisted from the national heritage, and fallen into disrepair. Focusing primarily on the case of Villa Namazee in Tehran, Iran, as an example of Ponti's projects in the Middle Eastern context, the second part of this paper aims to reconsider and re-narrate Gio Ponti's project in Tehran. In this context, the article sheds light on the nationally and internationally prominent concepts, ideas, collaborations, and design elements of Gio Ponti's project in Tehran. The paper argues for reevaluating our understanding of heritage and recognizing the importance of preserving modern architectural masterpieces such as Villa Namazee. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Village hollowing can be seen as the other side of the coin of the binomial land taking and farmland shrinking. Its mitigation, control, and counterbalance are top priorities in the People's Republic of China. The reasons span from social and cultural to economic and demographic to environmental aspects, and the cross-disciplinary dilemma that derives calls for original and innovative approaches to revitalize the countryside. In China, design and planning fields have been acknowledged to play a leading role in reshaping rural-urban relationships and the related controversial transition. This paper discusses how some Chinese architects engaged in rural projects explored new possibilities of design expression. Representatives of a multitude, they tested local materials and traditional techniques in innovative ways, renovating design processes and architectural languages. Their engagement has generated a variety of approaches showcasing surprising solutions characterized by challenging attitudes toward standards, dogmas, and canons. In this way, they stimulated a vivid debate repositioning the role of designing at a global level. The paper puts forward an interpretative key to observe how Chinese architects envision the future of ruralities. [ABSTRACT FROM AUTHOR]

The Baltimore Exchange (1815–1820) was one of the most important buildings in the oeuvre of Benjamin Henry Latrobe (1764–1820), and the history of its design has been fully elucidated. However, there remains unexplored how the building functioned and what it meant to the patrons, architect, Baltimoreans, and tourists of early nineteenth-century Baltimore. This paper looks at the multiple meanings of the Exchange in terms of its function, aesthetics, aspirations, and symbolism from the perspectives of these different constituencies. The Baltimore merchants, the patrons who commissioned the project and operated it, sought to construct a building at par with its global counterparts. The architect aspired to find a building form that would embody principles that were functionally appropriate to the building. The United States Customs Service, whose agency filled one wing of the Exchange, desired a building that reflected the authority of the federal government. Baltimoreans and visitors to the city interpreted the building as a landmark and icon of the city. These multiple interpretations contribute to a rich chronicle of the Baltimore Exchange in the history of the merchants’ exchange as a building type and the development of early Baltimore. [ABSTRACT FROM AUTHOR]

Architecture is the art, and science of the built environment, where a multidisciplinary approach is prevalent. The paper tends to clarify architecture and explain its etymological meaning for an architectural student, practicing professional architect, and academic person. The paper suggests an archetype model using a combination of various logical terminologies that lead to the design of exquisitely defined words in human history. The manuscript relates each principal keyword as self-expressive for ARCHITECTURE. The research is based on the literal analysis of diverse content that covers the wider scope and application of architecture in qualitative research design. The note-taking series from different manuscripts that identify key areas in the field of ARCHITECTURE and their corresponding connection with each acronym was studied. The emerging themes consist of various parameters and help make strong arguments for the archetype model. The twelve emerging themes have been mapped using the mind-mapping technique in network diagrams. In the end, an archetype is explained, linking the connection of all keywords that prioritize the link with different aspects of architecture. Each letter refers to a specific term as A- Anthropometry, R-Responsive, C-Construction, H-History, I-Inspiration, TTechnology, E-Environment, C-Culture, T-Transformation, U-Utility, R-Resources, EEconomy. The author took help from the literature to reinforce the concept. In the end, an archetype is explained, linking the connection of all keywords with different aspects of architecture. The views expressed in the manuscript are based on a review analysis of existing information in the architectural discipline. It was difficult to include expert opinions due to the limitation of time and cost, and a more rigorous study can be planned later. The paper is based on the framework to benefit architectural students, academic people, and practicing architects and professionals about the range of approaches in ARCHITECTURE. Besides many definitions to expound, elucidate and clarify Architecture, the paper is novel in the approach of explaining the word ARCHITECTURE from a diverse perspective. Each letter has been an acronym with a term covering all significant aspects. [ABSTRACT FROM AUTHOR]

Space settlement as a science fiction theme has been very popular in the last 70 years in cinema and television. Gaining its roots from scientific and technological developments, the topic evolved throughout decades to become much more comprehensive nowadays. The evolution that started with physical models to depict the space station as a pure geometric form continues today with much more complex structures that express the infrastructure, features, and appearance of a space settlement. Through developments in space technologies, together with the progress in computer generated imaging methods, contemporary movies represent space stations and settlements in a much detailed way. Therefore, the architecture of the space settlement in cinema and TV becomes a remarkable theme. Consequently, the role of architects in the design of space settlements in cinema and TV increases. This paper presents an analysis of the architectural evolution of space stations and settlements in cinema and TV through examples with a chronological order from 1950s to 2000s. The analysis is based on the relationship of scientific requirements of a space settlement and existing scientific studies on the design of space settlements with their reflections on the cinema and television industries. The outcomes of the analysis put forth that the detail level, functionality, and architectural style of space settlements in movies evolved through time. Therefore, architects' role in movies and the design of space settlements shall increase thanks to the developments in representation, production, and construction technologies. [ABSTRACT FROM AUTHOR]

The reflection of this paper starts from the Moroccan example of architecture related to the second half of the XXth century: the projects which were first conceived and realized by the architects gathered initially in the group GAMMa, formed for the majority of them in the colonizing country, forged a “brutalist” orientation whose technique and aesthetics are strongly marked by the use of concrete. The second half of the 20th century cannot be reduced to these first decades and sooner or later it will be necessary to look back on the last decades of the 20th century, marked by the search for an alternative to the techno-productivist headlong rush of modernity. The present paper confronts while going beyond the individualities they represent, the two Moroccan Élie, the eldest: Azagury (1918 - 2009), and his younger: Mouyal (1957 ...). The first represents the interpretation adapted to Morocco of the international and global architecture of the Modern Movement, while the second, awarded by the 12th TERRA 2016 World Congress on Earthen Architecture, expresses, during the last quarter of the 20th century, an orientation towards sustainable development with the use of updated ancestral and local construction techniques (earth and stone). The resulting works will, sooner or later, have to be questioned from the point of view of their heritage, based on criteria to be rethought, to be refounded, and which the paper tries to define. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Civil Engineering is the property of Canadian Science Publishing 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 contemporary China, ‘experimental architecture’ depicts the rise of independent architectural explorations offered by a group of young Chinese architects in the mid-1990s. These young Chinese architects claimed to have established an autonomous architecture, distant from commercial interventions. This research examines the credibility of architectural autonomy stated by these architects in light of the field theory put forward by the French sociologist Pierre Bourdieu. Through this interdisciplinary perspective, the paper focuses on the often overlooked interpersonal networks of critics, architects, and publishers. Through analysing their roles in promoting these experimental architects on the basis of professional publications, this research argues that the notion of architectural autonomy is constituted by a symbiotic collaboration among these actors through a discursive approach and architectural autonomy, despite indicating an architectural resistance against commercial forces, serves a commodity sold in the cultural market. [ABSTRACT FROM AUTHOR]

The Minbar of Salah Al-Din is considered a masterpiece of traditional Islamic arts and crafts heritage. It stood in Al-Aqsa Mosque in Jerusalem for nearly 800 years until it was burned down completely in 1969. In 1993, King Hussein of Jordan gave instructions to initiate the process of reconstructing the Minbar based on old photos of the original one and small wooden pieces that remained after the fire. The reconstruction job was commissioned in 2002 and finished in 2006 as a replica of the original one. This paper discusses the lessons learned from the reconstruction process through the analysis of geometric principles and features of the design process and construction of the Minbar, towards the rekindling of this artistic heritage. The Minbar geometric patterns are constructed of many interlocking pieces of wood, each carefully carved to fit together like a three-dimensional puzzle. The novel contribution of this study is in the relationship between the geometric construction of the patterns and the Interlock (ta'sheeq) construction methodology. Which will hopefully provide a deeper understanding of the structure of the Minbar, allowing architects and craftsmen to achieve improved control over their new design's compositions and structure. [ABSTRACT FROM AUTHOR]

Copyright of Historia Actual Online is the property of Asociacion de Historia Actual 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 Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Purpose: The paper investigates the implications for gendered power relations at work of Nitaqat, a workforce localization policy operating in Saudi Arabia which, by regulating the employment of Saudi nationals in private sector firms, has stimulated greater feminization of employment. Design/methodology/approach: Based on an interpretivist, phenomenological research approach, rich qualitative data were collected in two case study organizations – a retail company and an architectural firm. The mixed-method design involved in-depth interviews with managers and women workers and extensive non-participant observation. Findings: In exploring gendered power relations in Saudi private sector workplaces under the Nitaqat regime, the paper highlights the importance of patriarchal power. However, increased feminization of employment provides women workers with access to power resources of their own, producing complexity and variation in gendered workplace power relations. Originality/value: Drawing on Bradley's (1999) relational conception of gendered power, the paper illuminates how a Nitaqat-inspired feminization of employment, by increasing firms' dependency on women workers, has influenced the dynamics of gendered power relations in Saudi workplaces. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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 distance effect (comparing objects becomes easier with increasing differences in their magnitude) is observed in tasks ranging across domains, and its existence has been interpreted as evidence for analogue magnitude representation. Similarly, associations between response side and magnitude (faster left/right-sided responses to small/large objects, respectively) are observed across domains. We investigated the analogue processing of angles and the association between angle magnitude and response side in relation to geometric expertise. We compared the behavioural pattern of two groups—architects and controls—in a direct angle magnitude classification task (i.e., judge whether a presented angle was greater or less than 90°) and in an indirect task (i.e., judge whether an angle was drawn with a dashed or continuous line). We found a robust distance effect for reaction times and accuracy at the whole sample level and in each group separately. Architects revealed a smaller distance effect for accuracy than controls. This could be interpreted as an argument for a more precise analogue representation of angles in experts compared to non-experts. However, we did not find evidence for an association between angle magnitude and response side in any group. [ABSTRACT FROM AUTHOR]

Family apartment buildings contain intense indicators in terms of the culture-placebehavior relationship. Research on family apartment buildings should involve spending considerable time in the family circle to observe the ordinariness of daily life and discover the cultural background while investigating these indicators. This study emerged from the first author's experiences during the data collection process of her Ph.D. thesis on behavior setting analysis of coexistence in a low-rise family apartment building in Istanbul. As a result of being an insider researcher, the methods of dealing with the methodological difficulties encountered in the field were questioned in this study. Being in the field with the multi-layered identity of researcher, architect, and daughter-in-law led to developing a creative data-collection toolkit. The identity pendulum, adjustable word spanner, and diachronic flashlight were the elements of this toolkit, enabling her to overcome the problems she faced in the field. The authors suggest that these tools could inspire researchers doing research in similar fields and facing problems of a similar nature. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture 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.)

This paper outlines the career and architectural activities of Hiromichi Matsui and clarifies the characteristics of his architectural works. We classified his career into three distinct periods: Tokyo, Milan, and Kagoshima periods. In Tokyo, he was in charge of interior design at Isamu Kenmochi Design Associates. Matsui cultivated the philosophy proposed by Kenmochi that emphasizes the sense of scale based on full‐scale drawing. In Milan, he worked as a partner architect at Gregotti Associati and introduced Italian architectural culture to Japan. In Kagoshima, he was involved in educational and social activities, which included a role as a professor at Kagoshima University, etc. He designed three architectural works that, while reminiscent of his works at Gregotti Associati, also considered the regional features of Kagoshima. [ABSTRACT FROM AUTHOR]

Copyright of Arq.urb is the property of Arq.urb 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 Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, Servicio de Publicaciones 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 New Architecture is the property of New Architecture 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.)

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts 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 1972 dome to cover the Anoeta Velodrome is the product of the experiences up to that date of the architects Emilio Pérez Piñero and Félix Candela, specialists, respectively, in the design of deployable reticular structures and thin concrete shells using hyperbolic paraboloids. It is a very relevant project in the careers of both architects, as the Anoeta dome was Pérez Piñero's last project, and also the last of the domes in which Candela participated since 1965. Pérez Piñero's death in 1972 marked the end of a phase in Candela's life. This paper describes the virtual reconstruction of a variation of the project and analyses its geometry, based on the subdivision of the sphere into polygons onto which hyperbolic paraboloids were then inserted. New documentation is provided which offers context for the evolution of Candela's work, linking this project to his previous major work: the Palacio de los Deportes built for the 1968 Mexico Olympics. [ABSTRACT FROM AUTHOR]

Who plans for new and renovated libraries? Architects deploy master planning–based analyses to guide future development over the long term, heavily tilted toward analytical conclusions. In contrast, librarians tend to deploy design theory—solving problems in iterative solutions and redesigning for changing problems. Building and renovation projects inevitably bring interplay among groups (architectural firms, governing and financing entities) with their own influences, lenses of analysis, and social positioning. This study seeks to answer this question: Have we been or are we engaged in building or renovating libraries around master planning (architects), or are we solving library problems (design theory and librarians)? And what does the answer tell us about libraries and how they are being guided and shaped as they are built and renovated? A discourse analysis is performed on a sample of 15 years of library literature on building and renovation plans to answer the question. [ABSTRACT FROM AUTHOR]

Writings on architecture in the Middle East during the first half of the twentieth century have often focused on the legacies of colonial architects and planners in shaping Middle Eastern cities and built environments. Contrarily, this article focuses on the overlooked history of the first milieu of trained Arab architects in Middle East, focusing on Palestine, Syria, Lebanon and Egypt. Examining unstudied historical materials and archives, it maps out the trajectories of individual architects as well as the architectural profession more generally in this period of rapid change. It is divided into three main sections that highlight this: first, architecture's transition from the Ottoman guild system to its professionalisation by the turn of the century; second, the mobility of architectural knowledge and expertise in the Arab region following the First World War; finally, the development of a new institutionalised architectural culture that sought to cultivate bonds between Arab architects not only in their individual countries, but also regionally throughout the Arab world towards the mid-twentieth century. [ABSTRACT FROM AUTHOR]

In the post-Hiroshima era, atomic cities—designed to survive a nuclear attack—remain in the science fiction realm. Yet Hungarian émigré Paul Laszlo, a successful architect in Southern California suburbia, had a utopian vision for a futuristic, paradoxically luxurious atomic city he called "Atomville," never built but nonetheless seriously proposed. Laszlo was one of the very few architects known to venture into atomic survival on this scale. This article focuses on why the architectural profession for the most part ignored the issues raised by the atomic bomb, and on Laszlo's role as an outlier. It also deals with the genesis of Atomville and its place among the many unrealized ideas put forward in the 1940s and 1950s for urban survival, including underground buildings, urban dispersal, linear cities, and cluster cities. [ABSTRACT FROM AUTHOR]

This paper performs a theoretical-empirical analysis of the effect of globalization on buildings' height in Latin America and Southeast Asia. We develop a principal-agent model where global architecture firms use extra height as advertising in the tallest building per city, adding it to what determined by cities' fundamentals of economic and geographic size. The model develops two ideas: (1) global architects have prestige advantages that allow them to add extra height, an advertising feature of their technical expertise and specialist competence, and (2) international architects of the Global South have additional reasons to use extra height compared to their Global North peers. The model is tested using a 2000-2018 panel database comprising 55 cities (from 25 countries). We find that in addition to economic and geography fundamentals, globalization and the location of architecture firms are strong determinants of buildings' height, as predicted in our theoretical model of height as advertising. [ABSTRACT FROM AUTHOR]

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 Arq.urb is the property of Arq.urb 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.)

Systems Engineering and, in the recent decade, Model‐based Systems Engineering have been widely adopted in the realisation of numerous complex products. The intrinsic multi‐level and multidisciplinary nature of a complex system poses major challenges during the design stage particularly in the communication between stakeholders of the system who often speak different languages and assume different perspectives, for instance, product owners, architects, engineers and domain experts. An integral collaboration environment between domains and across levels is thus key to achieving efficient and high quality designs. This paper presents a holistic, inclusive and interactive design approach to integrate the communication between stakeholders in the design of complex and multidisciplinary systems. Holistic thinking is a fundamental practice in Systems Engineering that ensures the alignment of domain objectives with overall system objectives as the product matures. However, effective deployment of this approach is often hindered by the communication gap between system stakeholders. In this paper, we propose a simplified Systems Engineering framework as the basis to model the system using Object Process Methodology (Dori, 2002). The use of various interactive exploration methods and data visualisation techniques can facilitate an efficient collaborative design that promotes holistic thinking. The proposed approach targets the conceptual design phase, and incorporates valuable design insights that are usually only revealed in the later stages of design as the system is relatively more mature. This allows for the iteration cycle times during the conceptual design phase to be significantly shortened, well‐informed design decisions to be made resulting in a more accurate direction of resources to perform detailed engineering analyses and subsequent design optimisations. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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.)

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal 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 United Arab Emirates (UAE) is a country with few restrictions on architectural styles. The main aim of this paper was to investigate a group of participants' unconscious emotional responses to images of traditional and modern architectural styles in the UAE. All images were from the city of Dubai, but participants were from elsewhere to avoid the influence of familiarity. A physiological method was used to measure the unconscious emotional responses to the images' visual contexts, specifically the emotions of stress, engagement, interest, focus, excitement, and relaxation. Six architects working in the UAE were then interviewed for their interpretations of both the images themselves and the participants' emotional responses. A sample of 29 male laypeople (aged 18–45) participated in this study, divided into locals from Al Ain city, locals from the northern emirates, and nonlocals. The results showed that the brand image provided observers with better emotional quality than the foreign image for local participants from Al Ain, and that nonlocal participants showed strong emotional responses to the traditional architecture, but the northern Emiratis remained neutral. The findings of this study contribute to emotion studies in the field of meaning in architecture. It also validates the effectiveness of a physiological method of investigating the emotional responses to architectural styles. [ABSTRACT FROM AUTHOR]