Search

Transparency is no longer limited to specific functions (e.g. illumination of the interior) but has become a tool of formal expression itself. Apart from the standard understanding of transparency as the use of light‐permeable materials in facade design, one can find other innovative and creative interpretations. Usually, technical solutions have priority over aesthetic considerations in many situations many purely formal trends find their origin in technology and design decisions that are governed by rational issues. The impression of depth was initially created as a by‐product of double facades, however, also other innovative techniques are used to enrich the spatial depth of the facade, multiply the observed plans and to achieve the picturesque effects of blur, stratification or movement. Elements of artificial or authentic space stratification are present in almost every analyzed case‐study, providing important insights for the formulation of formal, architectural trends. The presented paper describes and provides a simplified typology of the most recent and distinct trends regarding the introduction of the spatial depth into the facade. Many pre‐existing techniques (meaning existing before the year 2000) are still used, but new techniques also appear. The presented research indicates that the depth of the facade is what stimulates architects to search for new ways of utilizing light‐transmitting materials. Pane superposition could be one of the ways to achieve this. [ABSTRACT FROM AUTHOR]

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]

This paper examines the types of work that jurists have historically undertaken and maps how opportunities for legal practice have been shaped by social origins across three centuries: after constitutional independence in the mid‐1800s, during industrial capitalism in the mid‐1900s, and at present‐day advanced capitalism. I analyze historical archive data on law graduates from the 19th and 20th centuries in combination with administrative registry data from the 1990s onwards and employ correspondence analysis to explore how social backgrounds shape careers, considering transformations in class structures and the changing significance of juridical expertise over time. Within each period, jurists have served in very different roles including those that craft and cater to the institutional make‐up of the state and the markets. My analysis shows that the impact of social origin on occupational outcomes has undergone significant changes, mirroring shifts in the broader social structure; from the importance of legal and political capital (within regional jurisdictions) in the 19th century to the significance of economic capital as the main structuring principle, but also a greater significance of cultural capital, in contemporary times. The ability to reach the most powerful positions among law graduates—within the polity in the 19th century, and the economy in the 21st century—has been differently structured by origins. I argue that expansion of the student body, the declining standing of the university, and heightened differentiation of the social structure and the juridical field have made intimate familiarity with the business world pivotal for forging mutually beneficial alliances between jurists and the increasingly dominant capitalist class. Today, a select group of jurists have managed to connect with and contribute to the rising power of private capital. Thus, the historical tale of jurists cannot be accurately captured by notions of uniform descent from national power structures. [ABSTRACT FROM AUTHOR]

The Cranbrook campus is designed with a concerted effort to integrate art, craft and architecture. Cranbrook Center for Collections and Research curator Kevin Adkisson shares some of its stories and explores a variety of its external and internal spaces and the conceptual rigour that went into them. Collectively, the campus provides an inspiring backdrop to individual students' creative journeys. [ABSTRACT FROM AUTHOR]

In this article, we take inspiration from the evolution of the material use of glass to explore how the metaphorical use of glass could be developed to understand the emerging struggles of women in architecture. Drawing on semi‐structured interviews of architects employed in professional service firms, we suggest that the multi‐faceted nature of glass helped us to identify and understand the complex experiences of inequality for women in architecture. In so doing, we make three contributions to scholarship on gender, work, and organizations. First, we demonstrate how glass barriers were truly material in their consequences for senior women, as they prevented their rise or initiated their decline. A focus on glass barriers, however, did not fully account for the experiences of younger women in these firms. Surprisingly, and in stark contrast to the "boys club world" that left many senior women in architecture with a fractured sense of self as they struggled to construct self‐affirming identities as both women and architects, we found that the exclusive use of new technologies enabled younger women architects to melt some aspects of the traditional identity and turn them into new forms. Our conceptualization of "technologies of glass" draws attention to the social, cultural, and technological resources that younger women deploy to construct a strong professional identity in the changing world of architecture. We argue that glass can be understood not just as a constraint but as a multifaceted material with limitless possibilities for design. Thus, by highlighting the material‐symbolic entanglements of the use of glass, we strengthen and refresh the metaphor of glass, to better understand the fluidity of contemporary challenges facing professional women at work. [ABSTRACT FROM AUTHOR]

The speeding growth of the IT market and the spreading of disruptive technologies are leading towards more and more risky operations in need of constant upkeep, monitoring as well as proactive orchestration. On the one hand, the property allowing a system to be catered by automated monitoring and healing technology is defined as observability. On the other hand, appropriate design principles to manifest observability were originally referred as event sourcing by its inventor Martin Fowler and warrant for the aforementioned sustainable software operations. Both event sourcing and observability are complex to leverage on and design for. In an effort to understand more on both concepts, we offer an experience report on their practical use, featuring: (1) a rigorous definition of software architecture observability and a set of principles to design for observability using augmented forms of well‐known design patterns in line with event sourcing; and (2) an impact analysis in the context of a case study. Our study reveals several interesting notions around the concept of observability but our findings also make explicit new architecture trade‐offs that software architects and stakeholders need to consider as first‐class architecture‐level concerns. [ABSTRACT FROM AUTHOR]

The milieu in which Alsop was educated, mixed and worked was crucial to the original architect he became. Samantha Hardingham describes those heady days, particularly the influence of the Architectural Association in the early 1970s and its rich menagerie of denizens of the period. She focuses on a critical and enigmatic mentor, Cedric Price, for whom Alsop worked and asserted as a profound influence on his design thinking. [ABSTRACT FROM AUTHOR]

This article discusses how the design of research should follow the questions the study seeks to address. The article provides practical and diverse examples of broad research questions applicable to researchers or program architects and summarizes how different methods should be employed to respond. [ABSTRACT FROM AUTHOR]

Lithuania, as a part of the former Soviet Union, has a long‐standing history of perceived equality for women in the workplace. Women played an equal role in economic production as it was a constitutional expectation that all citizens had both a right and an obligation to work. Consequently, at the time of independence in 1990 the levels of participation of women in the workplace including at managerial and professional levels were much higher than other western European countries. In architecture, women achieved parity in terms of numbers, but this equality did not transfer into all aspects of economic activity. Drawing on qualitative survey and interview data from 31 Lithuanian women architects, our findings show, despite the historical emphasis on equality, the existence of a "critical mass" of women in the profession and the adoption of EU gender equality policy, the position of women remains poor with clear evidence of sex discrimination, harassment, and lack of opportunities for career advancement. [ABSTRACT FROM AUTHOR]

Guest‐Editor of this AD Viola Ago interviewed the Pritzker Prizewinning architect Thom Mayne, founding member of SCI‐Arc and co‐founder of internationally renowned architectural firm Morphosis, on the publication of his recent book Strange Networks. Also the collective name of his series of speculative drawings and reliefs created over a number of years, 'Strange Networks' is an attempt to reveal incidental architectural forms and topologies to expand his architectural language. Here he explains the motivation behind the book and its contents. [ABSTRACT FROM AUTHOR]

Die Neue Nationalgalerie in Berlin entstand von 1965 bis 1968 nach den Plänen des Architekten Ludwig Mies van der Rohe. Nach fast 50‐jähriger Nutzung musste die denkmalgeschützte Architekturikone saniert werden. Mit der Planung dieser anspruchsvollen Sanierungsmaßnahme wurde 2012 das Büro David Chipperfield Architects beauftragt. Die Bestandsfassade wies keine Möglichkeit zur Aufnahme thermischer Dehnungen auf, was in der Vergangenheit zu Zwängungen und Verwerfungen der Konstruktion und häufig zu Glasbrüchen der übergroßen Scheiben führte. Bei der fassadentechnischen Sanierungsplanung mussten die konstruktiven Restriktionen behoben werden; das Ganze denkmalgerecht, wie das Ergebnis zur Wiedereröffnung des Mies‐Baus seit April 2021 beweist. Neue Nationalgalerie Berlin – Restoration of the facade. The „Neue Nationalgalerie" in Berlin was built from 1965 to 1968 according to the plans of the architect Ludwig Mies van der Rohe. After almost 50 years of use, the listed architectural icon had to be renovated. In 2012, David Chipperfield Architects was commissioned to plan this ambitious renovation project. The existing facade had no possibility of absorbing thermal expansions, which in the past led to constraints and distortions of the construction and often to glass breaks of the oversized panes. In the facade renovation planning, the structural restrictions had to be removed; the whole thing is in accordance with monument regulations, as the result for the reopening of the Mies building since April 2021 proves. [ABSTRACT FROM AUTHOR]