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Based on a reassessment of the papyri Pap. Berlin P 15871 and 1582A+B with the correction of several readings, particularly one of the three determinatives of (i) "shrine", the key word for their earlier interpretations, it is suggested that the architectural drawings do not show a rock cut temple or a hemi-speos but KV 5, the so-called tomb of the sons of Ramesses II in the Valley of the Kings. Differences in the handwriting, in the depiction of the bedrock pattern surrounding the rectangular rooms, and other observations suggest that more than one person was involved in the creation of the architectural drawings. As suggested in the past, they belonged to at least two different papyri. Terms referring to work in progress indicate that the papyri are related to work in progress, as opposed to other architectural drawings which represent the beginning or final stages of tomb construction projects. [ABSTRACT FROM AUTHOR]

This article describes the lighting policy framework of Het Nieuwe Instituut, the national museum and archive for architecture, design and digital culture in Rotterdam, the Netherlands. The framework combines relative cultural value, light sensitivity and acceptable loss of value due to colour change into recommended annual light doses for objects. To fit the blueprints into the policy, the loss of value upon fading and regain of the blue colour was studied. As other studies have shown, the fading of Prussian blue due to photo-reduction was reversed by the oxidation of the formed Prussian white in the dark. Overall colour changes remained unnoticeable to the naked eye. Although blueprints are highly sensitive to light, the loss of value after exhibition is minimal, therefore display possibilities are wider than thought. Nonetheless, pristine blueprints should be displayed with care when their colour is a character-determining feature. Additionally, some architectural drawings may look like blueprints but have been produced by different techniques and may fall in the 'high' light sensitivity class as they can never regain their colour. [ABSTRACT FROM AUTHOR]

Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the view of a homogeneous Gothic design practice based on quadrature. Historians generally accept that in the 16th century a new Renaissance graphic language challenged and ultimately replaced the Gothic tradition north of the Alps. However, this antagonistic narrative of one dominant practice superseding the other needs to be re-examined because hitherto neglected drawings for other types of buildings reveal that medieval drafting practice was more varied and open to new developments than is often believed. This paper will examine three rare sets of architectural drawings, together consisting of over thirty sheets, made for three stone sluices in the provinces of Utrecht and Holland between 1556 and 1563. They show that for technically demanding hydraulic works, drawings directed every step of the process, from enabling discussion of the most suitable design to guiding the stonemasons in the execution of the work. Moreover, they demonstrate that for such projects, Gothic masters did not adhere to tradition but engaged with new design methods, using scale, colour, and multiple views to convey all aspects of the project, thus indicating that changes in style and method were not always interrelated. [ABSTRACT FROM AUTHOR]

This study investigates the role of Midjourney intelligent drawing software in architectural design education, particularly its impact on design efficiency and creativity among sophomore architecture students. While Midjourney serves as a powerful tool for rapid visual concept generation, it does not replace traditional design skills but complements them by enhancing the visualization process. The study also identifies some key limitations of Midjourney, especially in areas of functionality and sustainable design, which require students to integrate additional tools for a more comprehensive design approach. The recommendation to expand the use of intelligent drawing technologies like Midjourney in future research is supported by the observed improvements in student performance, including enhanced creative expression and efficiency in design processes. These conclusions are based on qualitative data derived from student feedback, as well as quantitative measurements of their design outcomes before and after using the software. Furthermore, it highlights the need to broaden the scope of studies to include a wider variety of educational contexts and source materials to improve understanding of the software's potential in design education. [ABSTRACT FROM AUTHOR]

Can we compute what we cannot draw? How must we draw to produce measurable representations, or visual ones? This research inquires into the relationship between mathematics and figurative representation, and more precisely between drawing and computation. The scientific imagery studied here is the representation of the five platonic solids, discussing various representation techniques from classical antiquity to modern times, and their efficacy to help calculate sizes and proportional ratios. Scholars in history of architectural drawing have too often limited their observations to the very few preserved plans and front views dating back to classical antiquity, without enlarging their investigation to other scientific fields that also rely on drawing as a research tool and communication device. Among these other fields stands the mathematical research, especially solid geometry which deals with objects and entities that have shapes that needs to be somehow drawn in 3D to be studied. [ABSTRACT FROM AUTHOR]

Copyright of Architectonics & Architecture / Építés - Építészettudomány is the property of Akademiai Kiado 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 this paper, by comparing the archaeological remains of meditation caves in Kucha and Termez and by referring to Buddhist literature, we aim at gaining a better understanding of how meditation was practiced in both regions. In Kucha and Termez the arid climate shifted between extreme summer heat and extreme winter cold, making the caves ideal choices for meditation. In Kucha, various types of meditation caves have been recorded. These include small cells for seated meditation, single corridors, and corridors that intersect to form a cross or an inverted U plan. The latter type is associated with a residence and a courtyard, which show many similarities with the complexes located in the mounds south and west of the monastery of Kara Tepe. Two possible uses of the corridor-shaped caves have been proposed based on various factors, such as the distance of the caves from the surface monastery, the similarity of the type, the presence of a courtyard in front of the caves, and the existence of a cell where a person could repose. Buddhist accounts remark on the importance of mindful pacing (Skt. caṅkrama; Chi. jingxing 經行) along with sitting meditation in the daily practice of bhikṣus. According to descriptions in the vinaya, we can infer the possibility of having several types of pathways for mindful pacing, besides the most common straight path. Note also that various ancient records of Buddhist monks mention monuments associated with mindful pacing. Drawing on both architectural remains of the investigated areas and textual evidence, we suggest that the carved corridors, both single and intersecting, might have been specifically designed for mindful pacing. In the better-preserved complexes, the length of the courtyard's sides corresponds with that of the corridors. While the courtyard could have been utilized for various activities, the similarity in size between corridors and the courtyard hints at its potential use for mindful pacing in mild weather. Furthermore, because the Kara Tepe monastery could accommodate less than fifteen monks, the presence of several meditation complexes, each consisting of four intersecting corridors and a small cell, implies that these units were intended for a monk to live in seclusion for a period. [ABSTRACT FROM AUTHOR]

Multimodal generative AI and generative design empower architects to create better-performing, sustainable, and efficient design solutions and explore diverse design possibilities. Blockchain technology ensures secure data management and traceability. This study aims to design and evaluate a framework that integrates blockchain into generative AI-driven design drawing processes in architectural design to enhance authenticity and traceability. We employed a scenario as an example to integrate generative AI and blockchain into architectural designs by using a generative AI tool and leveraging multimodal generative AI to enhance design creativity by combining textual and visual inputs. These images were stored on blockchain systems, where metadata were attached to each image before being converted into NFT format, which ensured secure data ownership and management. This research exemplifies the pragmatic fusion of generative AI and blockchain technology applied in architectural design for more transparent, secure, and effective results in the early stages of the architectural design process. [ABSTRACT FROM AUTHOR]

Around 1526, Emperor Charles V decided to build a new Renaissance palace in addition to the Nasrid palaces in the Alhambra of Granada, a monumental site currently included in the United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage List. In that period, a large floor plan, which is preserved today at the Library of the Royal Palace of Madrid, was drawn to represent the building and its surroundings. Although this anonymous drawing has attracted considerable historiographic interest, a study of the graphical aspects analysed here, namely, paper assemblage, drawing technique, representation system, metrology, graphical scale, dimensioning, and labelling, is lacking. To accomplish this analysis, the original document was carefully examined and digitalised with high definition. This process allowed a comprehensive graphic analysis, utilising other drawings from the same period as a comparative reference and studying for the first time the major characteristics of one of the most relevant architectural drawings of the 16th century. [ABSTRACT FROM AUTHOR]

This study focuses on the impact of Modernism on contemporary architecture in Erbil, a city with a history dating back to the fifth millennium B.C. Emphasizing the historical significance of the central ancient citadel and its ties to the third family of the Sumerian empire and transformative Assyrian conquests, the research intricately navigates the discourse surrounding modernist architecture and its effects on Erbil's identity. Using an evaluative lens, it discerns how contemporary architectural trends have influenced the city's historical buildings, urban planning, and local environment. Through a descriptive and interpretive methodology, the study unveils the intricacies of Erbil's architectural transition, drawing insights from diverse sources such as maps, visuals, and legislative texts. This paper makes a significant contribution to the ongoing dialogue about the evolution of contemporary architecture in Erbil, illustrating vividly how modern architecture, characterized by its departure from tradition, gradually replaced conventional building practices from the early 20th century until the 1980s, leaving a lasting imprint on Erbil's traditional organizational planning identity. [ABSTRACT FROM AUTHOR]

The presence of modernization in Indonesia is supported by several factors, one of which is the railway network. Unfortunately, despite its importance in Indonesian history, the first terminus in Indonesia – namely, Semarang Station – has almost been forgotten. Conservation efforts are needed to describe the architectural evolution of Semarang Station, which can provide a lens to see the adaptation efforts in the development process and the global impact of the establishment of a railway network in the colony. Moreover, digital reconstruction as architectural preservation is necessary to convey the station's historical value. Given the limited access and scarcity of architectural drawings for Semarang Station, textual sources were used to validate the information from the visual sources. The digitalization of visual data produced 2D objects that were used as the basis for making 3D models; these 2D objects were identified using textual data to see the relationship between their architectural transformation and the events related to the building. The findings of the architectural morphology analysis were then used as data to produce the 3D models, which were the main target of the digital reconstruction. The result of this process is a reconstruction of the morphology of the Semarang Station that demonstrates its historical value. [ABSTRACT FROM AUTHOR]

This archaeological note reports on an architectural block from the peak sanctuary at Stelida on Naxos that is inscribed with a mason's mark, the first such example from the island and one of only a handful outside of Crete and Akrotiri on Thera. The context of recovery immediately to the south of the sanctuary leads us to suggest that it originally formed part of the building's back wall, the sign facing Thera, and Crete beyond—signaling a connection to and possibly protection from these important political loci. An alternative hypothesis sees the block as an altar. The design of the mason's mark, a simple cross, is well attested at Knossos and several other sites on Minoan Crete, plus at Akrotiri on Thera, and at Mycenae in the Argolid. It is argued that this mason's mark provides further evidence for Knossian politico-religious influence at Stelida. 1 [ABSTRACT FROM AUTHOR]

Among the more than 2,000 ancient engravings on marble outcrops in hills north and east of Vari, Attica, there appears a remarkable drawing of a building. The structure, which seems to be a temple, is identified by its inscription as "the Hekatompedon" and was produced by an individual named Mikon. This note presents the drawing and the inscription. Following a discussion of the peculiarities of the graffito and its relevance for our understanding of the term ἑκατόµπεδος, it argues that the graffito depicts an Archaic temple on the Acropolis of Athens. 1 [ABSTRACT FROM AUTHOR]

Copyright of Tikrit Journal of Engineering Sciences 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.)

The contemporary world is so dependent on the virtual, with its constantly morphing and invisibly magical potentialities, that it is somewhat paradoxical that the speculative, explorative aspect of architectural drawing is so undervalued in this context. The profession's computerised quick‐fix, feed‐me, satisfy‐me normative mentality has limited truck with the intangible. Peter J Baldwin writes an ode to the phantasmagorical and the ephemeral, citing it as a useful tool to enhance and liberate the creative design mind. Allied with tactics of re‐reading and post‐rationalisation, he constructs a spectral 'machine' for making work. [ABSTRACT FROM AUTHOR]

Due to the competitive nature of the construction industry, the efficiency of requirement analysis is important in enhancing client satisfaction and a company's reputation. For example, determining the optimal configuration of panels (generally called panelization) that form the structure of a building is one aspect of cost estimation. However, existing methods typically rely on rule-based approaches that may lead to suboptimal material usage, particularly in complex designs featuring angled walls and openings. Such inefficiency can increase costs and environmental impact due to unnecessary material waste. To address these challenges, this research proposes a Panelization Algorithm for Architectural Designs, referred to as PAAD, which utilizes a genetic evolutionary strategy built on the 2D bin packing problem. This method is designed to balance between strict adherence to manufacturing constraints and the objective of optimizing material usage. PAAD starts with multiple potential solutions within the predefined problem space, facilitating dynamic exploration of panel configurations. It approaches structural rules as flexible constraints, making necessary corrections in post-processing, and through iterative developments, the algorithm refines panel sets to minimize material use. The methodology is validated through an analysis against an industry implementation and expert-derived solutions, highlighting PAAD's ability to surpass existing results and reduce the need for manual corrections. Additionally, to motivate future research, a synthetic data generator, the architectural drawing encodings used, and a preliminary interface are also introduced. This not only highlights the algorithm's practical applicability but also encourages its use in real-world scenarios. [ABSTRACT FROM AUTHOR]

This paper discusses the role and agency of the architecture exhibition as a mediated space of discursive spatial narratives. The presented curatorial approach draws on the exhibition entitled Past-forward: Stavros Economou Unarchived (2021) to reflect on the development of a multimedia-enabled reading of the architectural archive. Stavros Economou is one of the most important representatives of modern architecture in Cyprus, yet his work is underdiscussed and under-published. The architectural archive, unlike other collections, consists of representations (such as drawings, models, photographs) of artefacts (buildings) that communicate design processes and final un/built proposals. The curatorial practice focused on a twofold challenge: on one hand, it explored the role architectural representation can play in the production of the multiple and complex (hi)stories of modern buildings, and secondly, it considered ways in which an architecture exhibition can connect with the host city and its local population by addressing contemporary urgencies of spatial inquiry. [ABSTRACT FROM AUTHOR]

This document provides a list of attributions of authorship in the Gentleman's Magazine from 1836-1840. It includes new and corrected attributions of various types of content, such as letters, articles, reviews, drawings, obituaries, poems, and staff notes. The list reflects changes in the magazine's content and management during this period, with Revd John Mitford taking over editorial responsibilities. The contributors to the magazine during this time were from diverse backgrounds, including antiquaries, artists, architects, draftsmen, engravers, clergymen, physicians, scientists, printers, journalists, historians, orientalists, writers, poets, a lexicographer, and a barrister. The document also mentions the lack of funding for the note. [Extracted from the article]

Among the methods of 3D reconstruction, the automatic generation of 3D models from building documentation is one of the most accessible and inexpensive. For 30 years, researchers have proposed multiple methods to automatically generate 3D models from 2D drawings. This study compiles this research and discusses the different methods used to generate 3D models from 2D drawings. It offers a critical review of these methods, focusing on the coverage and completeness of the reconstruction process. This review allows us to identify the research gaps in the literature, and opportunities for improvement are identified for future research. [ABSTRACT FROM AUTHOR]

The preservation of historical traditional architectural ensembles faces multifaceted challenges, and the need for facade renovation and updates has become increasingly prominent. In conventional architectural updating and renovation processes, assessing design schemes and the redesigning component are often time-consuming and labor-intensive. The knowledge-driven method utilizes a wide range of knowledge resources, such as historical documents, architectural drawings, and photographs, commonly used to guide and optimize the conservation, restoration, and management of architectural heritage. Recently, the emergence of artificial intelligence-generated content (AIGC) technologies has provided new solutions for creating architectural facades, introducing a new research paradigm to the renovation plans for historic districts with their variety of options and high efficiency. In this study, we propose a workflow combining Grasshopper with Stable Diffusion: starting with Grasshopper to generate concise line drawings, then using the ControlNet and low-rank adaptation (LoRA) models to produce images of traditional Minnan architectural facades, allowing designers to quickly preview and modify the facade designs during the renovation of traditional architectural clusters. Our research results demonstrate Stable Diffusion's precise understanding and execution ability concerning architectural facade elements, capable of generating regional traditional architectural facades that meet architects' requirements for style, size, and form based on existing images and prompt descriptions, revealing the immense potential for application in the renovation of traditional architectural groups and historic districts. It should be noted that the correlation between specific architectural images and proprietary term prompts still requires further addition due to the limitations of the database. Although the model generally performs well when trained on traditional Chinese ancient buildings, the accuracy and clarity of more complex decorative parts still need enhancement, necessitating further exploration of solutions for handling facade details in the future. [ABSTRACT FROM AUTHOR]

This study aims to study the conditions for the architectural form of vernacular houses of Thai Korat, Laotian, and Tai Yuan ethnic groups living in the central Lamtakong watershed. Nineteen stilt houses with the age of fifty-three to one hundred years were incorporated in the case study. Data were meticulously gathered through methods such as observation, photography, surveying, architectural drawing, three-dimensional modeling, and interviews. The analysis, conducted within the frameworks of ethnic identity and cultural diffusion, involved morphological and comparative assessments. The findings showed that the houses in the present case study could maintain their ethnic identities as can be clearly seen in the space planning and the shapes of the houses passed down from generation to generation. In addition, there was cultural acceptance among these ethnic groups through exchanging, adopting, and borrowing house construction techniques, in order to express the common traits in the larger social context in a friendly and smoother way. This phenomenon indicates that the co-existence in a multicultural society is the key that makes different ethnic groups be able to maintain their ethnic identity and live with the larger society in a friendly way. Hence, the cultural significance of stilt vernacular houses in the study area is embedded in the dynamic process of exchanging house construction techniques, fostering harmony within the broader social context. This preservation simultaneously safeguards the essential elements and key attributes of ethnic identity in architecture. [ABSTRACT FROM AUTHOR]

The conception drawing in architecture is that allows to initiate the architectural thinking, visualizing, and discovering the first ideas. This drawing has traditionally been given as an act of linking and collaboration between thought, sight, and the movement of the hands with a tool. Identifying and recognizing its characteristics will make it possible to deal with any mediation of information technologies. To establish such characteristics, three case studies were carried out. An analysis was made of the conception drawings and interviews by the Pritzker Prize laureates: Ando, Hadid and Gehry. One condition and four characteristics have been determined: drawing is a phenomenological action that produces haptic drawings; it is an undecided process that originates unformed drawings; it is a fast action that results in small and multiplied drawings; it is a perceptual act that generates redrawn and remarked drawings; and finally, it is an action that seeks to remember to resume the creative process at another moment, which produces rudimentary conventional drawings. Knowing these before any technological mediation will be an important pedagogical contribution that will allow future architects not to alter the cognitive processes that generate the first ideas in the initial moments of the architectural project. [ABSTRACT FROM AUTHOR]

Muşallā Plain has always been a renowned appellation in historical and literary texts associated with Shīrāz. However, the two historical structures in this city, known as the Muşallā mansion (a space used for praying in Islam), have received less attention and have not played a significant role in the local architectural historiography. The objective of this current research is to explore the Muşallā plain and analyze its transformations over time based on historical data. Subsequently, the focus will be on studying and documenting the mansions known as Muşallā (or Qorbāngāh) using written and visual records. This research aims to answer several questions regarding the location and function of Muşallā in Shīrāz, considering its historical, geographical, and natural characteristics. Additionally, it seeks to identify the geometric and architectural features and similarities shared by these two historical buildings, known as Muşallā or Qorbāngāh. The research method is primarily historical, utilizing travelogues, local histories, literary and geographical sources, as well as archival documents and visual materials such as drawings, photographs, and maps. The findings of this study reveal that Muşallā is a vast plain that has witnessed various phases of development and decline over a span of more than eleven centuries. These phases could be categorized into five distinct periods as follows: a. foundation and formation; b. prosperity and development; c. dignity and prestige; d. stabilization and continuity; and e. erosion. The earliest known Muşallā mansion was likely a grand brick Iwan constructed during the reign of Shāh Ţamasb II with the efforts of Mohammad Ali Khān, the son of Aşlān Khān Qollār-Āqāsī. The ruins of this structure were documented by two Englishmen named Sir William Ouseley and Joseph D'Arcy more than eight decades later, and later by John Rogers Herbert. In 1878, Farhād Mirzā Mo'tamed al-Dowleh, the uncle of Nāser al-Din Shāh, erected a new building with a similar centrally-based Iwan, but with two smaller rooms at each side, which was still standing until 1964. In Shīrāz popular culture, the name "Qorbāngāh" was adopted for this building as a result of the tradition of sacrifice during the Nāser al-Din Shāh era and its importance as a court tradition. [ABSTRACT FROM AUTHOR]

Kula is a district rich in cultural values. There are many historical and traditional residences in this region. These historical structures have undergone great and different changes over time. It is aimed to determine the transformations related to facade, structural element, and interior use in traditional houses. In addition, by looking at the obtained data, namely the architectural changes, it was determined as a secondary purpose to make suggestions about conservation. The study consists of a combination of two basic methods: literature research and field research. After determining the subject of the study, written sources related to the subject were searched and the research was supported by field studies. The method of the study is the comparison of the data obtained from the sources and the evidence in the field study. Findings were obtained by analyzing the detected differences. In the study, which was carried out with the comparative analysis method, the historical process was examined, and information, architectural drawings and photographs were obtained about the conditions of the buildings 50 years ago. For this reason, scope of the study consists of both the data obtained and the houses that provide both conditions depending on the availability of these data today. In this context, the study is limited to 14 traditional Turkish residences in the Kula site, from which both historical data and locations can be accessed. In the studies carried out in the field of architectural restoration and conservation, the current situations are examined in the studies on conservation. However, in this study, not only the current situation of the buildings, but also the conditions of the previous years and even the comparison of the data was obtained. Although this study was carried out within the scope of Kula district, it gives an idea about the change and usage of interiors of the residences. [ABSTRACT FROM AUTHOR]

Throughout history, various alternative approaches have been considered that conceptualize the dialogue between architectural objects and their sites. This study explores whether this conceptual richness is reflected in Turkey’s contemporary architectural agenda by focusing mainly on the period from 1990 to the present. The Mimarlık Journal, one of Turkey’s leading architectural journals, was chosen as the object of investigation, presenting the contemporary written language of academics and professionals. In this research, relevant and current literature was first reviewed to identify site-related terms (place, settlement, local, topography, context, environment, nature, history, social, culture and identity) as a toolkit for analyzing the Mimarlık Journal. The analysis of the toolkit has led to the creation of a digital database via the application of digital humanities methods of manual text mining and critical reading to highlight the diversity and richness of sites’ language(s). The result is the mapping of the terms used in context to understand the diversity, actors, and systems of thought in site narrative. The results show that the discussions in the journal mainly focus on the critique of contemporary architectural practices, rather than theoretically expanding the topic and drawing on production in fields such as art, philosophy, and anthropology. The discussions in the journal refer to the canonical texts of international literature in the field of architectural theory and urbanism between the 1960s and the 1990s. However, there is an evident lack of current sources in the bibliographies, which shows that systems and patterns of thought do not change simultaneously. This study shows that the mapping and deep reading of journal articles represent a very effective research method in the field of architecture by contributing to the site narrative while making apparent the diversity and richness of its language. [ABSTRACT FROM AUTHOR]

Rio de Janeiro's long-marginalised, majority Afro-descendant old port area, home to the remains of the Americas' largest slave disembarkation wharf and Brazil's first favela, has been subjected to recurring elite-led 'revitalisation' projects. A contemporary plan, Porto Maravilha (Marvelous Port), seeks to address the region's decline through a culture-led, public-private development scheme that refashions this space as a tourist and residential hub. Based on participant-observation, interviews with protagonists, and discursive analysis of official texts, this article analyses the most spectacular addition to Rio's previously derelict waterfront—the grandiosely titled Museu do Amanhã (Museum of Tomorrow)—to demonstrate how efforts to neoliberalise space, within this postcolonial and settler-colonial urban context and beyond, are increasingly given a progressive twist. Drawing from Leslie Sklair's pathbreaking analysis of the political economy of architectural 'iconicity', I interrogate the socio-spatial dimensions of the Museum as a starchitect-designed and utopian site that promotes sustainability and community empowerment, but simultaneously cultivates a market-friendly ethos. Invoking Nancy Fraser, I argue that the Museum represents an emblematic case of 'progressive neoliberal place-making.' Through analysing global city-making processes in Rio's 'Little Africa', this article addresses longstanding lacunae in IPE and IR related to the centrality of race and colonialism in global capitalism. [ABSTRACT FROM AUTHOR]

This article traces how Oscar Niemeyer and his team’s early draft of the Ibirapuera Park project (1951–1954) employs resources from the art and architecture of the Russian avant-garde of the early 20th century. It presents similarities with two projects by architect Ivan Leonidov regarding formal citations and the dispersion of volumes in space. It states a strong link between the Brazilian architect’s work and the suprematist conception of space, which employs empty space as a “desert condition” that aesthetically elaborates on the isolation characteristic of the modern condition. Such use of space articulates Niemeyer’s tragic perception of the modernization process in Brazil. However, the marquee in Ibirapuera Park suggests an integration of the otherwise dispersed volumes. It allows for the social appropriation of space and the coexistence of diverse groups, thus producing a space where integration between bodies remains possible.

Using visual hierarchy, representational media often separate diverse urban experiences. Three categories of foreground, middle ground, and background are easily distinguished in photography and painting. Urban sketches separate buildings, figures, and natural features. In architectural working drawing, “poché, entourage, and mosaïque” forms a structural system for representing cut walls, environment, and texture respectively[1]. Recently, photogrammetry or Lidar scanning claim to break these hierarchies by creating “a uniform unbiased document of things in space as they exist.”[2] However, these tools fail to reveal the speculative imaginary experiences hidden behind surfaces.This series of my drawings that I named “rhizomatic line”, is the result of a non-hierarchical process inspired by French philosophers Gilles Deleuze and Felix Guattari's concept of rhizomes. Described as an array of attractions without beginning or end, a rhizome negotiates between things, “fosters connections between fields, the removal of blockages.”[3] Rather than producing fragmented abstract shapes, the rhizomatic line moves between the objects and intertwines them. Seemingly recording eye movement, rhizomatic, line does not construct complete outlines, but through loosing their completion, it connects them. As it explores the city, it does not differentiate between humans, pedestrian lines, high-rise building edges, urban skylines, stairways, leaves of a small plant hiding behind a window in a private room, entrances to residential units atop towers, or imaginative spaces.When looking at similar images, different people show different eye movements.[4] A designer sees the world in the process of construction, and from multiple perspectives at once. Architects use a specific language to draw rhizomatic lines. Axonometric projection takes advantage of both the visual aspect of perspective in photography, as well as the mathematical precision of orthographic projection in computer cartesian systems. Although I do not claim that my rhizomatic lines are true or close to the vision, I emphasize on " a continuous space in which elements are in constant motion."[5] The dotted texture suggests one understanding of the scene's porosity, among many others. Through the blurring of boundaries between poché, entourage, and mosaïque, only a portion of the image is displayed as a work under construction, inviting the viewer to complete it with their imagination. In this sense, a rhizomatic line is not a cartesian representation of space. This single “active line” ending in itself, is an exploratory journey fusing imaginations, speculations, desires, memories, and dreams about the city; “a walk for a walk's sake.”[6] [1] Michael Young, Reality Modeled After Images: Architecture and Aesthetics After the Digital Image. (New York: Routledge, 2021), 10. [2] Young, Reality Modeled After Images: Architecture and Aesthetics After the Digital Image. 53. [3] Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi, (Minneapolis: University of Minnesota, 1987), 12. [4] Alfred Yarbus. "Eye Movements During Perception of Complex Objects." Eye Movements and Vision”, (Springer: Boston, MA, 1967) [5] Stan Allen. "Construction with Lines: On Projection", Practice: Architecture, Technique+ Representation. (New York: Routledge, 2009), 19. [6] Paul Klee. Pedagogical Sketchbook. Translated by Sybil Moholy-Nagy, (New York: Praeger Publisher,1953), 16.

Despite the wealth of preserved information, research on the domestic architecture of Seville has been limited. Much of this historical data is available in survey books that were formally compiled in Seville from the Modern Age onwards. These books had detailed descriptions and sometimes illustrations provided by surveyors who were commissioned by owners or tenants. The intention of this study is to illustrate that the information contained in building surveys goes beyond simple descriptions or measurements often accompanied by drawings. They are a comprehensive account that, even centuries later, help reconstruct the architecture, material culture and everyday life that no longer exist. Our research contributes to the understanding of the domestic architectural history of Seville by focusing on one specific survey (a collection of drawings and a written description) extracted from the Hospital de las Cinco Llagas Collection, which is found in the Seville Provincial Council Archive. At least one of the drawings and the written survey can be attributed to the Alarife (architect or master builder) Juan de Legarra, who signed them in 1637. This research explores the architectural development of the city, offering fresh insights into its architecture, heritage, and history. It supplements existing historical, visual, and written records derived from prior studies with a meticulously curated bibliography. Additionally, it uses visualisation techniques to reconstruct buildings, augmenting the research. This endeavour has yielded anticipated benefits, particularly in facilitating visual analysis. The surveys have proven to be invaluable for historical inquiry, yielding unexpected insights through the thorough analysis of both written and graphic sources which serve as a basis for hypothetical construction plans due to their detailed descriptions. Furthermore, this study has contributed to enriching both historical and architectural terminology. The incorporation of digital technologies into this architectural context allows us to expand our knowledge through the exhaustive compilation of building records. It also facilitates in-depth analysis of architecture, which could result in an up-to-date architectural catalogue that would stimulate interest in preserving a legacy that, until recently, was at risk of being lost. [ABSTRACT FROM AUTHOR]

Ettore Sottsass (1917-2007) is a renowned designer who reached the pinnacle of his fame in the 1980s thanks to his work for the Memphis Group (1981-1987) or the Sottsass Associati company (created in 1980). He was an architect whose early skills in the art of drawing and painting allowed him to express his work and develop a very particular technique for designing and representing his architectural projects and, more specifically, those related to interior spaces. Through an in-depth study on his relationship with art and drawing from an appraisal of several examples of projects conducted by the architect and published in Domus magazine, Sottsass' design and graphic representation techniques are studied. His architecture offers a thoroughly anthropological imprint: one that is defined down to the tiniest detail yet asserting its own style. [ABSTRACT FROM AUTHOR]

It has always been considered that the drawings of Guamán Poma de Ayala only revealed an idealization of the indigenous worldview expressed in the theme of the Hispanic cities of the 16th century, and that the buildings shown in his manuscript did not exist. However, the authors have located two churches located in the high Andean area of Peru, from that century, which have not been greatly impacted by the earthquakes that occurred in Peruvian history and that destroyed most of the 16th century buildings. Precisely having found real references on which Guamán Poma could base his drawings has allowed us to decipher the graphic characters of said chronicler with respect to the construction elements that shaped the architecture of the 16th century in the Viceroyalty of Peru. [ABSTRACT FROM AUTHOR]

The Shahyad monument, which has served as a symbol of Tehran—and by extension of modern Iran—since its inauguration in 1971, stands at the center of a huge open space that has been successively appropriated by Pahlavis, revolutionaries, and the Islamic Republic and has been persistently mediated and remediated in its relatively short life. This contested urban monument embodies the complex story of a space in which multiple sets of illusions—a Pahlavi fantasy as well as a revolutionary dream—are undone. In this paper, the space's story is traced through varied types of media and archival material, including plans and architectural drawings, official reports and correspondences, and especially through journalistic photographs of the Square in 1979 and its representation in various media afterward. I examine shifts in this specific space at particular and historically grounded conjunctures, honing in not just on the site's meta-narratives and its grand spectacular events, but also on the decentralized and ignored narratives and histories, demonstrating how they have reworked the meaning of this monumental space, turning it into a stage for contrarian politics. Focusing on the monument during the 1978-79 Revolution, I argue that the transformations in the meaning and perception of the site at that particular moment are indeed forces of a fundamental remaking, in that they open up the monumental site to further appropriations, as we are currently witnessing. [ABSTRACT FROM AUTHOR]

The rapid development of artificial intelligence (AI) technology has impacted art, architecture and design. AI has the potential to change architectural education by replacing traditional or CAD drawing tools and techniques with knowledge of terminology and words since they are text-to-image machines. Demonstrating architectural design requires understanding architectural history, theory, materials and techniques to describe it to the robot. Ultimately, AI design involves creating a systematic text structure with comprehensively chosen words and their order to illustrate architecture with meaningful words rather than drawings. Therefore, semiotics and semantics are crucial in creating and demonstrating prescribed texted space on AI platforms. The research focuses on applying theoretical knowledge of semiotics to architectural design using AI robots. The study involved comparing the use of Turkish and English languages and assessing the ability of AI robots to understand and illustrate architectural designs to see how language also affects the AI design process. It aims to explore how AI's use in architecture impacts design by using potential implications of emphasising cultural, traditional and linguistic aspects of architecture to contribute to the development of AI in architectural design and education. [ABSTRACT FROM AUTHOR]

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Oral history, when combined with other disciplines like Sociology, Architecture, Anthropology, and Photography, can uncover often-neglected elements of our past leading to breakthroughs in preservation projects. Oral history works with other disciplines (i.e. photography and studies of domestic space) to help us understand the layers of memory and history. This article aims to demonstrate how a methodological approach can coalesce three different disciplines--photography, oral history, and domestic space--to provide a unique, more intimate narrative of the use of the domestic spaces of historically unknown individuals in the 1950s. Usually, architectural historians present information visually through drawings, photographs, books, and other forms of written sources. Rarely do architectural historians use oral narratives in their works. For this reason, readers who have not really considered architectural and oral history within the same context will be interested to learn about this cross-disciplinary approach. Using a case study of one family's personal photo albums, their elicite memories, and their house, this article employs what I have termed a tripod methodology to examine the century-old home of the Eaton Family, long-time residents of the historic Duck Pond community in Gainesville, Florida. Although this paper features only one model, the tripod approach can go in many directions as needed for future research areas like preservation, historical, and anthropological studies, etc. This study serves as an example of how this methodology helps us better understand the 1950s and 60s domestic life in Florida by closely examining one historic home--the Eaton House. [ABSTRACT FROM AUTHOR]

Numerous existing buildings in Germany lack corresponding BIM models. Advanced analysis and visualization purposes, including indoor navigation, energy demand simulations, and building materials recycling on these buildings presents significant challenges, as only Level of Detail 2 (LoD2) models provided by local housing authorities, along with architectural drawings and textual descriptions of the internal structures, are available. This paper proposes a semi-manual workflow, LoD2BIM, to facilitate the efficient reconstruction and conversion of existing building models, particularly transforming Germany's official 3D Building Models in LoD2 into comprehensive, information-rich IFC models using open-source software. Through the integration of BaseX and CesiumJS, the visualization, querying and extracting of one LoD2 model from CityGML file become easy and feasible. Central to the LoD2BIM workflow is Blender, it acts as the primary platform for model editing, reconstruction and conversion. Users can expediently rebuild and refine LoD2 models utilizing Blender's visual interface and the tool floorplan to blender3d, based on floorplans or detailed written descriptions. New Blender add-ons are developed to streamline the model import and conversion process. The BlenderBIM add-on is also modified to facilitate the automatic batch assignment of mesh as IFC classes. This workflow not only showcases the reconstruction and subsequent conversion of CityGML models into IFC models but also illustrates the potential to act as an alternative to commercial software in Building Information Modeling (BIM) editing. [ABSTRACT FROM AUTHOR]

Public health experts are deeply concerned about cardiovascular diseases, including numerous heart-related ailments that can prove fatal. Distinguishing between Myocarditis and myocardial infarction (MI) is difficult due to comparable symptoms and diagnostic complications. While endomyocardial biopsy (EMB), cardiac troponin indicators, electrocardiography (ECG), and echocardiography are useful in making preliminary diagnoses, their effectiveness is limited. The EMIDEC challenge initiative stands out as an important development in this context. It demonstrates how clinical physiological parameters, combined with delayed enhancement magnetic resonance imaging (DE-MRI), can significantly enhance classification reliability. The aim of this research is to provide a thorough assessment of the present state of the art in EMIDEC-related research. Subsequently, our intention is to establish a new database that will serve as the framework for comprehensive testing and evaluation of the architectural models drawn from the literature. We established a constructive collaboration with the Military Hospital of Tunis, which was crucial for patient data collection and access to a diverse group of patients diagnosed with Myocarditis and MI. We proceeded to select the appropriate architectural models for our study. We chose the DOC-NET and DOC-NET+ models based on prior research that demonstrated their effectiveness in similar classification contexts. DOC-NET and DOC-NET+ demonstrated accuracy rates of 95% and 100% in previous studies with the EMIDEC dataset. When these models were applied to our newly produced custom dataset, DOC-NET maintained its impressive performance with an accuracy score of 97%, while DOC-NET+ had an accuracy score of 98%. However, as we increased both the number of patients and the complexity of scenarios in our new dataset, the accuracy of DOC-NET+ dropped significantly to 91%. The CMR with AI combination allows for more customized and efficient evaluation, ultimately increasing patient outcomes and altering the cardiovascular healthcare environment. However, problems connected to the algorithm's generalizability to complicated data continue to be a crucial concern in further refining these improvements. [ABSTRACT FROM AUTHOR]

In this paper, I discuss the promising use of visual architectural drawings to present findings of qualitative studies, particularly when dealing with a complex, multidimensional human experience. I examine an interdisciplinary integration between qualitative research and architecture that embraces visual elements. I propose using visual drawings borrowed from architecture as a tool to present deep meanings of human experience within a social phenomenon and make the findings visually transparent. The architectural drawings offer distinct views: one provides an overall view of the building, while the other exposes its hidden layers. I employ this visual means to highlight deep meanings obtained from two salient metaphors in the participants' stories concerning normative identity conflict. This new practice of the importance of using visual means to present findings is consistent with contemporary discussions in sociology about how qualitative findings can be made more transparent and visible to diverse audiences. While this unique use of visual architecture means is still rare, I suggest that their implementation can contribute to innovation and contemporaneity in presenting qualitative findings. The insights of the present paper invite qualitative researchers to utilize visual interdisciplinary means to present findings that engage diverse audiences and enrich qualitative methodological discourse. [ABSTRACT FROM AUTHOR]

In the architectural design process, the architect(designer) engages in an internal dialogue with themselves, the object of their design, and other stakeholders. This dialogue, in turn, takes place through language and reveals a narrative. Within the architectural design, this language is established through (architectural) representation/ drawing. However, architectural drawing possesses symbolic and semantic layers akin to any language. This study focuses on these layers through “ekphrasis”, which is based on the relationship between visual and verbal representation, and asks: “How does ekphrasis as a method relate to the meaning of architectural drawing, and how does it find a place for itself in the architectural narrative?” In this study, the text-meaning-drawing relationship is examined using the deconstruction method and case study techniques. Therefore, a drawing workshop was conducted utilizing Homer’s Iliad, as it was the first ekphrastic text. The findings are then discussed in relation to the role of ekphrasis in shaping the architectural narrative.