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This study discusses the application of AI technology in the design of traditional Chinese-style architecture, aiming to enhance AI's matching accuracy and sustainability. Currently, there are limitations in AI technology in generating details of traditional Chinese-style architecture, so this study proposes a method of fine-tuning AI pre-training models, by extracting samples of traditional architectural style elements, to enhance the trajectory and output accuracy of AI generation. The research method includes constructing AI pre-training models, using DreamBooth and ControlNet tools for personalized training and perspective control. Through experimental verification, this study found that pre-trained models can effectively enhance the accuracy and controllability of AI in the preliminary design of architecture. At the same time, the application of ControlNet technology has significantly improved the accuracy and realism of architectural rendering. The value of this study lies in proposing a new method that combines AI technology with the process of traditional Chinese architectural design, which can help architects better protect and inherit the culture of traditional Chinese architecture. Through this method, it can reduce the difficulty of learning traditional Chinese architectural design, optimize the design process, enhance design efficiency, and provide strong support for the sustainable development of traditional Chinese architecture. [ABSTRACT FROM AUTHOR]

My aim in this paper is to examine the impact of digital technology on the perception and practice of architecture. Online activities leave discernible traces, challenging the traditional ontological view of the subject's independence from the material world. I will offer an exploration of the Internet's role as the primary communication medium transforms architectural practice, emphasizing digital archives and distribution. Platforms like Pinterest, ArchDaily, and Instagram have transformed how architectural practices are shared and consumed, cultivating a new culture of multimodal communication. Within this context, I will discuss how digital technologies have profoundly altered perceptions of materiality, space, and information. I will explore how architects and artists now operate within an interconnected network of social, economic, and technological forces, moving away from traditional media to embrace digital fragmentation. This shift impacts how architectural objects are perceived, from complete forms to fragmented digital representations that are accessible to a global audience. [ABSTRACT FROM AUTHOR]

This paper examines an alternative approach to creating a 3D digital model of an existing building on the basis of a single photograph. Rather than prioritizing comprehensive coverage or geometric accuracy, the method aims to highlight how the modelmaking process itself can generate architecturally specific knowledge. The paper describes modeling the Nishiki Market in Kyoto using principles of projective geometry and reverse perspective. By problematizing the construction process, the method discloses how a model may embody subjective interpretations and choices. The paper argues that this approach legitimizes producing models counter to prevailing conventions, as the process itself constitutes a form of situational architectural understanding, registered through traces of the modelmaker and the photograph’s perspective. Rather than foregrounding usefulness, this method values uncovering hidden assumptions and exposing the contingencies involved in constructing architectural knowledge.

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.

This essay investigates the way in which architecture is communicated in the postdigital era. Digital collages, created from photographs taken by so-called cyberflâneurs with their smartphones and reinterpreted through current smartphone applications, were the architectural representations under the spotlight. Generation Z architecture students were assigned the role of the cyberflâneur; a flâneur being defined as someone experiencing urban space on their own terms, 'cyber' referring to the flâneur’s instrument, the smartphone. Drawing and design are explored through the triad of hand, mind and smartphone. The visual artefacts being communicated are buildings in central Pretoria and Johannesburg, South Africa and in Maputo, Mozambique, from a list based on a compact urban typology built either 50- or 100-year-ago. The imagery on the screen of the smartphone becomes the lens through which we experience reality. The quality and complexity of the digital collages are telling of our zeitgeist; patterns and algorithms can be traced. Technology provide us with the tools to connect us to a synchrony that is the pulse of global culture. The graphic analysis of the visual material produced by the cyberflâneurs propagates zeitgeist as a major contributor to architectural expression by tracing a universal synchronicity.

Now on the eve of its centenary, Panofsky's essay has given rise to a vast debate where it has been often presented as a solid foundation to legitimize the exclusion of the perspective of the artistic teaching and practice (also in Architecture). The anniversary offers the opportunity to reread the text considering the research on the neurophysiology of vision that the extraordinary development of the Internet in recent times has placed within our reach. Together with attention to its philosophical grounds, these contributions let us to observe that, although Panofsky erred indeed in many of his arguments, he was completely right in stating that perspective is not directly vision, but a cultural construction and that this, far from being detrimental to perspective, reveals, on the contrary, its extraordinary relevance. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade 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 Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies 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 study explores the architectural design tools that have evolved through digital media in the postdigital era, which is evaluated through analog and digital hybridize. It raises the question of how the tool, as a mediator between the designer-subject and the designed-object in the architectural design process, can be re-examined in a hybrid design environment. The study proposes that what connects the designer-subject and the designed-object can be understood not only as a tool but also as a prosthesis. In this context, the “tool” in architectural design is described by the oscillation between the concepts of “becoming-tool” and “becomingprosthesis” and their impact on the designer-subject through bodily, cognitive, and consciousness extensions. The relations among the concepts are discussed by folding them on each other using the hermeneutic methodology.

Abstract This article aims to shed light on a conception and representation often overlooked in architectural discipline historiography. It focuses not only on forms and objects but also on forces and bodies. For this purpose, a fragmentary genealogy of conflicts between schools, traditions, and architects is proposed. This genealogy will reveal how the technical rationality of the drawings at the École Polytechnique de Paris contrasted with the imagery of the École des Beaux-Arts in the eighteenth century. It will also explore how the dogmas of the Enlightenment were challenged by a Mason­ic architecture, seeking bodies and debauchery, as exemplified by the stories of the Marquis de Sade. Additionally, it will delve into how the abstract modernist diagram led by Le Corbusier was disrupted by the atmospheric energies, membranes, and sensitive bodies conceived by Siegfried Ebeling. Resumen Este artículo busca poner en valor una concepción y representación usualmente ignorada en la historiografía de la disciplina arquitectónica al focalizarse ya no sólo en las formas y en los objetos, sino en las fuerzas y los cuerpos. Para ello, se propone una genealogía fragmentaria de conflictos entre escuelas, tradiciones y arquitectos que revelará cómo en el sigo XVIII la racionalidad técnica de los dibujos de la École Polytechnique de París contrastaba con la imaginería de la École des Beaux-Arts; el modo en que los dogmas de la Ilustración eran desafiados por una arquitectura masónica en busca de cuerpos y libertinaje ejemplificadas por los relatos del Marqués de Sade; o la manera en que el diagrama abstracto modernista liderado por Le Corbusier era perturbado por las energías atmosféricas, membranas y cuerpos sintientes concebidos por Siegfried Ebeling.

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The sacred things that are the objects of representation in architecture change and transform over time. The role of conservation in this process is to keep change under control. One of the important turning points of Taksim Square, which changed over time in line with needs and periodic political movements, occurred in the 20th century. During this period, the Republic was declared and the modernism movement, which became widespread all over the world, had its effect in Turkey. Atatürk Cultural Center3 (1977-Istanbul), which represents this rupture, has an important place in the city's memory as the symbol of the Republican Era, built under the influence of the modernist movement. AKM has witnessed important changes in Turkey and has become an object of them. Within the scope of this study, issues such as the representation problem and originality of the new AKM are discussed in the context of conservation, and it is aimed to make inquiries about its future place. It is aimed to discuss the mutual support of the limited and controlled new version of Taksim Square and the new AKM and the demolition and reconstruction of the AKM by comparing them with similar examples. Questions about AKM's representation in the centennial of the Republic and its representation in the future are important for the future place of the building. Within the scope of this study, the concepts of representation and protection are questioned in the context of AKM. The relationship between public space and cultural structure is discussed through AKM and Taksim Square. The conservation values of AKM have been revealed. The structure was discussed by establishing a link between the past, present and future of AKM. Comparisons have been made with similar examples in the world that have gone through similar processes. Evaluations of these studies are explained in the results section. The functional and physical condition of the area was observed through on-site observation and user experience. The findings obtained as a result of the literature research were discussed in the context of AKM's past, present and future, and Taksim Square. An attempt has been made to reveal the physical equivalents of conceptual inquiries. Similar applications around the world are categorized and compared. However, if a dialogue can be established between the new and old Atatürk Cultural Center about the past, present and future, it is thought that it will be possible to keep the building alive and pass it on to future generations. [ABSTRACT FROM AUTHOR]

Understanding the contemporary city as an unfathomable experience, as a set of complex experiences, prone to the indeterminate, this research acknowledges and collects fragments of a larger complex to search for and highlight objects, situations, artifacts, and experiences far from the canonical discourses. These "other" experiences are defined as unusual architectures, that is, located on the margins of what is normally discussed and valued in the traditional spaces of architectural practice, criticism, and teaching. Such recognition is constructed from otherness and comprises a provisional and changing complex. Methodologically, the research implies, first, a conceptual contextualization regarding the valuation of the otherness in architecture and the city as a motor of change in the discipline, and second, an immersion in the direct experience of space by the team. Through urban tours and a search for bibliographic and archival information, ninety cases are collected. Their relevance and critical potentialities are discussed and twenty-seven are studied in depth, making a planimetric and photographic representation, as well as a discourse of contextualization and valuation. Of these, six cases are rescued to contextualize the categories proposed for the organization of all the others. As a finding, the value of otherness, often silenced, is recognized in the set to trigger new possible ways of facing the architectural and urban challenges of contemporaneity. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications 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.)

La Ilustración Española y Americana (1869-1921) was the main illustrated weekly newspaper of the last quarter of the nineteenth century in Spain. Its pages, as well as those of its equals in Europe, were filled with engravings and, later, with photomechanical prints of pictures of contemporary events, discoveries, and national and foreign works of art and architecture. Compositions of various images in a plate were one of the main strategies adopted by this newspaper to inform graphically and were also used in the representation of architecture and cities. The aim of this paper is to demonstrate, through the visual analysis of some of these compositions, that they were a relevant tool in the presentation of architecture to the great public, incorporating some of the characteristics of the 'sequential image', allowing the reader to embark on an architectural journey and globally understand complex spaces just by browsing the page. [ABSTRACT FROM AUTHOR]

Copyright of Argument (2067-4252) is the property of Universitatea de Arhitectura si Urbanism "Ion Mincu" Bucuresti 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.)

An interview with Keller Easterling, a designer and writer is presented. Topics include talks about an architect or designer who can enter this form of interplay or inversion, particularly in the current political and economic climate; and considered work and the concept of medium design that might be instructive for architects seeks to refuse the overarching structures that influence and constrain architectural practice in its normative sense.

The use of human figures throughout the design process enables designers to experience, communicate, and evaluate design concepts. Earlier studies of architectural representation sought to identify the relationship between the tools and techniques of representation and how individuals perceive architectural scenes. Nonetheless, the effect of virtual human representation (VHR) on students' perceptions of architectural space remains underexplored. Therefore, an experimental study was conducted with first-year architecture students, in which they experienced three architectural scenes (non-presence of VHR, presence of idle VHR, and presence of animated VHR). Statistical analyses of the students' self-assessments examined how the inclusion of VHRs in digitally visualized architectural spaces influenced the perceptions of these spaces. The study revealed that incorporating VHR into representations of architectural spaces positively affected the students' sense of physical dimensions and of the spatial qualities. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

Expression of a spatial idea is provided through representations. The word representation here refers both to the thing that contains the spatial idea and to the tool used to objectify this thing; such as drawings, photographs, articles. One of these tools is architecture exhibitions. Architecture exhibitions are often described in the literature as environments where various means of representation meet with the audience, that is, a tool used in the transmission of representational objects. Architecture exhibitions have a potential beyond being a means of representation and have been influential in the change of collective architectural view or the transformation of spatial approaches since the past. The Venice Architecture Biennale, the first exhibition of which was held in 1980, constitutes a turning point in this field and pioneers the diversification of the ways of doing exhibition/doing for exhibition. For this reason, the work focusing on the Venice Architecture Biennale examines the data in the Biennial archive through the criteria of the curator, the exhibition theme, the exhibition approach and the representational object; traces the intellectual and spatial transformation of the exhibitions in the historical process. As a result of the research, important breaking points in the history of the exhibition were determined, attention was drawn to different exhibition approaches and the transformation of the representational object. [ABSTRACT FROM AUTHOR]

The aim of this study was to explain the role of place representation in shaping the mental image of tourists from traditional residences. Representing the architecture of traditional residences in cyberspace as one of the most important sources of effective information in shaping the image of tourist destinations is of great importance. Today, traditional resorts as one of the most important tourist attractions of historic cities, are of interest to tourists. These tourists make extensive use of the visual and verbal information contained in the online media to identify and select their destinations. Using a qualitative approach, in addition to field observations, research data were collected through semi-structured interviews with 32 domestic and foreign tourists, experienced tour guides, content production experts, and managers of traditional accommodations. To analyze the data and present the final theory, the data theory method of Corbin and Strauss Innovative Foundation was used. Based on this method, through open, central and selective coding, research findings were drawn and presented in the form of a paradigm model consisting of three dimensions of conditions, strategies and consequences. The findings include 9 sub-categories, consisting of cyberspace, location-based representation, cultural tourism, geographical context of the destination, managerial factors, tourism, location-based evaluation, online interaction and exchange, and mental image enhancement. The main category of this research is location-based experience, which includes the sub-categories. Providing a conceptual model to explain the relationships between categories shows that the category of location-based representation, as the most important reason for creating experience through space, allows the development of perceptions of the environment, which is classified into three categories: architectural representation, representation of semantic aspects and representation of activities and events. The role of architectural representation was done by explaining how the mental image of tourists is formed from traditional accommodations in cyberspace. The results of this study can help architects to understand the perceptions and knowledge of tourists of traditional accommodations in cyberspace, as well as how historical monuments are represented in the media.

Copyright of Tasarim+Kuram is the property of KARE 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.)

Copyright of Tasarim+Kuram is the property of KARE 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.)

This paper proposes reflection on the model's place in the definition of the architect's thought. Architectural representation --including the model-- is assumed as an instance where the design thought becomes comprehensible, and not just as a vehicle to communicate that thought. The generative condition of the model is assumed, decidedly, on the acknowledgement of the radical distinction that will always exist between the model and the object it represents. Both the apparent natural proximity between the model and the architectural objects, which is the result of the three-dimensionality and the building dimension that they both share, and the apparent natural concordance between the model and the architect's thought are called into question. Because the aim is to understand 'how' an architect thinks and not 'what' they think when they use a model, the subject is examined from the perspective of a horizon of 'anteriority', an 'anteriority' that is ontological and not merely chronological. The model will be examined as a means of ordering the design thought, that is, as a way of giving it existence. This reflection results from the crossing of previous research on the model and on drawing (Duarte, 2016; Rodeia, 2017). The paper proposes a confrontation of the 'generative power' of the drawing, as identified by Robin Evans (1997b), with the 'generative effect' of the model explored by Peter Eisenman (1981a; 1981b). The principle of 'logical Argumentation', as defined by Groat and Wang (2002), is assumed as the method of inquiry. [ABSTRACT FROM AUTHOR]

One of the main objectives of today’s archaeological sites and museums is the development of research, understood as the interpretation and contextualisation of tangible and intangible cultural heritage to broaden the knowledge and accessibility of archaeological parks often unknown to visitors and the public on a large scale. In this perspective, the Appia Antica Archaeological Park aims to support research in digitising infrastructures and archaeological contexts of high historical and cultural value to plan short- and medium-term preservation and maintenance projects. In this context, unmanned aerial vehicles (UAVs) are tools with enormous potential in survey, inspection and digitisation, providing the basis for the subsequent phases of data interpretation, representation and material analysis. Thanks to the photorealistic reconstruction of dense structure from motion (DSfM) in the application of structural inspections, today it is possible to intercept the geometry and material conditions of small, medium and large structures, reducing the costs of inspections, limiting the interruption of the public and providing professionals and visitors with a better volumetric understanding of the system. However, inserting information that gradually accumulates throughout the process requires advanced 3D digital representation techniques, such as HBIM (historic building information modelling), scan-to-BIM approach and interactive forms, such as virtual and augmented reality (VR-AR). For these reasons, this study summarises the experience and lessons learned from the UAV inspection of three research case studies at archaeological, architectural, and infrastructure scales to increase awareness of the Roman-built heritage.

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design 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.)

Architects and designers communicate their ideas within a range of representational methods. No single instance of these methods, either in the form of orthographic projections or perspectival representation, can address all questions regarding the design, but as a whole, they demonstrate a comprehensive range of information about the building or object they intend to represent. This explicates an inevitable degree of deficiency in representation, regardless of its type. In addition, perspective-based optical illusions manipulate our spatial perception by deliberately misrepresenting the reality. In this regard, they are not new concepts to architectural representation. As a consequence, Optically Illusive Architecture (OIA) is proposed, not as a solution to fill the gap between the representing and represented spaces, but as a design paradigm whose concept derives from and accounts for this gap. By OIA we aim to cast light to an undeniable role of viewpoints in designing architectural spaces. The idea is to establish a methodology in a way that the deficiency of current representational techniques—manifested as specific thread of optical illusions—flourishes into thoughtful results embodied as actual architectural spaces. Within our design paradigm, we define a framework to be able to effectively analyze its precedents, generate new space, and evaluate their efficiencies. Moreover, the framework raises a hierarchical set of questions to differentiate OIA from a visual gimmick. Furthermore, we study two OIA-driven environments, by conducting empirical studies using Virtual Reality (VR). These studies bear essential information, in terms of design performance, and the public's ability to engage and interact with an OIA space, prior to the actual fabrication of the structures. [ABSTRACT FROM AUTHOR]