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This research explores simple states of architectural shapes as a primary generator for the development of a technique for computational design. This paper gives an overview and examines in-depth the interaction and the logic between simple states, and their dominance based on daylit qualities they offer in articulated shapes of built forms. Simple states can exist as both dimensional and non-dimensional shapes, and their ability to keep intact the topological and dimensional qualities of architectural shapes can contribute to developing tools and methods for analysis and synthesis in architectural practice. An analysis of different case studies of different building types with an emphasis on hospital buildings is presented in this paper and their respective simple states are discussed. [ABSTRACT FROM AUTHOR]

The city of Berat has a long urban history rooted deep down in ancient times. Different factors indicated the formation and development of the city itself during his existence. Berat is well known as a city that began as a city of fortification and churches, but as time went by, the city in his architectural layers had saved with jealousy layered a fortune of the domestic architecture. Being part of the Ottoman Empire for almost five centuries, it is obvious that traces of the previous eras will be ‘covered’ with the Ottoman presence, evident, especially in the vernacular architecture. This article offers an insight into Ottoman-era patterns appearing in the town of Berat as a marvelous example of the Ottoman-era vernacular house in the Balkans. [ABSTRACT FROM AUTHOR]

After 1945, Pristina as the new capital of the country was represented with two special and crucial cases of the emergence of modern architecture. The first one is that modernism in Pristina which appeared late, i.e., after the Second World War. The second one, with a chronological order and still not 'matured' what is known as the 'white' modernism in literature, brutalism began and was presented through marvelous works in the capital city. Thus, Pristina leaves us with the impression of an experimental field which combines two phases of modern architecture, i.e., before the white phase was over, brutalism had already begun to surprise in an artistic level with its presence in Pristina. Therefore, we can say that cases like this are rare because for a short period of time (about two decades) there was a tremendous development of European modernism, especially when taking into account the fact that modernism in Pristina began almost from scratch after the war. The aim of this research is to understand and explain the momentum, the reason and the story behind it, and how it came to such a completely unexpected turn in the architecture of the capital that brutalism was presented through capital works such as 'Rilindja' printing house. It is also important to follow the impact of 'Rilindja' printing house construction on embracing brutalism in Pristina's later architecture. In order to answer these questions, we will have to follow the path of one architect, that of Georgi Konstantinovski. [ABSTRACT FROM AUTHOR]

The work presented in this paper was conducted during the research for finding a computational method for use in the automated design for hospital buildings. The method uses a heuristic approach and uses architectural shapes (or form) as a primary generator in the synthesis of form. This novel approach which introduces two design worlds - the dimensional and non-dimensional - offers a new possibility for incorporating multiple computational techniques to help computational design. In this paper, we introduce the 'simple states' - primitive shapes that exist in both dimensional a non-dimensional world and are proposed for use as instances in form generation of complex rectangular shapes in hierarchic design strategies. [ABSTRACT FROM AUTHOR]

The paper aims to through some light on the so called 'connection' between Le Corbusier and Macedonia, the way it was described through years and by different authors, a connection that indeed it didn't exist in the reality. The research shows that most of the authors that spoke about the 'Macedonian connection' were wrong, and Le Corbusier's visit to Macedonia in 1927 was indeed a myth created by them, not a reality. The present study charts the growth of an error and its gradual transformation into an accepted fact- albeit in a local context. The further research aims to interpret the architectural myth, created in decades by authors in Macedonia, taking Juan Pablo Bonta's 'way of interpretations in architecture' simply because the myth about Le Corbusier visiting Macedonia in 1927 makes a perfect example in Bonta's architectural interpretation. The myth of Le Corbusier's visit to Macedonia is not a historical work but a theoretical one, indebted to the influential studies by Juan Pablo Bonta's well- known essay. The obtained results of the myth interpretation, gives a clear approach to all stages of Bonta's view in architectural interpretation. The architectural myth created in Macedonia, can be totally explained, even one can presume what might happen in the upcoming time and how the myth will permutate in the future time. Based on this investigation, it can be concluded that Le Corbusier never visited Macedonia, there is impossible to exist a Macedonian influence in his work. [ABSTRACT FROM AUTHOR]

Different areas in the object serve people, so they relate and communicate with each other. This communication can be vertical and horizontal. Vertical communication connects the object areas in a vertical direction, respectively it connects the levels of objects, and this group also includes the stairs. The areas meant for people's movement are limited to two dimensions due to the gravity of the earth. Our bodies, while they are in a movement cannot explore the space behind us. According to this, our perception of the world develops in the horizontal orientation. Stair space, vertical communication is one of the major researches in architecture history because it offers us a good chance to link the vertical levels of space where one can move, communicate. Each type or kind of stairs enables us vertical communication, allows two types of different movements, the opposite movements. This is not just the physical aspect of ascension and descending, but also important terms of mythological and psychological significance. [ABSTRACT FROM AUTHOR]