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The article examines the difference between Bauhaus conceptions of modernism and industrial design and Benedictine concepts of symbolism within the context of the architecture of St. John's Abbey Church in Collegeville, Minnesota. Topics discussed are influence of the Benedictine liturgy on the idea of history that is compatible with functionalism, form and symbolism as the language of religious experience central to Benedictine spirituality, and semantics of the sacred in modern architecture.

The use of analogy is considered suspicious in architectural design. Tutors of architecture tend to eliminate its use by students suggesting avoidance of 'literal metaphor'. This probably is a symptom of an ideological bias towards the modern movement principles of abstraction. It is also arguably dangerous as it eliminates the powerful tool of analogy in developing original ideas and techniques. Besides, it eliminates potentially great architectural designs that can come from the use of analogy. Gehry´s Chiat/Day building in Venice, California, the unexpected architectural interior of Statue of Liberty, the design of a lamp that attempts the use a mechanism of design based on analogy of behaviour and finally a proposal for an archaeology museum are proposed as examples of the varied use of analogy in architecture to prove its potential. [ABSTRACT FROM AUTHOR]

In Michel Houellebecq's criticism and novels, a scathing critique of functionalist architecture is at work. For him, this architecture seems to have become the tool by which the « market society » structures contemporary space according to it's own demands. How, then, is it possible to inhabit the world? The architectural imagination of Houellebecq's work is at odds with functionalism, rather deriving from impossible (such as nature) or anachronistic models (cathedrals). It is, however, possible to pinpoint a number of architectural techniques that resonate with the construction and style of Houellebecq's novels, suggesting that—in an uninhabitable world—literature presents itself as the sole possible refuge for the author and his readers. [ABSTRACT FROM AUTHOR]

The aim of the study was to provide answers to a historical question that still remains a blank spot in Russian historiography - what are the reasons for the banning of the Soviet architectural avant-garde in 1932. The article gives an answer to the question of the reasons why the supreme bodies of Soviet power ceased the development of Soviet constructivism. Reveals the socio-political motives of this decision. Describes the features of the functioning of the totalitarian-command system of management of the nation-wide project complex. It shows that the prohibition of constructivism was a direct consequence of the transformation of the free profession of an architect into a public service. Characterizes the position of the party and state leadership of the USSR in relation to the Soviet architectural avant-garde in general. The result of the study is to prove the fact that, after its official prohibition, constructivism has not disappeared, but has changed. It turned into the so-called "Soviet functionalism", which was a response to the need for the management metric criteria for evaluating design decisions. Soviet functionalism took from Soviet constructivism only what ensured the exercise of administrative functions of leadership and control. He took only what was the "materialization" of meanings, only that which could be felt and measured. At the same time, reasoning about the form, rhythm, plasticity and other "aesthetic nonsenses" were discarded as unnecessary. [ABSTRACT FROM AUTHOR]

Two urban discourses occurred before and after 1970 with their differences and similarities: the first indebted to the functionalism of the International Congresses of Modern Architecture (CIAM) and critical of tradition, and the second resulting from 1970s historicist reaction which, critical of the CIAM, focussed on the revival of traditional forms. Here, we analyse two urban approaches in a single geographical location: Barañain, located in the region of Pamplona (Navarra, Spain). The two plans (1967 and 1984) correspond to these urban discourses. Yet, on analysing them, we can see that the original discourses contain a hint of discipline-related mismatch, since – in both cases – places the criticism of previous designs before the social or geographical conditions. [ABSTRACT FROM PUBLISHER]

Since the so-called "type-debate" at the 1914 Werkbund Exhibition in Cologne--on individual versus standardized types--the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts--from Art to Science and Politics--that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. [ABSTRACT FROM AUTHOR]

Form and function of architecture in nature, is a process that is perceived as instinctive as the development of internal growth and creation. The most basic level of commitment to life that reveals itself in the form of materials. Architecture form and shape to the beat and rhythm of the invisible life, in fact, it is a process which gives the project structure and the structure of the plan. Every living organism is driven by unchangeable force. Trying to become more efficient form and function. In the natural area is very important that "performance" is defined as the process and relationship and "form" is defined as a result of this process. Forms of interaction with nature that takes shape and naturally goes in the direction of performance to match its relationship with the wider environment and in the surrounding territory. Methods and new ideas can be learned from nature. Generally architecture is defined as to imagine, design, understanding and build according to circumstances. These problems may in itself was fully functional and to varying degrees, reflecting the economic, political and social project. In any case, it seems that the status quo is not simply satisfying. For this reason, we seek a new agreement that they "answer the question" is called. Therefore, in this study, based on architectural features permit, trying to establish a performance-oriented architecture, nature-based design and natural patterns to be defined by Vitruvius. [ABSTRACT FROM AUTHOR]

The text is dedicated to the problem of perception of avant-garde architecture in 1920-1930-s. The characteristic of the avant-garde Utopian projects would be incomplete without considering the perception of modernism not only by the functionalists, but also by their opponents and by the general public - who supposed to be the main acceptors of all the radical changes. Another aspect to be observed in frames of this subject is the review of relationships between schools of traditionalism and functionalism schools during the period of 1920-1930-s. [ABSTRACT FROM AUTHOR]

The article looks at the historiographical construction used by Austrian architect Josef Frank to discuss modern architecture in his essay "Architektur als Symbol. Elemente deutschen neuen Bauens." Topics covered include his training and theoretical work in the 1930s, gothic and classical tradition, German functionalism, Neues Bauen or decorative use of structure and function, classical anthropocentrism, and works of Italian architect Leon Battista Alberti and German artist Albrecht Dürer.

This paper is the continuation of Part I in which an online reference limitation strategy for shunt-connected converters is presented. This limitation strategy is successfully validated in this Part II of the paper by means of experimental results obtained in a laboratory setup. Two different experiment sets are carried out in order to check the two application scenarios described in Part I. On the one hand, the limitation strategy is implemented in the STATCOM application reducing the reactive power reference. On the other hand, the grid balancer functionality is implemented together with the new limitation strategy reducing the current references. In this last scenario, two different experiments are shown: 1) a switching-on of the converter; and 2) a voltage variation at the point of common coupling. In both functionalities, the corresponding reference limitations are activated due to overcurrent and overvoltage cases and the limitation due to the dc bus voltage oscillations is validated in the grid balancer functionality. [ABSTRACT FROM AUTHOR]

This Article is the first interdisciplinary work exploring architectural and constitutional theories of interpretation. This "conarchitectual" perspective is used to explore the concepts of form and function in both disciplines to better understand the meaning of structure. While form and function are often referenced in legal analysis, there is little work on the inherent meaning of structure. Constitutional structure is often treated as an instrumental rather than a normative element in modern conflicts. This Article challenges that view and suggests that the Madisonian system is a case of "form following function" in core elements like the separation of powers and federalism. This Article explores the influence of scientific and philosophical theories on the structure of government for Madison. These "Madisonian tectonics" give constitutional structure a normative or deontological value that should frame interpretive analysis. Indeed, the Article explores the role of constitutional structure as a type of "choice architecture" in shaping choices and directing actions within the system. In a conarchitectural approach, an understanding of form and function can lead to a fading of those distinctions--as it did for modernist architect Mies van der Rohe. What emerges is a more consistent and coherent approach to constitutional interpretation that is based on structuring truth behind a design. This Article traces the influences of structure from Madison to Mies to better understand the truth in the meaning of architectural and constitutional structure. [ABSTRACT FROM AUTHOR]

Why should computation be leading to a bifurcation in architectural detailing, resulting in a simultaneous, and opposing, tendency towards either greater precision in fabrication or increasing plasticity? Architectural designer and theorist Peter Macapia asks what is driving these propensities in computation, and what in turn historically might be the relation between the detail and force. What comes into play now, though, when architectural style is no longer identified by a taxonomy of parts, or a vocabulary of orders, but rather by a network of forces and functions correlating actions? How might economic and political power be interacting with force, the diagram and function in contemporary design? [ABSTRACT FROM AUTHOR]

This article examines film studio architecture in the Los Angeles region in the 1910s. Building on the work of architectural historian Reyner Banham, it argues that studio architects developed “fantastic functionality” to meet their dual task of creating functional sites for efficient production while also giving film companies a public face that might mediate local anxieties about the new industry. By focusing on studio spaces rather than studio films, the article stresses the value of expanding our view of film production to include its architectural forms, and of pushing visual analysis beyond the film text to include the spaces of filmmaking. As an addendum, this essay also reprints and examines the demolition permit for Lois Weber’s film studio. [ABSTRACT FROM AUTHOR]

Between 1930 and the early 1970s, Guadalajara produced some noteworthy examples of an austere architecture without stylistic pretentions and with an emphasis on the sense of space and functionality. The increasing use of reinforced concrete in construction replaced the traditional techniques of wood, adobe, and stone. The Modernist Movement in Guadalajara brings together the works of three generations of architects and engineers who transformed the urban image of the city with buildings reflecting the new visions of architecture that had developed in Europe during the first three decades of the twentieth century. These trends included Bauhaus rationalism and the appropriation of Le Corbusier's five points of a new architecture: columns supporting the structure, roof garden, free plan, strip windows and the free design of the facade, in terms of both ornamentation and structural function. The present selection of works can be divided into the following sections: Precursors / Engineers /The Architecture School of the Universidad de Guadalajara (1948-1960) / Buildings with Latticework/Buildings with Roofs Based on Hyperbolic Paraboloids /Plastically Integrated Buildings /The Agua Azul Complex [ABSTRACT FROM AUTHOR]

The physical separation of functions within the city proclaimed by the CIAM's (Congreso Internacional de Arquitectura Moderna) 'Athens Charter'was transformed into the synthesis of modern urban design as well as the driving force behind its decline and fall. In the 1960s, generalised criticism of the "functionalisation", "rationalisation" and "mechanisation" of the modern city drew a veil of rejection for future generations. The "Seminario del Gran Santiago" was held in Chile in 1957, calling together diverse specialists to address the urban problems arising in the capital city from a broader perspective. One of the participants was the architect Emilio Duhart Harosteguy, who undertook a detailled analysis and drew up urban proposals for Santiago. One can detect a priori in his exhibition a direct influence from the principles of modern architecture, but also a certain intellectual autonomy when proposing urban models for public space. [ABSTRACT FROM AUTHOR]

There is a moment in Scandinavian design history called "Swedish Grace," when 193 Os Modernism (or Functionalism, as they say in Sweden) was beginning to catch on, yet the ideals […]

This article appraises the career of architect Ralph Erskine focusing on the context for his contribution to Swedish and British social housing and planning. Erskine's formative experience during the 1930s and his subsequent transnational career are utilized to explore the mutual influences of planning ideals across national boundaries. The Garden City ideal, Functionalism and the urban village concept are considered for their long-term contribution to his work. In addition, vernacular architecture and participatory planning are explored as influences on the evolution of his community architecture vision by the 1970s. Drawing on evidence from urban developments in Britain and Sweden, the discussion demonstrates that Erskine's cultural transfer of international planning ideals essentialized aspects of British and Swedish historical culture. The article concludes with a discussion of the 1970s and Erskine's role in the redevelopment of Byker in Newcastle upon Tyne. This process was hailed as a pioneer moment in the English community architecture movement. However, this study demonstrates that Erskine should be distinguished from the grassroots activism of the community architecture movement. Rather the discussion emphasizes that his participatory planning was underpinned by a structural tension between social engineering and democratic participation that was generated and reinforced by his transnational career. [ABSTRACT FROM PUBLISHER]

This article analyses the concept of hygiene in Mexican functionalist architect Juan O'Gorman's written manifestos and building projects from the early 1930s. O'Gorman's technical notion of hygiene, in which architecture addresses social inequality, and describes a fluid system of exchange between bodies and the built spaces they inhabit, both overlaps and conflicts with a broader nationalist version of hygiene geared towards a eugenic and aesthetic vision of Mexico's future. In 1932 O'Gorman began collaboration with the Secretaría de Educación Pública on the design of a series of urban primary schools, in accordance with a hygenicist-eugenic logic to promote the health and well-being of the family and the future of the nation. This project, as well as O'Gorman's writing of the period, exemplifies the architect's insistence on the technical over the aesthetic, and the ways in which the rhetoric of hygiene serves to highlight conflicts between an overarching revolutionary nationalist project, and the immediate technical and social goals of building design. Analysis of O'Gorman's work reveals not only the origins of his eventual disillusion with the state-sponsored logic of building for a Mexican future, but also the crucial role of hygiene itself as symptomatic of a multiple and fractured post-revolutionary discourse. [ABSTRACT FROM AUTHOR]

Within the vast surface of murals that cover the walls of Mexico's Ministry of Public Education, a self-portrait of its author, Diego Rivera, goes unnoticed. Unexpectedly, Mexico's premier muralist depicted himself as a builder, anticipating his explorations in architecture, still relatively unknown. From 1924 onward, Rivera played a critical role in Mexico's architectural developments: as a critic, as an advocate of the need for a solution to Mexico's housing deficit, as a client for his and Frida Kahlo's studio-houses, as a proponent of a housing development, and, lastly, as a designer and builder of his museum-studio, Anahuacalli. Although in the 1920s and early 1930s Le Corbusier's ideas were promising for what Rivera called the "humanization of architecture," by the 1940s the artist saw in the proliferation of functionalism and International Style, another symbol of Mexico's dependency on foreign cultures. Disappointed, Rivera chose to dismiss functionalism altogether, move out of his Corbusian studio-house designed by Juan O'Gorman and, in addition to using lectures and articles to voice his new position, become personally involved in generating a truly Mexican architecture. Rivera planned the "City of the Arts" with a museum-studio, Anahuacalli, as the central unit from which a new architectural movement rooted in Pre-Columbian traditions would stem. He personally designed, built, and oversaw the construction of Anahuacalli and only sought technical assistance from his architect friend O'Gorman. The result is an abstract composite of Teotihuacan and Mayan architecture containing a generous studio and rich interior spaces for the display of Rivera's extensive collection of pre-Columbian objects. With Anahuacalli, Rivera preceded several of Le Corbusier's former followers in their desire to give an authentic expression to Mexican architecture. By studying the muralist's writings, buildings, and the reactions he provoked on Mexico's architectural community, this paper traces Rivera's contribution to the making of Mexican architecture. [ABSTRACT FROM AUTHOR]

Through a grounded analysis of the National Aeronautics and Space Administration (NASA's) enterprise information system (IS) implementation in the months immediately following the go-live, we show how NASA can be characterized as an institutionally plural organization, rife with diverse institutional logics, some consistent and some contradictory to each other. The enterprise system is introduced in accordance with the logic of managerial rationalism, but some of the institutional logics that organizational actors draw upon and reproduce contradict the logic of managerial rationalism in certain situations. In these situations, organizational actors loosely couple elements of their practices from the practices implied by the enterprise system, thus satisfying the demands associated with both institutional fields. We identify four generalizable forms of loose coupling that result from these institutional contradictions: temporal, material, procedural, and interpretive, and discuss their effects on both the system implementation and local practices. Further, we show how, through the use of institutional logics, researchers can identify fundamental institutional contradictions that explain regularities in the situated responses to enterprise system implementations-regularities that are consistently identified in the literature across a variety of organizational contexts. [ABSTRACT FROM AUTHOR]

The article presents a research study which examines why architectural research remained scientific in spite of the fact that architectural education was influenced by the Bauhaus pedagogy in Sweden. The architecture building at KTH Royal Institute of Technology from 1970 was used to reveal how the model for architectural research retreated into the background as it was discovered to be inadequate for its purpose. The study shows that the Bauhaus pedagogy influenced the study of architecture in Sweden where architects made aesthetical preference, a modernism that was used and understood in the context of Sweden that was termed functionalism.

Some works of architecture have remarkable aesthetic value. According to certain philosophers, part of this value derives from the appearance of such constructions to fulfil the function for which they were built. I argue that one way of understanding the connection between function and aesthetic value resides in the concept of functional beauty. I analyse a number of recent accounts of this notion, then offer a better way of understanding it. I then focus my attention on the relation between aesthetic and moral values and claim that, if the notion of functional beauty makes any sense at all, then we have a pro tanto case for holding that moral defects in works of architecture can have aesthetic merits. [ABSTRACT FROM AUTHOR]

Copyright of Architecture & Urban Planning is the property of Sciendo 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 Menotyra is the property of Lithuanian Academy of Sciences Publishers 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.)

A century ago, Adolf Loos articulated a unique sensibility regarding function and posed the controversial idea that architecture is not an art. Fifty years later, Theodor Adorno, who supported many of Loos' opinions, contended that Loos' argument in this respect was critically insufficient because it lacked dialectical depth. The following discussion intends to demonstrate that Loos' thought was dialectical in the fashion Adorno believed legitimate. To do so, it is necessary to consider Loos' built works as a way of thinking complementary to his written ideas. [ABSTRACT FROM AUTHOR]

Here, substitutes the term 'type' for the typical, and 'typology' for typicality. In so doing he frees up the notion of type for contemporary design, liberating it from the strictures of its performance history and precedents that have often veered towards standardisation. [ABSTRACT FROM AUTHOR]

The study examined information on the textile surface modification of materials with a thin layer. It is a promising technology in the textile functionalization, allowing the creation of metallic, oxide, polymer composites and coatings for textile materials. The process gives the unique features to textile and also is given the necessary additional features. A more productive method is sputtering. In jon sputtering deposited matter particles are broken from the target surface, the bombing of low temperature ion plasma. Ion sputtering types is the cathode, magnetron, reactive magnetron, etc., which differ from one another by lowtemperature plasma distribution space. If the sputtering process is of chemical reagents (gas phase) in the presence, then the sample surface is formed by the interaction sputtering substances in products (such as oxides, nitrides). This is called a reactive sputtering. Reactive magnetron sputtering used to sputter films of chemical compounds, mainly oxides and nitride. Entering the vacuum chamber, argon, accompanied by dosing the amount of these reactive gases: oxygen or nitrogen. Particular attention is paid to the purity of the reagents and the airtight chamber, which could impair the results obtained by sputtering. [8]. Magnetron sputtering major advantage over other textile surface coating production methods: 1) even the most difficult melting materials are easily to sputter, 2) the resultant coating films have better adhesion to the materials; 3) high sputtering rate at low operating voltage (300-700 V) and at low working gas pressures (5 ·10 -4 - 1 · 10-2 Top); 4) deposition high purity, 5) possible to obtain a uniform thickness layer on a large-area substrates [8], 6) layer thickness, composition, structure and smoothness is easy to control the adaptation parameters of sputtering process the properties of the material. [ABSTRACT FROM AUTHOR]

Ice Cycle House demonstrates an alternative strategy for harvesting natural resources and redistributing them as variable arrays of performative effects. It does so by redesigning two ubiquitous accessory building components-a domestic roof drain and roof vent-into an integrated, adaptive building envelope. No longer constrained as mono-functioning accessories, drainage and ventilation are instead deployed across the envelope's surfaces as an interdependent, dynamic system. [ABSTRACT FROM AUTHOR]

The essay discusses the role of the "T-Square Club Journal" and other U.S. periodicals in spreading the popularity of architectural modernism. Specific focus is given to the construction of the Philadelphia Saving Fund Society Building (PSFS) in Philadelphia Pennsylvania. The architectural views of U.S. architect George Howe, member of the T-Square Club for architecture, are presented. Differences between functionalist architecture and the International Style are discussed.