This paper presents several case studies of reused and retrofitted buildings from Karlsruhe, Darmstadt and Heidelberg and their architectural-cultural integration in the surroundings. Reasons to ...replace missing parts of heritage buildings were motivated by new rules regarding materials, neglect or war damage state, but also by new developments in the neighbourhoods. Conclusions underline the impact on the surroundings of the altered buildings as being rather good. Also, the new developments which raised the profile of the surroundings would not have been possible otherwise. Reuse of buildings was justified by extension of the activities, new activities or social development. Through this the impact has been also rather good. Risks evaluation are identifying the questionable threat of the heritage character dilution in the intervention when several interventions are coupled.
The paper is proposing a successive review of the EGU Topical Event: WATER AS HAZARD AND WATER AS HERITAGE that has been held in Rome within Accademia di Romania, on 13th June 2016, under the ...patronage of EGU – European Geosciences Union, Accademia di Romania, ICR – Institutul Cultural Român, Spazi Aperti, and Eng.Arch., PhD Architect, Maria Bostenaru Dan, Scholar Researcher of Vasile Pârvan Institute. The program has included more than twelve presentations from a wide inter_ and dedicated professional contemporary approaches of the proposed topic, several posters, dedicated discussions on the opportunities and emergencies at the beginning of the 21st century regarding water, from conceptual and practical studies, to connected inspirations, notable figures, urban behaviors and policies.
The article aims to bring into discussion architecture as cultural ingredient, and to investigate the current status of the consecrated or of the recently established heritage (patrimony) as well as ...to ask questions about the contribution that the experiments of professionals may have in the space of the city. If the architecture educates, innovates, launches questions and controversies, it continuously complements the in situ image of the place, city, or, at global level, of the conceptual, technological and innovative developments. Whether it addresses the town-dweller, the user, the tourist or the curious, architecture continually writes new expressions in city space, negotiating with tradition, arguing and reconstructing fragments of urban life. How much is it accepted, pleasant / loved or challenged - or how much it pleases the initial or subsequent demands, are sensitive discussions in the dedicated domain. Regarded at the level of the object or the ensemble, architecture can be a scenographic background for the city or a piece in the set, a point on a route - landmark of urban paths, or simply an unfolded surface which accommodates activities. From level of the area of discussion, architecture is also another space, the one of debates - from the principles in line with the problems of the world for which it strives to find an answer to the philosophical, the local and the ones related to the built application.
The cultural value of a city is also given by the quality of its architecture, the philosophies and trends it represents, the history witnessed by its edification, but is also linked with the ...sighting and identification of spaces similar to themselves, whether authentic or become symbolic. This article proposes the debate / investigation of the idea of (architecture) museum side of the city, of its presence in the public space as visual and cultural interaction of the buildings, what these convey to the community, and the way they define the built environment. The debate is dedicated to architecture itself as presence, sum of objects which are “exposed’ in the “art gallery” the city space might represent; it does not call into question the construction or the existence of an architecture museum in itself, but rather the importance of cataloguing and labeling the city's architectural objects, zones, connections, exposure and visibility, culture and contribution to the visual quality of the space, whether it is about buildings of heritage and architectural value or newly built buildings. The investigation refers to the identification of some elements that could define the “architecture museum of the city” or as finality “museum side of the city” and a multi-criteria analysis which might lead to conclusions and directions for future research - perhaps an innovative approach for the valorization and promotion of both the architecture as object as well as in urban collections.
Present paper is a study on architectural trails, routes, projects and possible perspectives on future ones in Bucharest. It is a first study from a series of many intended by the author, meant to ...list the existent cultural studies and interventions and suggest new path and links between tradition and innovation. The article proposes a discussion on Bucharest’s architectural routes and lectures, from a city-view understanding and an architectural-artistic perspective. Observations are noted in the sense of urban space perception, its visibility as a whole but also as landmarks, places, etc. Several referenced professional studies and maps are the base of the present paper, most of which in online space, available for architecture tourists and also for urban-local culture.
The present paper is the dedicated review of the Opening Conference of C6-C7 activities within VVITA Erasmus+ project (Intensive programmes for higher education learners: “Romanian applied study on ...rural heritage sustainable revitalization methodology approaching inter-,multi- and trans- disciplinarily of build culture aiming to promote social inclusion for disadvantage and remote communities”, Sfistofca and Tulcea, Romania, 18-27th May 2019; 18th May 2019, “Ion Mincu” University of Architecture and Urbanism (UAUIM), Council Hall, Bucharest, Romania), and specific entitled Intensive programmes for higher education learners: “Romanian applied study on rural heritage sustainable revitalization methodology approaching inter-, multi- and trans- disciplinarily of build culture aiming to promote social inclusion for disadvantage and remote communities.”
Od 2000. godine automobilska se industrija sve više okreće spektakularnoj i ekspresivnoj arhitekturi, potvrđujući svoju prisutnost u globalnom i lokalnom javnom prostoru. To je dovelo do otvaranja ...velikih površina interaktivnih muzejskih prostora široj javnosti putem organizacije obrazovno-informativnih aktivnosti, kulturnih događanja i interaktivnih funkcija te prezentacije povijesnih i tehnoloških obilježja.
Nove perspektive u arhitekturi automobilske industrije: projektiranje muzeja automobila Osamdesetih godina 20. stoljeca projekt Renaultova distribucijskog centra u Swindonu u Velikoj Britaniji ...arhitekta Normana Fostera oznaeio je pojavu novoga pomodnog trenda u arhitekturi, kojega je cilj promocija automobilske industrije putem projektiranja i izgradnje izlozbenih i prodajnih prostora posvecenih pojedinim brendovima automobilske industrije. Nastojalo se iskoristiti tehnoloski inovativnu izrazajnost koju arhitektura moze pruziti. To je podrazumijevalo: pomnjiv odabir arhitekta i njegova koncepta, prisutnost u posebno odabranom okolisu kako bi inovativni projekt dosao do izrazaja, velike povrsine predvidene za takvu izgradnju (25.000 m.sup.2) te funkcionalnu raznolikost izlozbenih i prodajnih programa kroz brojne pratece zabavne aktivnosti i dogadanja. Sve je to imalo za cilj stvoriti od odredene lokacije atrakciju--kako na lokalnoj tako i na globalnoj razini. Zgrada Renaultova distribucijskog centra oznacila je promjenu u razmisljanju o samom podrucju distribucije i njegovu reorganizaciju, kao i usmjerenost prema spektakularnoj i impresivnoj arhitekturi. Promjena se ocitovala takoder u osmisljavanju novoga koncepta funkcije trgovackoga izlozbenog prostora i industrijskog podrucja Dredge, 2007., sto je oznacilo kreiranje jednoga novog, u to doba hibridnoga arhitektonskog programa koji je trebao objediniti automobilski centar kao atrakciju i globalni arhitektonski izricaj. Pocetak 21. stoljeca obiljezen je na svim razinama arhitekture tendencijom opustenijeg projektiranja usmjerenog prema potrazi za vecom ekspresivnoscu izgleda i stabilnosti u korist redefiniranja tehnologije Mihaila, 2012.. U podrucju arhitekture automobilske industrije Jodidio, 2011. doslo je do velike potraznje projekata koji svojom sve izrazenijom specijalizacijom mogu zadovoljiti individualne i drustvene potrebe te osigurati zivotni standard primjeren 21. stoljecu. Arhitektura automobilske industrije Morrison, Minnis, 2012. obuhvaca otad nekoliko programa: od arhitekture autocesta, raskrizja i mostova, objekata za utrke Formule 1 i testnih staza, benzinskih postaja, akusticnih barijera i parkiralista, izlozbenih prostora, prodajnih i zabavnih centara, tvornica--sve do inovativnih istrazivackih centara i muzeja. Ovaj se rad bavi prikazom cetiriju odabranih primjera i istrazivanjem osnovnih podataka vezanih za ove projekte, s pratecom fotografskom dokumentacijom prikupljenom tijekom studijskih putovanja. Uz podatke koje su autori prikupili na terenskim istrazivanjima, glavni izvori podataka u ovome su radu specijalizirani materijali o arhitekturi i upravljanju ovim projektima. Primijenjena metodologija sastoji se u usporedbi primjera na osnovi vise kriterija na nekoliko razina analize koja se odnosi na arhitekturu i upravljanje analiziranim primjerima. Provedena je komparativna analiza ovih cetiriju primjera, polazeci od elemenata povezanih s arhitekturom, urbanim prostorom, upravljanjem i statistikom turisticke atraktivnosti Gali-Espelt, 2012., studijom o arhitektonskom upravljanju--turistickom upravljanju Russo, van der Borg, 2002., ciljevima i rezultatima, kratkom studijom koja se bavi inovacijom u arhitektonskom projektiranju, rjesenjima ovojnice, konstrukcije i prostora. Tablice I. i II. prikazuju podatke koji trebaju pruziti komparativan uvid u sva cetiri projekta: BMW Welt--BMW muzej u Munchenu, Porsche muzej u Stuttgartu, Mercedes-Benz muzej u Stuttgartu i Audi muzej u Ingolstadtu. Diskusija o ovim cetirima primjerima krece se unutar podrucja najnaprednijih trendova u arhitektonskom projektiranju te pristupa industrije s obzirom na njezino izlazenje u javni prostor dostupan siroj javnosti, kao i novoga pristupa u promisljanju o ukljucenosti automobilske industrije u podrucje kulture i umjetnosti Schwaiger, i sur., 2010.. Vaznost utjecaja brenda u arhitektonskom oblikovanju i povezanost s odredenim imenima u svijetu arhitekture znacajni su cimbenici u razvoju muzeja automobila. Arhitektura automobilske industrije razvila se i promijenila, osobito u podrucju muzeja automobila. Arhitektonska djelatnost kreirala je gradevine koje korisnicima nude javne prostore unutar interaktivnih zgrada, muzeja te mjesta raznih aktivnosti i dogadanja. Automobilske su tvrtke oznacile ove gradevine svojim brendovima, djelujuci time na razini urbanog planiranja i promovirajuci inovativnu arhitekturu i kapitalne investicije na gradskoj ili regionalnoj razini. Vazno je naglasiti da osim njihova znacajnoga arhitektonskog i urbanistickog utjecaja, muzeji automobila poticu i konkurentnost na nekoliko razina. Rose i Johnston Rose, Johnston, 2009. s pravom tvrde da muzeji postaju dio inovativnog sustava. Vjerujemo da su muzeji automobila predvodnici ovoga trenda. Analizirani muzeji automobila nadilaze povijesne tendencije i razvoj kroz istrazivanje sadasnjih i buducih trendova u sklopu automobilske industrije te obuhvacaju takoder podrucja arhitekture, urbanog razvoja i, na kraju, ali ne i manje vazno--podrucje kulturnih fenomena. Kako su se muzeji automobila razvijali, dosegli su novu razinu kompleksnosti koja seze dalje od povijesnih artefakata Clark, 2010. i tezi redefiniranju povezanosti arhitekture i automobila Jodidio, 2011., kao i povezanosti izmedu brenda, muzeja i zivota grada na vise razina. Ovaj rad dio je poslijedoktorskoga znanstvenoistrazivackog projekta "Types of innovation in cultural space.working with/in cultural spaces _ tradition and innovation" dr.sc. Marine Mihaila, arhitektice. Financijski je potpomognuto od strane rumunjskoga Ministarstva obrazovanja, CNCS-UEFISCDI, project no. PN-II-RU-PD 2012-3-0515.
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