Preference for curvilinear contour in interior architectural spaces: Evidence from experts and nonexperts.

2019 ◽  
Vol 13 (1) ◽  
pp. 110-116 ◽  
Author(s):  
Oshin Vartanian ◽  
Gorka Navarrete ◽  
Anjan Chatterjee ◽  
Lars Brorson Fich ◽  
Helmut Leder ◽  
...  
Keyword(s):  
Curvilinear Contour ◽  
Architectural Spaces

scholarly journals The Sustainability of Regenerative Cafes Utilizing Idle Industrial Facilities in South Korea

2021 ◽  
Vol 13 (9) ◽  
pp. 4784
Author(s):  
Jun-Sik Eom ◽  
Sung-Hoon Yoon ◽  
Dai-Whan An
Keyword(s):  
South Korea ◽  
Cultural Heritage ◽  
Space Utilization ◽  
Industrial Facilities ◽  
Architectural Space ◽  
Tourist Destinations ◽  
Architectural Spaces

This study investigates the sustainable values of cafes established using idle industrial facilities that are a part of the cultural heritage of South Korea in terms of the characteristics of the architectural space and consumers’ space utilization. Twenty regenerative cafes in five regions were selected, and five of them were analyzed by comparing their characteristics with those of the conventional cafes. Unlike conventional cafes, regenerative cafes have architectural spaces that seem to be non-everyday and elicit a feeling of the passage of time. Users utilized these cafes as spaces for activities and experiences for long periods compared to conventional cafes. Consequently, regenerative cafes were found to contain sustainable values as complex networking spaces, as cultural heritage that can be experienced and as independent tourist destinations. Regenerative cafes have become unique differentiated architectural spaces utilized by several users.

IZOGRID - A new tool for setting up orthogonal curvilinear grids for oceanic modeling

2021 ◽  
Author(s):  
Alexander Shchepetkin
Keyword(s):  
Iterative Procedure ◽  
Cartesian Grid ◽  
Reference Points ◽  
Curvilinear Coordinates ◽  
Grid Spacing ◽  
Curvilinear Grids ◽  
Curvilinear Grid ◽  
Curvilinear Contour ◽  
Grid Points ◽  
Grid Nodes

<p>Virtually all modern structured-grid ocean modeling codes are written in orthogonal curvilinear coordinates in horizontal directions, yet the overwhelming majority of modeling studies are done using very simple grid setups - mostly rectangular patches of Mercator grids rotated to proper orientation.  Furthermore, in communities like ROMS, we even observe decline in both interest and skill of creating curvilinear grids over long term.  This is caused primarily by the dissatisfaction with the existing tools and procedures for grid generation due to inability to achieve acceptable level of orthogonality errors.  Clearly, this causes underutilization of full potential of the modeling codes.</p><p>To address these issues, a new algorithm for constructing orthogonal curvilinear grids on a sphere for a fairly general geometric shape of the modeling region is implemented as a compile-once - use forever software package.  Theoretically one can use Schwartz-Christoffel conformal transform to project a curvilinear contour onto rectangle, then draw a Cartesian grid on it, and, finally, apply the inverse transform (the one which maps the rectangle back to the original contour) to the Cartesian grid in order to obtain the orthogonal curvilinear grid which fits the contour.  However, in the general case, the forward transform is an iterative algorithm of Ives and Zacharias (1989), and it is not easily invertible, nor it is feasible to apply it to a two-dimensional object (grid) as opposite to just one-dimensional (contour) because of very large number of operations.  To circumvent this, the core of the new algorithm is essentially based on the numerical solution of the inverse problem by an iterative procedure - finding such distribution of grid points along the sides of curvilinear contour, that the direct conformal mapping of it onto rectangle turns this distribution into uniform one along each side of the rectangle.  Along its way, this procedure also finds the correct aspect ratio, which makes it possible to automatically chose the numbers of grid points in each direction to yield locally the same grid spacing in both horizontal directions.  The iterative procedure itself turns out to be multilevel - i.e. an iterative loop built around another, internal iterative procedure.  Thereafter, knowing this distribution, the grid nodes inside the region are obtained solving a Dirichlet elliptic problem.  The latter is fairly standard, except that we use "mehrstellenverfahren" discretization, which yields fourth-order accuracy in the case of equal grid spacing in both directions.  The curvilinear contour is generated using splines (cubic or quintic) passing through the user-specified reference points, and, unlike all previous tools designed for the same purpose, it guarantees by the construction to yield the exact 90-degree angles at the corners of the curvilinear perimeter of grid.</p><p>Overall, with the combination of all the new features, it is shown that it is possible to achieve very small, previously unattainable level of orthogonality errors, as well as make it isotropic -- local distances between grid nodes in both directions are equal to each other.</p>

“A Very Pleasant Patriarchal Life”: Professional Authors and Amateur Architects in the Hudson Valley, 1835–1870

1995 ◽  
Vol 29 (1) ◽  
pp. 33-53 ◽  
Author(s):  
Adam W. Sweeting
Keyword(s):  
Travel Literature ◽  
Hudson River ◽  
River Valley ◽  
West Point ◽  
Literary Critic ◽  
Hudson River Valley ◽  
Hudson Valley ◽  
Architectural Spaces

In an 1856 issue of Harper's New Monthly Magazine the literary critic and biographer T. A. Richards conducted his readers through a house tour of famous literary residences in the Hudson River Valley. His itinerary and choice of authors were typical of the time. By using the picturesque vocabulary common to antebellum travel literature, Richards offered a vicarious glimpse into the domestic arrangements of successful writers and artists. He painted an edenic picture of gentility in the midst of the Hudson Valley's natural splendor. We read, for example, of the “broad lawns and slopes of Placentia,” the Hyde Park estate of the novelist James Kirke Paulding; and the “mysterious evening shadow” of Susan Warner's home on Constitution Island, just off West Point. “Dearest to us of all,” Richards added, was Sunnyside, Washington Irving's renovated Dutch farmhouse at Tarrytown. These elegant and vaguely romantic properties seemed utterly appropriate for the literary elite of the region. Like Hawthorne's Old Manse, they were architectural spaces indelibly suited to their masters' talents and temperaments.

scholarly journals WithDrawing:  An Investigation into How the Iterative Process of Hand Drawing Can Influence the  Design of Buildable Architectural Spaces That Are Responsive to the Contemporary  Blurring of Traditional Programs, Typologies, and Contextual Conditions

2021 ◽  
Author(s):  
◽  
Amanda Snow
Keyword(s):  
21St Century ◽  
Movement Time ◽  
Linear Ordering ◽  
Singular Boundary ◽  
Drawing Process ◽  
Cultural Changes ◽  
Early 21St Century ◽  
Representation Of Architecture ◽  
Ordering Systems ◽  
Architectural Spaces

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

scholarly journals WithDrawing:  An Investigation into How the Iterative Process of Hand Drawing Can Influence the  Design of Buildable Architectural Spaces That Are Responsive to the Contemporary  Blurring of Traditional Programs, Typologies, and Contextual Conditions

2021 ◽  
Author(s):  
◽  
Amanda Snow
Keyword(s):  
21St Century ◽  
Movement Time ◽  
Linear Ordering ◽  
Singular Boundary ◽  
Drawing Process ◽  
Cultural Changes ◽  
Early 21St Century ◽  
Representation Of Architecture ◽  
Ordering Systems ◽  
Architectural Spaces

<p>In the early 21st century environmental, social and cultural changes are confronting the traditional relationship one has with technology, space and subsequently architecture. More specifically the tools of design are becoming integrated, whereby the clarity of tradition is becoming overlapped, becoming blurred. With this in mind the research investigates the opportunities of an iterative hand drawing process to develop architectural responses to movement, time and transformation. Highlighting a future which is inevitably changing, it is important to assess the inherent qualities of our design tools, as they too influence the connection and formation of architectural space. The research explores hand drawing through a design process which firstly, challenges drawn representation techniques and secondly, emphasises movement and transformation as key architectural drivers within the 21st century. Due to the continual developments within technology, construction practices and design materials, there is an opportunity to question and reflect our changing built environment and hence, the role of movement in architecture. With reference to the theorists Catherine Ingraham and Robin Evans, the research develops the position that the practice of architecture has become restricted by linear ordering systems. This is reflective in the orthographic representation of architecture alongside the built edges and boundaries of architectural spaces. Therefore, today's transforming conditions are used to validate and further articulate Ingraham's and Evans's theories, outlining a design response, using Wellington as a case study, built upon overlaying environmental, social and cultural relationships. The architectural outcome connects rather than dissociates itself to transforming conditions, creating multiple rather than singular boundary conditions through architectural blurring. Traditional relationships to spatial boundaries and edges are critiqued through the ambiguities and layers of working within an iterative hand drawing process. The influence of hand drawn qualities has provided a way to insert motion into a construct which is perceptually static, hence introducing a means to negotiate and work within a period of transition.</p>

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