We are used to conceive architecture in perspectives or even in sequential images, each having im... more We are used to conceive architecture in perspectives or even in sequential images, each having impact on the eye and the mind (of the preceptor as reader). Drawing architecture as status and by default as exercise is driven the imagination in resulting (sometimes) specific places and designs. Learning in architecture academies is actually based on sketching, diagramming and synthesizing information through drawing, which is in fact a 2D action-and-result, residing in an imagination of a model – spatial model – of possible architecture (existent or in the process of fabrication). As programming architecture is moving forward according with numbers of people, densities and present/future challenges of the 21st century, so are the new resources for perceiving in framing process and backwards of the impact on the new perspectives developed in new kinds of motion pictures as new cinematic dynamics. Even a list of architecture in motion pictures will resume for the most of the public at movies presenting architects, architecture and places, or even object design, the referential of presenter and of the (film topic) theme both influence the perception differently than in static representation of images – from sketching designs, photography or even panoramas (static or 360 degree moving representations). The proposed article is driven the sense of having architecture presented as discourse in motion pictures and new kinds of framing types of cinematic dynamics, as valuable resource for wide and academic learning, understanding the transformations on architectural design semantics and style of the 21st century. Several highlights and observations will be detailed on several examples. Present article " A discussion : (Framing) Motion pictures for architecture and critical architectural discourse – semantics and forms " / " O discuție: (Framing) Imaginile în mișcare pentru arhitectură și discursul critic arhitectural-semantici și forme " is the based of the authors' presentation (M.Mihaila & C.Enache) within Scientific Session " Arhitectura recenta – discurs critic " / " Recent architecture – critic discourse " , which took place at " Ion Mincu " , University of Architecture and Urbanism, Bucharest, 19-20 th May 2016
Apparently two well known notions, landscape and density never cease to redefine their meaning an... more Apparently two well known notions, landscape and density never cease to redefine their meaning and equation algorithms that are understood in the new perspectives of the sustainable and …emergent city, but especially in the light of global population growth. Urban density landscape. Extreme anthropic environment. In the context of territory expansion limitations and the need to protect the nature, urban densification means reconsideration of space. The reconsideration of urban life, image, of the landmarks and of the landscape. Where does it start and where does it end? Landscape begins where perceptions starts. Beautiful, ugly, sublime, grotesque, or as it is seen and understood by humans. Densification could mean changing or reducing perception. It could be the modeling of urban life, the alteration or augmentation of the urban values. Starting from zero/ from the scratch, the extrusion of built areas appears to be easiest to quantify while the results could be assessed in a graph...
Lusofona Journal of Architecture and Education, 2014
Because of a multitude of factors, Bucharest has developed in the past 20 years new typologies of... more Because of a multitude of factors, Bucharest has developed in the past 20 years new typologies of shopping buildings and sites, either in the peripheral or in downtown areas. 20 years ago Bucharest has the its “universal” stores like buildings developed in the socialism-communist period of time and well formally designed in a specific local – functional way, but also a few older ones like the former “La Fayette Galleries” actual “Victoria Galleries”. Also some small area of shopping (for public or private commerce) were kept in the city center or in some important areas in a ruined built pattern of ground and 1 up to 3 levels – like in the North Railway Station area. In the beginning of these 20 years a phenomenon of reconversion of these “universal” stores has begun, because of the increased need for private commerce spaces, being something in a very new trend for the city. And because these were situated in the cores of the neighbourhoods, some of them have first become compartmen...
We are used to conceive architecture in perspectives or even in sequential images, each having i... more We are used to conceive architecture in perspectives or even in sequential images, each having impact on the eye and the mind (of the preceptor as reader). Drawing architecture as status and by default as exercise is driven the imagination in resulting (sometimes) specific places and designs. Learning in architecture academies is actually based on sketching, diagramming and synthesizing information through drawing, which is in fact a 2D action-and-result, residing in an imagination of a model – spatial model – of possible architecture (existent or in the process of fabrication). As programming architecture is moving forward according with numbers of people, densities and present/future challenges of the 21st century, so are the new resources for perceiving in framing process and backwards of the impact on the new perspectives developed in new kinds of motion pictures as new cinematic dynamics. Even a list of architecture in motion pictures will resume for the most of the public at movies presenting architects, architecture and places, or even object design, the referential of presenter and of the (film topic) theme both influence the perception differently than in static representation of images – from sketching designs, photography or even panoramas (static or 360 degree moving representations). The proposed article is driven the sense of having architecture presented as discourse in motion pictures and new kinds of framing types of cinematic dynamics, as valuable resource for wide and academic learning, understanding the transformations on architectural design semantics and style of the 21st century. Several highlights and observations will be detailed on several examples. Present article " A discussion : (Framing) Motion pictures for architecture and critical architectural discourse – semantics and forms " / " O discuție: (Framing) Imaginile în mișcare pentru arhitectură și discursul critic arhitectural-semantici și forme " is the based of the authors' presentation (M.Mihaila & C.Enache) within Scientific Session " Arhitectura recenta – discurs critic " / " Recent architecture – critic discourse " , which took place at " Ion Mincu " , University of Architecture and Urbanism, Bucharest, 19-20 th May 2016
We are used to conceive architecture in perspectives or even in sequential images, each having im... more We are used to conceive architecture in perspectives or even in sequential images, each having impact on the eye and the mind (of the preceptor as reader). Drawing architecture as status and by default as exercise is driven the imagination in resulting (sometimes) specific places and designs. Learning in architecture academies is actually based on sketching, diagramming and synthesizing information through drawing, which is in fact a 2D action-and-result, residing in an imagination of a model – spatial model – of possible architecture (existent or in the process of fabrication). As programming architecture is moving forward according with numbers of people, densities and present/future challenges of the 21st century, so are the new resources for perceiving in framing process and backwards of the impact on the new perspectives developed in new kinds of motion pictures as new cinematic dynamics. Even a list of architecture in motion pictures will resume for the most of the public at movies presenting architects, architecture and places, or even object design, the referential of presenter and of the (film topic) theme both influence the perception differently than in static representation of images – from sketching designs, photography or even panoramas (static or 360 degree moving representations). The proposed article is driven the sense of having architecture presented as discourse in motion pictures and new kinds of framing types of cinematic dynamics, as valuable resource for wide and academic learning, understanding the transformations on architectural design semantics and style of the 21st century. Several highlights and observations will be detailed on several examples. Present article " A discussion : (Framing) Motion pictures for architecture and critical architectural discourse – semantics and forms " / " O discuție: (Framing) Imaginile în mișcare pentru arhitectură și discursul critic arhitectural-semantici și forme " is the based of the authors' presentation (M.Mihaila & C.Enache) within Scientific Session " Arhitectura recenta – discurs critic " / " Recent architecture – critic discourse " , which took place at " Ion Mincu " , University of Architecture and Urbanism, Bucharest, 19-20 th May 2016
Apparently two well known notions, landscape and density never cease to redefine their meaning an... more Apparently two well known notions, landscape and density never cease to redefine their meaning and equation algorithms that are understood in the new perspectives of the sustainable and …emergent city, but especially in the light of global population growth. Urban density landscape. Extreme anthropic environment. In the context of territory expansion limitations and the need to protect the nature, urban densification means reconsideration of space. The reconsideration of urban life, image, of the landmarks and of the landscape. Where does it start and where does it end? Landscape begins where perceptions starts. Beautiful, ugly, sublime, grotesque, or as it is seen and understood by humans. Densification could mean changing or reducing perception. It could be the modeling of urban life, the alteration or augmentation of the urban values. Starting from zero/ from the scratch, the extrusion of built areas appears to be easiest to quantify while the results could be assessed in a graph...
Lusofona Journal of Architecture and Education, 2014
Because of a multitude of factors, Bucharest has developed in the past 20 years new typologies of... more Because of a multitude of factors, Bucharest has developed in the past 20 years new typologies of shopping buildings and sites, either in the peripheral or in downtown areas. 20 years ago Bucharest has the its “universal” stores like buildings developed in the socialism-communist period of time and well formally designed in a specific local – functional way, but also a few older ones like the former “La Fayette Galleries” actual “Victoria Galleries”. Also some small area of shopping (for public or private commerce) were kept in the city center or in some important areas in a ruined built pattern of ground and 1 up to 3 levels – like in the North Railway Station area. In the beginning of these 20 years a phenomenon of reconversion of these “universal” stores has begun, because of the increased need for private commerce spaces, being something in a very new trend for the city. And because these were situated in the cores of the neighbourhoods, some of them have first become compartmen...
We are used to conceive architecture in perspectives or even in sequential images, each having i... more We are used to conceive architecture in perspectives or even in sequential images, each having impact on the eye and the mind (of the preceptor as reader). Drawing architecture as status and by default as exercise is driven the imagination in resulting (sometimes) specific places and designs. Learning in architecture academies is actually based on sketching, diagramming and synthesizing information through drawing, which is in fact a 2D action-and-result, residing in an imagination of a model – spatial model – of possible architecture (existent or in the process of fabrication). As programming architecture is moving forward according with numbers of people, densities and present/future challenges of the 21st century, so are the new resources for perceiving in framing process and backwards of the impact on the new perspectives developed in new kinds of motion pictures as new cinematic dynamics. Even a list of architecture in motion pictures will resume for the most of the public at movies presenting architects, architecture and places, or even object design, the referential of presenter and of the (film topic) theme both influence the perception differently than in static representation of images – from sketching designs, photography or even panoramas (static or 360 degree moving representations). The proposed article is driven the sense of having architecture presented as discourse in motion pictures and new kinds of framing types of cinematic dynamics, as valuable resource for wide and academic learning, understanding the transformations on architectural design semantics and style of the 21st century. Several highlights and observations will be detailed on several examples. Present article " A discussion : (Framing) Motion pictures for architecture and critical architectural discourse – semantics and forms " / " O discuție: (Framing) Imaginile în mișcare pentru arhitectură și discursul critic arhitectural-semantici și forme " is the based of the authors' presentation (M.Mihaila & C.Enache) within Scientific Session " Arhitectura recenta – discurs critic " / " Recent architecture – critic discourse " , which took place at " Ion Mincu " , University of Architecture and Urbanism, Bucharest, 19-20 th May 2016
Abstracts - ICAR 2012. ICAR 2012 International Conference on Architectural Research: (re)writing ... more Abstracts - ICAR 2012. ICAR 2012 International Conference on Architectural Research: (re)writing history. Book · May 2012
Edition: 1, Publisher: Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait, Editor: UAUIM, Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, ISBN: 978-606-638-022-5 Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait
authors: Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, Adham Abulnour, Ileana Apostol, Maria Boştenaru Dan, Dragoş Horia Buhociu, João Paulo Cardielos, Stefania Chirico, Laura Vivola, Luigi Chirone, Cristina Constantinescu, Mihaela Hărmănescu, Ilinca Constantinescu, Cerasella Craciun, Cristina Enache, Giuseppe Gangemi, Cristina Olga Gociman, Sever Georgescu, Tiberiu Florescu, Artan Hysa, Bob Jarvis, Valbona Koçi, Andrei Eugen Lakatos, Vera Marin, Ana Opriş, Gabriel Pascariu, Simona Pascariu, Alexandru-Ionut Petrişor, Andreea Popa, Alexandru Calcatinge, Radu Radoslav, Tudor Morar, Monica Rădulescu, Angelica Stan, Branislava Stoiljkovic, Goran Jovanovic, Nataša Petkovic, Tai-Chee WONG, Ramona Albert, Ionuţ Anton, Daniel Armenciu, Konstantinos Antoniou, Kleo Axarli, Aikaterini Meresi, Bogdan-Eugen Bănică, Laura Andreea Burlacu, Oana Andreea Caplescu, Andreea Iosif, Safaa M. Issa Abdou, Slaviša Kondic, Ivan Kostic, Milan Tanic, Aleksandra Kostic, Miloš Dacic, Nikola Cekic, Ana-Maria Machedon, Justin Ionescu, Oana Mihăescu, Ştefan Mihailescu, Ovidiu Mihalache, Anca Mitrache, Cristina Pană, Radu Pană, Sergiu Cătalin Petrea, Danica Stankovic, Mihailo Timotijevic, Daniela Tănase, Ovidiu-Horaţiu Teleche, Alexandra Anghelache, Bjelic Igor, Ana Momcilovic-Petronijevic, Letiţia Bărbuică, Ruxandra Berinde, Ana Elisabeta Botez, Daniela Calciu, Hanna Derer, Dragoş Mihai Dordea, Elena-Codina Duşoiu, Mihaela Bălan Lazăr, Petru Gheorghiu, Niculae GRAMA, arh. Marius PANDELE, Mihai CHISARĂU, Bahareh Hosseini, Ali Namazian, Elena Ion Tomlinson, Radosveta Kirova, Adriana Matei, Andreea Motu, Alexandra Bontea, Ioana Pop, Horia Radu Moldovan, Mihai OPREANU, Toader Popescu, Cecilia Ruiloba, Monica Sebestyen, Maria-Iulia Stanciu, Florian Stanciu, Matei Luca Stoian, Miruna Paula Stroe, Alexandra Teodor, Vlad Thierry, Irina Teodora Tulbure, Branko Belacevic, Antonino Di Raimo, Cosmin Caciuc, Silvia Costescu, Alexandru Crişan, Mihaela Criticos, Oana Diaconescu, Melania Coralia Maria Dulămea, Vlad Eftenie, Cristina Aurora Enuţă, Mihaela Zamfir Grigorescu, Desantila Hysa, Codruţa Iana, Emil Ivănescu, Ives Noah, Joanna Jablonska, Ljiljana Jevremovic, Tana - Nicoleta Lascu, Cristina - Victoria Ochinciuc, Mărgulescu Andrei, Irina Elena Mereoiu, Aleksandar Milojkovia, Marko Nikolia, Ioan Miloş, Georgică Mitrache, Adrian Moleavin, Florin Mureşanu, Daniela Negrişanu, Brânduşa Havasi, Delia Florescu, Bilge Atac Ozsoy, Bilgen Atac, Mihaela Pelteacu, Flavia - Maria Roşu, Livia Elena Rus, Anda-Ioana Sfinteş, Magdalena Stănculescu, MelekZühre (Sözeri) Yildirim, Raluca BUZDUGAN, Faredah Mohsen Al-Murahhem, Stefania Victoria Ruse, Beatriz Villanueva Cajide, Francisco Javier Casas Cobo, Staicu Mihaela, Andreadou Tatiana, Gavra Eleni, Vlachodimos George, Eugeniu Apostol, Fathi Bashier, Agnieszka Stepien, Lorenzo Barnó, Ana Maria Crişan, Alexandru M. Crişan, Carmen Ştefania Dumitrescu, Cristian Dumitrescu, Diana Giurea, Fani Vavili, Efthalia-Thaleia Grigoriadou, Zina Macri, Mihnea Ghilduş, Mihnea Ioan Mihăilescu, Gabriela Mindu, Anca Oţoiu, Cristina Constantin, Mihaela Şchiopu, Ioana Raluca Şerbănescu, Ştefan Simion, Dorina Onescu-Tărbujaru
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Book · May 2012
Edition: 1, Publisher: Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait, Editor: UAUIM, Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, ISBN: 978-606-638-022-5
Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait
authors: Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, Adham Abulnour, Ileana Apostol, Maria Boştenaru Dan, Dragoş Horia Buhociu, João Paulo Cardielos, Stefania Chirico, Laura Vivola, Luigi Chirone, Cristina Constantinescu, Mihaela Hărmănescu, Ilinca Constantinescu, Cerasella Craciun, Cristina Enache, Giuseppe Gangemi, Cristina Olga Gociman, Sever Georgescu, Tiberiu Florescu, Artan Hysa, Bob Jarvis, Valbona Koçi, Andrei Eugen Lakatos, Vera Marin, Ana Opriş, Gabriel Pascariu, Simona Pascariu, Alexandru-Ionut Petrişor, Andreea Popa, Alexandru Calcatinge, Radu Radoslav, Tudor Morar, Monica Rădulescu, Angelica Stan, Branislava Stoiljkovic, Goran Jovanovic, Nataša Petkovic, Tai-Chee WONG, Ramona Albert, Ionuţ Anton, Daniel Armenciu, Konstantinos Antoniou, Kleo Axarli, Aikaterini Meresi, Bogdan-Eugen Bănică, Laura Andreea Burlacu, Oana Andreea Caplescu, Andreea Iosif, Safaa M. Issa Abdou, Slaviša Kondic, Ivan Kostic, Milan Tanic, Aleksandra Kostic, Miloš Dacic, Nikola Cekic, Ana-Maria Machedon, Justin Ionescu, Oana Mihăescu, Ştefan Mihailescu, Ovidiu Mihalache, Anca Mitrache, Cristina Pană, Radu Pană, Sergiu Cătalin Petrea, Danica Stankovic, Mihailo Timotijevic, Daniela Tănase, Ovidiu-Horaţiu Teleche, Alexandra Anghelache, Bjelic Igor, Ana Momcilovic-Petronijevic, Letiţia Bărbuică, Ruxandra Berinde, Ana Elisabeta Botez, Daniela Calciu, Hanna Derer, Dragoş Mihai Dordea, Elena-Codina Duşoiu, Mihaela Bălan Lazăr, Petru Gheorghiu, Niculae GRAMA, arh. Marius PANDELE, Mihai CHISARĂU, Bahareh Hosseini, Ali Namazian, Elena Ion Tomlinson, Radosveta Kirova, Adriana Matei, Andreea Motu, Alexandra Bontea, Ioana Pop, Horia Radu Moldovan, Mihai OPREANU, Toader Popescu, Cecilia Ruiloba, Monica Sebestyen, Maria-Iulia Stanciu, Florian Stanciu, Matei Luca Stoian, Miruna Paula Stroe, Alexandra Teodor, Vlad Thierry, Irina Teodora Tulbure, Branko Belacevic, Antonino Di Raimo, Cosmin Caciuc, Silvia Costescu, Alexandru Crişan, Mihaela Criticos, Oana Diaconescu, Melania Coralia Maria Dulămea, Vlad Eftenie, Cristina Aurora Enuţă, Mihaela Zamfir Grigorescu, Desantila Hysa, Codruţa Iana, Emil Ivănescu, Ives Noah, Joanna Jablonska, Ljiljana Jevremovic, Tana - Nicoleta Lascu, Cristina - Victoria Ochinciuc, Mărgulescu Andrei, Irina Elena Mereoiu, Aleksandar Milojkovia, Marko Nikolia, Ioan Miloş, Georgică Mitrache, Adrian Moleavin, Florin Mureşanu, Daniela Negrişanu, Brânduşa Havasi, Delia Florescu, Bilge Atac Ozsoy, Bilgen Atac, Mihaela Pelteacu, Flavia - Maria Roşu, Livia Elena Rus, Anda-Ioana Sfinteş, Magdalena Stănculescu, MelekZühre (Sözeri) Yildirim, Raluca BUZDUGAN, Faredah Mohsen Al-Murahhem, Stefania Victoria Ruse, Beatriz Villanueva Cajide, Francisco Javier Casas Cobo, Staicu Mihaela, Andreadou Tatiana, Gavra Eleni, Vlachodimos George, Eugeniu Apostol, Fathi Bashier, Agnieszka Stepien, Lorenzo Barnó, Ana Maria Crişan, Alexandru M. Crişan, Carmen Ştefania Dumitrescu, Cristian Dumitrescu, Diana Giurea, Fani Vavili, Efthalia-Thaleia Grigoriadou, Zina Macri, Mihnea Ghilduş, Mihnea Ioan Mihăilescu, Gabriela Mindu, Anca Oţoiu, Cristina Constantin, Mihaela Şchiopu, Ioana Raluca Şerbănescu, Ştefan Simion, Dorina Onescu-Tărbujaru