INTEGRATION OF ELEMENTS OF INTERIOR STYLE DECONSTRUCTIVISM IN THE INTERWAR PERIOD BUILDING’S ARCHITECTURE

The design of the building takes into account the trend of the architectural style of the time, the interior is also aged according to the main lines of a specific architectural style. Today we often face the situation when the designer wants to design the interior, appropriate to his/her time, and the architecture of the building meets another time period, another century. In such cases the most successful solution would be to find commonalities of architectural style and interior or to play on contrasts that ultimately would create a harmonious and attractive environment. The 21st century is commanded by computer system design; however, some of the buildings look like spaceships. And due to the fact that at the stage of development computer software, algorithms, and capabilities of the laser beams are used, they allow to organize and manipulate the shape of the building, different parts and create thus masterpieces of architectural art.Keeping up with the latest trends there are new styles and one of the most daring styles of the present is deconstruction. In this style the abstraction becomes extreme and works primarily according to the method of exaggeration of known motifs. Iraq-born British architect Zaha Hadid says the deconstruction is the true beginning of modern architecture, where a fascination with the scenery and feel the pride of is architects (Gimpels, 2011). It is relevant to combine too bold, contemporary style interior, for example, deconstruction, integrating it into the architecture of the building of the last century, in fact splicing „together two different worlds”. The aim of this article is to study the relevant in the 21st century interior style – deconstruction and to describe architectural style of the building designed in the interwar period in Riga, at Miera Street 82, as well as to recognize opportunities, how to integrate elements of deconstruction in this building. The authors used research methods based on the study of scientific literature and journalism, which reveal evidence of the appropriate century architecture. In the historical consideration of architectural styles content analysis is applied.

Platform Dependent Verification: On Engineering Verification Tools for 21st Century

The paper overviews recent developments in platform-dependent explicit-state LTL model checking.Comment: In Proceedings PDMC 2011, arXiv:1111.006

Design synthesis and shape generation

If we are to capitalise on the potential that a design approach might bring to innovation in business and society, we need to build a better understanding of the evolving skill-sets that designers will need and the contexts within which design might operate. This demands more discourse between those involved in cutting edge practice, the researchers who help to uncover principles, codify knowledge and create theories and the educators who are nurturing future design talent. This book promotes such a discourse by reporting on the work of twenty research teams who explored different facets of future design activity as part of Phase 2 of the UK's research council supported Designing for the 21st Century Research Initiative. Each of these contributions describes the origins of the project, the research team and their project aims, the research methods used and the new knowledge and understanding generated. Editor and Initiative Director, Professor Tom Inns, provides an introductory chapter that suggests ways the reader might navigate these viewpoints. This chapter concludes with an overview of the key lessons that might be learnt from this collection of design research activity

Current screens

The architecture of screen design, including LCD, LED and DLP projection, is analysed in terms of the political economy and their aesthetics and phenomenological impacts, in association with the use of codecs as constraining as well as enabling tools in the control and management of visual data transmission

The changing patterns of architectural design education

Digital technologies have been introduced to students of architecture for over two decades and at present it could be argued that students are producing some of the highest quality designs, and some of the most interesting forms ever to come from University Schools. The value of computer aided design (CAD) is also being demonstrated in architectural practice, with high profile, large budget, bespoke and iconic buildings designed by internationally renowned architects. The value of computer aided design (CAD) is also being demonstrated in architectural practice, with high profile, large budget, bespoke and iconic buildings designed by internationally renowned architects. This paper reviews the changing patterns of architectural design education and considers the contribution digital technologies could make to buildings with more commonplace uses. This paper reviews the changing patterns of architectural design education and considers the contribution digital technologies could make to buildings with more commonplace uses. The study offers a perspective on different kinds of buildings and considers the influence that emerging technologies are having on building form. The study offers a perspective on different kinds of buildings and considers the influence that emerging technologies are having on building form. It outlines digital technologies, alongside students application for architectural design and considers the role they could play in the future, in developing a shared architectural language. It outlines digital technologies, alongside students application for architectural design and considers the role they could play in the future, in developing a shared architectural language. It is suggested that some of the biggest opportunities for future research will be in the design of external spaces, often a neglected part of architectural design education. It is suggested that some of the biggest opportunities for future research will be in the design of external spaces, often a neglected part of architectural design education

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future.

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products

Revisiting digital technologies: envisioning biodigital bodies

In this paper the contemporary practices of human genomics in the 21st century are placed alongside the digital bodies of the 1990s. The primary aim is to provide a trajectory of the biodigital as follows: First, digital bodies and biodigital bodies were both part of the spectacular imaginaries of early cybercultures. Second, these spectacular digital bodies were supplemented in the mid-1990s by digital bodywork practices that have become an important dimension of everyday communication. Third, the spectacle of biodigital bodies is in the process of being supplemented by biodigital bodywork practices, through personal or direct-to-consumer genomics. This shift moves a form of biodigital communication into the everyday. Finally, what can be learned from putting the trajectories of digital and biodigital bodies together is that the degree of this communicative shift may be obscured through the doubled attachment of personal genomics to everyday digital culture and high-tech spectacle.Keywords: genomics, biodigital, bodies, spectacle, everyda