<abstract>
<title style='display:none'>Abstract</title>
This article investigates the role of architectural research in addressing the current ecological, geopolitical, and socioeconomic challenges by exploring the potential of symbiotic ecosystems, particularly microorganisms such as microalgae, in architectural and design applications. Microalgae biotechnologies have the potential to offer a wide range of applications in architecture and design, encompassing small-scale objects, living systems on building exteriors, as well as urban and rural scenarios, thereby allowing for systematic research. When using these biotechnologies in architectural designs, it is crucial to consider maintenance requirements, environmental impacts, and the potential for enhancing public spaces and society across various dimensions in both short-term and long-term perspectives, and potential environmental impacts before implementing microalgae-based systems in real-life scenarios. This study describes a collection of interdisciplinary projects and research that involve microbiology, architecture, and design and proposes various experimental scenarios concerning the integration of both human and non-human perspectives. Through collaborative academic efforts, these projects demonstrate the potential for combining microalgae cultivation with architectural applications. The projects include Photosynthetic Landscape, a modular photobioreactor system, Synthesizing/Distancing which addresses coexistence in global epidemics, Biotopia, a permanent interior installation incorporating microalgae, Exchange Instruments, a semi-closed cultivation system, and Cultivated Environment, a small-scale microalgae cultivation apparatus. The article highlights the implication of controlled environments, maintenance, and interdisciplinary cooperation while showcasing the potential for these systems.
</abstract>

Transdisciplinary collaboration in architecture: Integrating microalgae biotechnologies for human and non-human perspectives

<abstract><title style='display:none'>Abstract</title>
In Algeria, the city of Tlemcen is home to 60% of the country’s Arab-Islamic architectural heritage, also known as Moorish. During the French colonization, the rich Moorish historical and architectural heritage was largely diminished. The architecture of Tlemcen’s historic old town was gradually replaced by classical architecture in the early days of colonization, and then by modern architecture from 1940 onwards. After the independence in 1962, the city has carried out huge programs of facilities and new housing, based on modern architectural principles. In 2011, Tlemcen was designated a “Capital of Islamic Culture” and, in preparation for this international cultural event, new cultural facilities and hotels have been built, inspired by Moorish heritage. Given the heterogeneity of references and in particular the identity crisis ensuing in architecture in Tlemcen, this event was the key moment for validating a stylistic choice, which directly recounts the history of the city. The question is: what authenticity is expressed by the current use of the Moorish referent? Is it technical and material authenticity, or merely symbolic and cultural genuineness? This study delves into the question of identity in architecture. It analyses the new Moorish-style buildings in Tlemcen and highlights their contribution to the quest for a local identity and the ambition to produce local architecture. The article supports the hypothesis that architecture is an effective means of expressing identity and that it has always had, and continues to have, a close relationship with memory. The methodology is based on a combination of several investigative tools: surveys, photographs and archive consultation. These tools helped develop a building analysis grid, which serves as a repertory for describing the buildings, according to two levels of reading of the architectural work. We have chosen three Moorish and four contemporary buildings to which the different criteria of the analysis grid are applied. The results of the analysis of the new buildings show that, in a way, they enabled to establish continuity and dialogue with the Moorish heritage.
</abstract>

New Moorish architectural identity in Tlemcen, Algeria

<abstract>
<title style='display:none'>Abstract</title>
This article aims to make the European professional audience acquainted with the architecture of an important southern African city. Additionally, the author hopes to familiarise this audience with the cultural nuances and character of this city, while trying to maintain distance as a native of the city. South Africa is famous for its significant natural and wildlife treasures. Internationally the history of this country’s politics and developing democracy are also well known. From famous political leaders overcoming the harsh and hateful <italic>Apartheid</italic> laws to more world-renowned medical practitioners performing ground-breaking medical procedures: the impact of South African global contributions cannot be overlooked. However, there is significant oversight in the appreciation of the architecture and analyses of the urban conditions in the country. Pretoria is the administrative capital of the Republic of South Africa and contains a substantial <italic>oeuvre</italic> of built works that is testament to the numerous international and local cultural influences. Thus, it was deemed necessary to present the architectural and artistic responses from the modernist period (late 1920s – 1970s). The Pretoria Regionalist style, sometimes styled as the Third Vernacular, is a contextually inspired, and unique Transvaal-esque mutation of the machined and purist aesthetic of the Modernist Movement (1920s – 1960s). This architectural oeuvre is presented within the historical context of the founding and evolution of South Africa. Hence, eight contextually appropriate and architecturally significant edifices representing the modernist architecture of the early 20th century are broadly discussed.
</abstract>

On the incompleteness of mutation: Introduction to Pretoria Regionalism

<abstract>
<title style='display:none'>Abstract</title>
The article approaches the inspiration of recycling at different levels of understanding. The introduction describes the meanings of the word recycling as it is perceived in relation to architecture. The first chapter approaches recycling through its most common understanding as material reuse, describing how the recycling of materials can inspire architecture. The second chapter takes up recycling in the sense of conversion, pointing out the particular importance of addressing this issue. The chapter mentions four theories dealing with approaches to conversion, which are specified through examples, and points to architectural recycling motivated by idea and by religion. The third chapter discusses architecture is inspired by recycling or reusing architectural elements that become the bearer of the idea of behind a new architectural concept. The fourth chapter reflects on understanding the recycling of architecture as taking on the formal image of historical architectural styles, thus reflected in the historical styles of the 19th century and postmodernism of the 20th century. The fifth chapter “Recycling the idea” seeks recycling at the level of the idea, by incorporating old ideas into modern concepts, referring to the Ideal City of Chaux and to Ricardo Bofill, the motif of the medieval mázhaus and Socrates’ house. In the sixth chapter, entitled “Recycling as a concept”, we read about inspiring architecture that takes on recycling at many levels of meaning, becoming important for objectifying the ideological essence of the work. The conclusion of the paper briefly summarizes the results of the work and its essence, summarizing a subjective evaluation of the issue.
</abstract>

Recycling as an Inspiration for Architecture

<abstract>
<title style='display:none'>Abstract</title>
Museums are complex architectural works with many distinctive elements. One of the most significant museum features are routes or paths on which visitors circulate museums and perceive exhibitions. Children and people with special needs often have specific demands on physical accessibility of the surrounding environment, chronological arrangement of spaces and amount of information presented at a time. The arrangement of functional units in museum layouts affects wayfinding in space, understanding of the exhibition, as well as visitor guidance. The order in which people visit particular segments in a museum can also be described as one of the most important architectural and operational characteristics of this type of cultural buildings and areas. The article examines ways of arranging spaces in a museum building and the suitability of their application. These forms are evaluated based on various aspects; some of the created effects are studied, e.g. creation of a desired atmosphere. Existing concepts are compared and supplemented with other theoretical knowledge. The article aims to present variant suitable ways of composing routes that would meet the needs of different people, and bring them a quality leisure and educational experience from a museum tour. Various types of museum layout organisation and arrangement of exhibition spaces are illustrated with abstract schemes, as well as with specific case studies of five selected museums. The selection consists of architecturally exceptional and high-quality museums in Central Europe, which are able to attract a whole range of various groups of people including a younger audience. They are examples of both modern museums in this area and route planning options. The case studies highlight interesting local ideas, space concepts, routing methods, and also solutions for increasing inclusion of all visitors and children in particular.
</abstract>

Route options in inclusive museums: Case studies from Central Europe

<abstract>
<title style='display:none'>Abstract</title>
The research paper contends that Artificial Intelligence (AI) serves as a collaborative partner in architectural design, rather than merely a utility tool. To substantiate this argument, a three-phase, nine-test investigation evaluating the strengths and limitations of two prominent AI platforms: Midjourney AI and Stable Diffusion was undertaken. These platforms synergize human creativity and AI capabilities through features like text prompts and image references, thereby fostering innovative avenues in architecture. Our analysis indicates that Midjourney AI is proficient in generating initial design concepts, largely thanks to its extensive data libraries, but is deficient in design refinement and user control. Conversely, Stable Diffusion empowers designers with greater control via features like ControlNet but sacrifices visual clarity due to its smaller generative models. Both platforms share a common flaw: an overemphasis on aesthetics and shape at the expense of functional understanding. Building upon these empirical observations, the paper outlines strategies for designers to reasonably leverage AI in optimising workflows. It confirms two key hypotheses concerning the interplay of creativity, control, and collaboration, emphasising that both human architects and AI systems benefit from iterative feedback and continuous adaptation. In summary, the study posits that AI is not just an adjunct technology but a transformative force with the capacity to fundamentally alter architectural design processes, paving the way for a new paradigm where human expertise and machine capabilities converge for enriched design outcomes.
</abstract>

Architectural alchemy: Leveraging Artificial Intelligence for inspired design – a comprehensive study of creativity, control, and collaboration

<abstract><title style='display:none'>Abstract</title>
Designing the modification of buildings for a new use is a costly and time-consuming process, before which it is often necessary to conduct a preliminary assessment of the feasibility of the intended project. The article discusses the procedure for such a preliminary cost-effective assessment using the example of a historic building with vaulted ceilings. For older historical buildings, archival documents specifying their geometry, construction details and material characteristics are typically not available. For the preliminary design, it is possible to obtain information about the dimensions of the load-bearing elements non-destructively. However, the knowledge of the exact material properties of the masonry exceeds the possibilities of an inexpensive assessment, which must take advantage of the data available in the literature for similar structures. This article presents a methodology and an example of the measurement and assessment of the mechanical response of the Baroque vault to static loading. It shows the process of obtaining data on the geometric shape of the structure by means of geodetic surveying and geometric radar measurements of the thickness of vaults whose upper faces are not accessible. Two models are used to calculate the internal forces in the structure. The first planar model considers a simplified barrel vault strip according to the focused geometry with respect to geometric nonlinearity and without tension, the second model is a linear spatial model of the entire vault. The calculation was performed in ANSYS 17.2, the input parameters of the material are taken from the literature. The calculated stresses in the vault are compared with the values of the design strength of brick masonry, taking into account the characteristic compressive strength of the masonry based on published known data obtained during tests of similar historical materials. The results are then used to decide on the feasibility of the intention to adapt the building for a new use.
</abstract>

Survey and preliminary assessment of a baroque vault for refurbishment planning

Editorial

<abstract><title style='display:none'>Abstract</title>
The term <italic>temporary forms of performative space</italic> was coined out of the need to define the group of objects under study that use temporality and the architectural input into a non-theatrical space, and serve as boundaries for performative content. One such space was designed and built in the previous part of the research. By analysing the space during its functioning, supported by examples from abroad, we offer an example of one of the possible solutions to the problem of theatre attendance. In the conducted study, we aim to support by a practical experiment the premise that temporary architectural forms intended for performance art can diversify and broaden the audience, thus making the theatre more inclusive. The method at hand involves the analysis of two performances. In the Jera show, we analyse the impact of an object located in a public space on the composition of the audience. The object adopts characteristics taken from examples from abroad. The Elektra performance serves as a reference example, where the object is present but not necessary for the relevance of the data obtained. The gathering of information – monitoring the influence of the architectural form on the composition of the audience – takes the form of questionnaires distributed before the performance. The individual questionnaires were processed into a spreadsheet from which research questions with follow-up responses were abstracted. Due to the insufficient number of comparable performances delivered, we can currently confirm the premise of the functioning of the temporary architecture as an attractor of the wider theatre audience only on the basis of the number of spectators who learned about the performance from the QR code, posted in a public space a week before the performance together with the installation of the object itself. This group of visitors surpassed 17%, which we consider a positive result that encourages us to create more testing events in various environments.
</abstract>

Temporary forms of performative space: Impact of temporary architecture on audience diversification

<abstract><title style='display:none'>Abstract</title>
The context of interwar period Czechoslovakia lacks a formal on both the personality and built artefacts on the often overlooked Bratislava builder, Rudolf Frič. Small-scale architecture tends to be undervalued because of its size, utility, multiplicity, or related momentariness, and because of the automatic consideration of its banality. This paper aims to analyse their architectural qualities presented in concrete typologies and realisations. Tram shelters, gas stations, mausoleums, and small detached houses are thus researched. Their architectural values, both in construction and in form, are identified and clarified. On the other hand, it is noted that the scale and ephemerality conditioned by the utility character are the crucial reasons for their undervaluation. This is especially the case of traffic buildings, where the same dynamic that initiated their origin also resulted in their end, as they become obsolete rather soon. Some of these projects by Frič such as: Rybáček House, Polák Tram stop, the Zikmund Brothers’ gas station, as well as the Frič family tomb, are confronted with other relevant realisations, prove that small-scale architectural objects and peripheral typologies have the architectural qualities for which they would deserve the public and professional interest. Moreover, these objects reflect their variety, being situated in diverse urban situations, from the architecturally and historically intact city centre, through to newly urbanised dwelling area, urban periphery up to a provincial town. Additionally, they illustrate the asymmetric position of the Slovak situation compared to the Czech one, particularly in transport architecture. The presented works characterise the style of Frič based on the high-quality craftsmanship details rather than explicit architectural forms. This transfer of new typologies and structural forms with partial urban impacts, underscores the neglected and crucial contribution to architecture by Frič.
</abstract>

Appraisal of the historical impact of neglected, modernised small-scale architectural objects by Rudolf Frič

<abstract>
<title style='display:none'>Abstract</title>
The theme of the connection of visual arts with architecture, or the cooperation of visual artists with architects in post-war Europe, basically follows two lines: a theoretical line and a political-institutional line. Just as knowledge of the history of art and the history of architecture is necessary in the analysis of this period, knowledge of the political-economic circumstances is necessary in the field of realisations in architecture, because by definition, this public art is a political affair and is not an independent creation. Art in architecture was promoted not only in communist countries (for ideological reasons), but also in Western Europe as an aesthetic cultivation of contemporary architecture. From the mid-1950s onwards, visual art in architectural space appeared more and more frequently, which led to the adoption of legislative measures that regulated and supported this practice. A gradual transformation in the understanding of the task can be observed over the period under review, or the position of public art, presented as part of architecture or public space. This is naturally due to social development. If at the beginning of the 1950s it was a mission to convey ideology and indoctrinate it, in the next stage the focus shifts more towards design with the task of cultivating the environment and creating a certain atmosphere. The study also peripherally explores forms of arts support in the context of other European countries. The idea of integration between art and architecture dates back to the very origins of both disciplines. During the avant-garde movement at the beginning of the twentieth century, it acquired a new meaning and social purpose and became one of the most defining characteristics of modernism. Modernism arose from the expectation of moral and material reconstruction of the world devastated by war, which served as a tool to strengthen collective identity and, consequently, to forge the bond between the city and its inhabitants. Our study traces the development and contexts of the relationship and funding of visual arts in architecture in the Slovak and European context in the 20th century.
</abstract>

Fine art as an integral part of architecture: Political and social aspects of the formation of this synthesis in the 20th century

<abstract>
<title style='display:none'>Abstract</title>
The paper focuses on the long-standing problem of too low renovation rates of existing buildings and on practice-oriented solutions. The European Commission has set the goal of at least doubling the renovation quota with “The European Green Deal” and published the “Strategy for a Renovation Wave for Europe - greening our buildings, creating jobs, improving lives” on 14 October 2020. As in previous years, technical specifications have been defined even more strictly and limit values for energy consumption have been further reduced with the aim to reduce CO2 emissions. The high quality of the renovation measures is ensured within the European Union and its member states. However, this has not yet been the case in relation to the quantity of implemented renovation projects. The thesis investigates which factors were neglected or were not taken into consideration sufficiently in the past, and, because of that, countries like Austria could not achieve their goals with regard to the renovation rates. This is done by identifying, selecting and verifying both specific and potential conflicting goals. On the basis of the description and analysis of the background to these potential conflicts, the actual obstacles are identified and approaches to their solutions are defined. The formulated approaches should form the basis for future in-depth discussion and further development of specific detailed solutions. The implementation of these results in a comprehensive package with technical regulations such as the “Renovation Wave for Europe” and “The European Green Deal”, opens up new opportunities for achieving the set goals. An increase in the renovation rate of existing buildings is the quantitatively measurable outcome.
</abstract>

New Opportunities for Increasing the Renovation Rate of Buildings

<abstract>
<title style='display:none'>Abstract</title>
Globalization changes our world too quick and regions cannot keep up. Copying mechanisms affect crafted products and architecture and create specific signs for each region. Understanding that, we can follow cultural concepts and transform them to fit the current era and sustain local identity within communities. Compared with evolution, community attachment as part of social sustainability has the same self-regulated mechanisms. The adaptation process can be achieved in different ways, but only few are truly sustainable.
To restore the sense of community and reconnect local people to their village at a deeper level, the participatory approach was tested. The process and tools well known from urban areas were applied in certain Slovak villages. As compared to participation in cities, in the rural environment, the process is more time-consuming. In theory, this should bring a result that lasts longer than that achieved by standard processes.
Methods proposed by us will have several outcomes like networking, open communication and, if successful, can be an inspiration for other villages and activists to adopt the approach. This time-demanding activity can help to support local people and show them how to coordinate themselves in the decision-making process. The bottom-up approach increases self-esteem and by place-making, small public intervention can help with communication with local municipalities. In this process, the designer acts as a facilitator of a multidisciplinary innovation project and must use own creativity to handle many challenges.
</abstract>

Participatory Design as a Tool for Sustainable Regional Development

<abstract>
<title style='display:none'>Abstract</title>
Under the pressure from investors, Slovakia has experienced significant urban sprawl into the countryside in the last three decades. This development resulted in the loss of agricultural land, despite the fact that towns and cities in the built-up area have great potential in the vacant land lots. It is crucial to identify the lost spaces and incorporate them in the regeneration of urban structure and green infrastructure of Slovak towns and cities. The paper presents the results of the case study of lost spaces in Slovak towns that aimed to confirm the hypotheses: <italic>“Can the intensification on lost spaces within the build-up area be a better alternative than the current urban sprawl into the countryside?”</italic> and <italic>“Is it true that most lost spaces are located in the centre of towns?”</italic> The research focuses on examining the lost spaces suitable for new development and the spatial potential of the built-up urban area in three towns – Humenné, Levice, and Topoľčany. The lost spaces examined in this study are: urban fallows, vacant lots, residential green space, green space connected to public amenities and green space connected to industrial zones. The study aims to determine the area of lost spaces compared to development sites in the suburbs and to confirm the hypothesis that the intensification of urban structure is a viable alternative to the urban sprawl into the countryside. The conclusion inferred from the research has brought interesting findings and useful information for further investigation. It is crucial to find the optimum ratio between the intensification of urban structure on the land of lost spaces and leaving some space free to become a part of the blue-green infrastructure of a town, which is specific to each city. The objective of the paper is to draw attention to the potential of lost spaces as prospective areas for intensification of the urban structure of Slovak towns.
</abstract>

Spatial Potential of Middle-Sized Towns in Slovakia: Lost Spaces of Humenné, Levice and Topoľčany

<abstract>
<title style='display:none'>Abstract</title>
Innovative technologies help automate the work of the designer. A 3D model of the building can be used to calculate the required values. This will also allow you to create associative sections that, when changing the geometry of the 3D model, automatically adjust the drawn elements on the resulting 2D drawing. Information technologies enable participants from all over the world to work on one project and, thanks to the BIM (building information modelling) method, to design buildings during their life cycle more efficiently. At present, critical studies are published on interoper-ability in BIM and its lack of coordination or amount of information that is misinterpreted, etc. However, working in BIM is the most effective way to use computer technology to design buildings. There is a lot of information about the building in the 3D model itself, which can also be used for purposes other than construction (building management, reconstruction). But how to process a large amount of information in a 3D model? Many buildings already have their 3D models shared on cloud platforms, these contain information that could help, for example, find solutions for green construction using artificial intelligence (AI). We meet with AI every day. It supports internet search engines, predicts auto-completion words as you type. AI can also be found in architecture – not only as visions at exhibitions, but also in research on process optimization in BIM.
</abstract>

Use of Artificial Intelligence in the Field of Sustainable Architecture: Current Knowledge

<abstract>
<title style='display:none'>Abstract</title>
Several scientific studies confirm that the colors, structures or materials used in the physical environment of interiors affect the human psyche. Wood, as a material applied in the interior spaces of buildings, is an attractor that, in addition to its static and structural properties with high environmental responsibility, also brings other benefits to users. It has a much greater impact on the society than we might think. The topic of applying sustainable materials and transforming them into newly-built, valuable and cultural architecture is currently also popular in connection with the new initiative the New European Bauhaus. The initiative has ambitions to use the existing national and international legislative frameworks, and to set sustainability rules with an interest in aesthetics and the involvement of communities in the creation of new living spaces. This paper aims to expand current scientific knowledge about the positive influence of wood material and its impact on educational processes in the architectural environment of kindergartens. Selected analyses and comparisons made it possible to assess whether the presence of wood material can positively affect the well-being of children in the physical environment of kindergartens. The article presents the results regarding children’s sensory perception, the feeling of safety, the feeling of a peaceful atmosphere. It aims to prove that interiors with exposed wood can improve the quality of teaching, can support social interaction and playful learning of children. The wood material is characterized in the presented author’s research as an interior, visible, massive material. Its design is authentic, with or without fine surface treatment, which does not degrade its visual-haptic-olfactory qualities. The study examines, analyzes and compares the architecture of kindergarten interiors in Slovenia. It interprets the results of practical research from the locations of Loče, Poljčane, Šoštanj, Polzela and Škofja Loka.
</abstract>

The positive impact of wooden material on educational processes in the environment of Slovenian wooden kindergartens

<abstract>
<title style='display:none'>Abstract</title>
Temporary architecture is a way to produce an instant experience. It concentrates on a specific location and develops unique tactics to activate it. It adapts to the site, which is often abandoned and backward. Temporary use focuses on a single purpose and its influence at a given moment. It reflects the current economic state and situation in adjacent neighbourhood and community. It aims at becoming a catalyst for a permanent change. Empty buildings represent a valuable resource for urban development of an area. They belong to the category of areas suitable for reconstruction. Their activation contributes to the recycling of areas within the urban structure increasing the efficiency of land use and contributing to the sustainable development of the territory. A removal of abandoned buildings from a functioning urban organism has a negative impact on the integrity of the urban structure.
Archipop is the author’s newly established database focusing on the topic of temporariness in architecture. Its aim is to map successful activations of abandoned buildings by the means of temporary interventions in Europe. Archipop deals with the subject of ‘pop–up’ in architecture. Its prime objective is to attract a target group of users over the shortest period of time possible by exclusivity of a presented activity, concentrating on temporary uses located in abandoned buildings in Europe. It examines successful projects of activation of unused objects by using temporary activity profile. Targeting at interested public, potential investors, and last but not least government and municipalities, Archipop was created to provide inspiration and opportunities of temporary use. Its ambition is to promote revitalisation of unused areas with the use of temporary architecture and to save historic heritage from its terminal destruction.
</abstract>

Temporary use of abandoned buildings

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Architecture Papers of the Faculty of Architecture and Design STU

 Architecture Papers of the Faculty of Architecture and Design STU is a peer-reviewed, diamond open-access journal dedicated to the research fields of the Faculty (architecture, urbanism, design,...

MNiSW

 Architecture Papers of the Faculty of Architecture and Design STU is a peer-reviewed, diamond open-access journal dedicated to the research fields of the...