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Traditional Korean buildings do not differ significantly in form or structural style according to era or building type. The authors interpret this from a generative rather than a typological perspective. The generation perspective considers factors forming the buildings and is connected to the prevailing thoughts of the era.

This study analyzes the generation method of seowon facilities in the Joseon Dynasty (1392–1897), focusing on the Dosan Seowon. Based on Koreans' long-term thinking, the authors applied the extracted architectural space generation layers for analysis, and present an integrated method of generation layers when the Dosan Seowon was built.

The immanent, physical and body perceptual layers presented for seowon formation analysis are represented by thought, form and territory. Specific aspects of these layers in the Dosan Seowon are analyzed, including the architectural arrangement that connects the land conditions with neo-Confucian courtesy and order, the collective architectural form considering the energy of yin and yang, and the elements of objects that affect the human body perception. This form of architecture was closely linked with and strongly influenced by monistic philosophy.

After the Korean War, architects judged traditional buildings only by shapes, and quickly accepted Western architecture's forms. Presenting a generative perspective of traditional Korean architecture expands the theoretical research direction of modern succession.

This is the first attempt to examine the generation method based on the Dosan Seowon's generation layers.

The traditional courtyard shophouses modifications, alterations and deterioration over the years have become a source of concern to major stakeholders. In George Town World Heritage Site Malaysia, studies have shown that the worst hit among its various shophouses are the Straits Chinese traditional courtyard eclectic style shophouses. This paper investigates the traditional courtyard shophouses concerning the role of architectural formation design components, and how this can sustain the place identity of the Straits Chinese typology.

The methodological approach regards the collection of data and analysis of 30 face-to-face interviews and the observation of Lots number 3, 5 and 7, located along Lorong Ikan, George Town World Heritage Site.

It was found that these Lots express the place identity of the Straits Chinese, and its major exterior architecture components to be observed are the column head (Chi Tou) capital, parapet wall, bressummer beam and ionic column, and gable and gable ends.

This paper is limited to the role of architectural formation design components. Future research is needed to expand the scope of participant elements via a quantitative approach. This will enhance the validation of findings from this paper.

It is recommended the use of the proposed checklist to enhance the sustainability of the architectural components regarding the place identity of these styles of shophouses, which provides salutary lessons on how to preserve the heritage buildings. Also, major stakeholders with leading evidence from relevant government agencies should ensure the preservation of these cultural and heritage buildings for the next generation.

This paper found that the family beliefs and social impact were the components that express the place identity of the Straits Chinese.

This paper demonstrates that the role of architectural formation design components regarding place identity of Straits Chinese traditional courtyard eclectic style shophouses cannot be over-emphasised.

The purpose of this paper is to examine the involvement of the concept of city identity in the design process of urban densification and outline how can today's urban projects be able to reinforce the delicate balance between conservation, development management and sustainability objectives.

Based on case study approach, this paper focus on “Park Mall and Four Point Hotel” project, located in the historic city centre of Setif (Algeria) and takes the procedure of designing as its conceptual framework. Following this, it explores genesis document of the project and assesses architect's choices attributed to six elements of architectural language. These elements are apprehended regarding their relevance, which depends on whether the new building is or not compatible/integrated with the existing environment, and how far does it reinvent the modern vision.

The paper provides empirical insight about how the concept of identity is used during the design process of densification project. It argues that this latter consists on a dynamic process shaped by cultural, socioeconomic and institutional specificities applying local/global design precedents, multifunctionality concept and novel features in a tourism-oriented mindset and to still maintain and improve the specific identity of the city centre, thus becoming an active way to reconcile conservation, sustainability and development management objectives.

This paper raises discussion on how the concept of city identity could renew the field of heritage conservation and development management. Therefore, it fulfils an identified need to study how can urban projects reconcile conservation, development management and sustainability objectives.

Analysis of architectural space is commonly conducted by examining architectural drawings that project spatial information by means of walls and partitions. To capture the lived experience of space, which is richer than what we can see from drawings, a new method is proposed to quantify the cognitive dimension of space and re-present it as an audible format.

Using an urban vernacular house in Seoul as a case study, this research takes a syntactic approach to quantify one's changing perception through their movement from the main gate to the most private reception room. Based on Luigi Moretti's theory of hollow space, a new method is proposed to measure the level of spatial pressure exerted on a navigating body. The numerical data of spatial pressure are then converted to a sound using musical techniques of the chromatic scale and chorale textures.

Building on Moretti's abstract concept, it has been shown that a rule-based quantification of users' spatial perception is possible. In addition, unlike conventional approaches of treating architecture as a static entity, this study showed an alternative approach to represent it as a sequence of sensorial experience that can be readily converted to a sound of music.

This research developed a quantification method to measure the perception of pressure inside buildings by revisiting Luigi Moretti's theory proposed in 1952. It has been also demonstrated that the visual stimuli in space can be translated into an audible experience. This new method is applicable to a wide range of buildings including important historic architecture.

This paper aims to shed light on adaptive reuse in traditional architecture (TA) in Erbil, Iraq.

An inductive approach and qualitative method were used in this study. The inductive research approach was used because there was no clear image of adaptive reuse in traditional cafés (TCs) in Erbil. Besides, there are no studies of TCs in Erbil particularly. Thus, there is a lack of knowledge about what adaptations took place in TCs in Erbil. The qualitative method extracted themes and issues from case studies of four TCs in Erbil citadel's buffer zone. This included a physical survey and observation of the TCs in Erbil and 18 semi-structured interviews with the owners, servers and visitors.

The analysis shows the flexibility of the TCs in Erbil as a face of adaptive re-use (AR) which is explained through the capacity linked to space modifications, the addition of modern devices, the function linked to space modifications, service addition, the condition linked to space modifications and the addition of modern devices. Also, TCs in Erbil has a spatial identity and architectural value that proves it is worthy enough to be preserved through unique spirituality linked to preserving the place.

The findings are limited to the cases of TCs in mountain regain and may not be applicable or appropriate to other cafés in other different countries.

There are three aspects of authenticity in the current research. Firstly, the TCs in Erbil have not been studied before. Secondly, TCs that have been discovered have made AR of themselves whilst maintaining their original function-serving beverages, to stimulate creativity. Thirdly, most of the studies of AR have dealt with historical and heritage architecture, whilst the current research paper is dealing with TA.

This study is about the expression of sketches in Steven Holl's architectural works. Holl shares his architectural ideas as watercolors with his staff, and he has established an original notational expression for the design process. This study investigates the elements of sketches as a notation method and examines the timeline changes.

Classification will be conducted using KJ method (Kawakita Jiro method), a method for organizing information developed by the Japanese cultural anthropologist Kawakita Jiro. Using the KJ method, this study compiled a list as a table about the pictures, letters, etc. in the sketches and grouped them together in the same attributes. The attributes that were grouped together were identified as elements of the sketches.

As a result, in the early 1970s, Holl used only line drawings for sketches, but since the 1980s, watercolor sketches have been increasingly used. Extracting the elements of sketches, it can divide them into drawing and describing expressions and classify them into three main types of pictorial expressions: Overview, Plan and Concept.

This study has shown that the closer the sketches were to the present, the more they combined elements of a more complex sketch with letters and symbols as well as pictorial expressions. This is the first study to investigate about sketch representations established as notations by Steven Holl. This study identified the elements that make the architectural concept visible through sketches.

Fresh out of the two-century-old British legacy, Bangladesh, formerly known as East Pakistan from 1947 to 1971, was searching for a post-colonial architectural style. Colonial architecture in the region in general often imposed imported European elements, ignoring the preceding legacies of the Sultanate and the Mughals. The critical challenge was to find a balance between the prevailing high modernism in architecture and the local vernacular and climatic forces. The Pakistani government invited international architects to fill the gap left by a non-existent local architectural industry. Unfortunately, their work has rarely been properly analyzed. With selected case studies, this paper analyzes their work in an attempt to explore their contribution to creating a national architectural identity.

This study uses a case study approach with selected architectural projects from the period. It uses research tools such as systematic analysis of drawings, volumes and photographs and archival research.

The international architects took inspiration from the strong vernacular and climatic forces of the region. The resultant expressions of the two-decade-long search in their combined body of work are some of the finest examples of vernacular and climate-responsive architecture in the region. They transcended the regular international style and became context-specific and unique. The quest for East Pakistan's post-colonial architectural identity was partially met by the newly found identity through vernacular and climate-responsive adaptation in architecture.

This study explores how a unified vernacular and climate-responsive adaptations potentially shaped the post-colonial architectural identity of the region. No prior study exists on this issue for the time period.

The goal of the study is to underline “Cinematic Architecture” as another source of architectural thinking and research. This study is also a response to the shortage in empirical research on architecture in the cinema. Moreover, the study introduces the architectural components that qualify the cinematic spaces to be influential cinematic experience. This is in addition to investigating the impact of these components on the viewers' cognitive and emotional experience of films.

In the reported study, an empirical experiment examined scenes from three different movies as experienced by a selected group of audience of movies fans (architects and laypersons). The audience was asked to report feelings the audience had about each scene using a questionnaire that was designed for this purpose, and the audience was asked to write down the aspects that affected the audience's emotions. The experiment evaluated selected emotional states and could specify the architectural features and/or objects that significantly contributed in inducing these emotions.

This study's findings concluded that emotions, which exist in the positive margin of the emotions “circumplex model,” were influenced by architectural components that were different from those that influenced emotions which lie in the negative margin of the model.

As for filmmakers, the study contributes in developing filmmakers' knowledge about the role of architecture in scenic creation and thus how that knowledge enhances filmmakers' film narrative and the narrative's spatial imagery. As for academia, this study contributes in developing the knowledge about film cognition as related to architectural semiotics. In the context of behavioral approach to architectural design, a behavior setting which is the basic element in environmental design can be dramatized by applying a cinematic narrative to a human activity system within a milieu of architectural design elements.

This study is important for architects, as the study provides architects with an alternative tool for fictional experience and for testing architectural ideas through cinematic architecture. This study also helps in developing new venues for the practice of architecture into the world of fiction. This study also contributes in developing the trend that architectural design thinking can learn from cinematic thinking and practice.

This study introduces an empirical approach to evaluate architectural entities as part of cinematic experience. This study also comes as a response to the shortage in empirical research on architecture in the cinema.

The purpose of the study is to provide a dataset about geometrical constructions of early Ottoman tombs for conservation studies. Thus, a proposal for the restitution phase of the damaged tombs aims to develop.

The study is composed of four phases. First, the representative plan and section drawings of early Ottoman Tombs were redrawn; second, a geometrical analysis was made, a proposal table was prepared for the restitution of the damaged tombs; and last, this table was applied to tomb examples and restitution drawings are verified with the original situation of the tombs.

Early Ottoman tombs may be interpreted through geometric shapes, including the square, circle, triangle, octagon, arsin grid and quadrature systems. The arsin grid system provides information about the position of the domes and the height of the drums and windows. Quadrature establishes the highest point of domes and entrances. The proposal table, developed from the obtained results, facilitated the identification of the original elements, including the dome, drum, window and portal. This information is crucial for conducting further studies on restitution.

The abundance and dispersed nature of tomb structures compared to other architectural designs pose challenges in their scholarly examination. The early Ottoman tombs, which experienced an increase in numbers following the Conquest of Istanbul, serve as the initial expressions and embodiments of novel architectural endeavors. Thus, the determination of design ideas of the early Ottoman tombs sheds light on Ottoman architectural practice, which has remained largely unknown and guided the conservation studies of the tombs that have lost their integrity and originality.

This paper aims at discovering the traditional techniques of Persian architecture for covering large-span spaces with a kind of ribbed vault titled “Karbandi”. This structure is generated by intersecting several arches with a harmonic stellar geometry. Preliminary studies show that span factor affects the structural form of karbandi and large-span cases, despite similar architectural forms, have different structural systems and specific construction methods. The main focus of this paper is how karbandi has been designed and built on large-spans. To answer this question, the configuration and construction of a large-span karbandi in Tabriz Bazaar were recognized.

Data collection of the research was initially done in three parallel directions through the archival study of restoration documents, direct observation of the corpus of the vaultings and interviews with the master mason of the Haj-Mohammad-Qoli Timche restoration team. Then by cross-referencing the gathered data, the construction process of the karbandi was simulated in Rhino 6 and Grasshoppers software and its BIM-M models were created in three levels of development: LOD300, LOD350 and LOD400. In the next step, the preliminary BIM-M models of the karbandi were presented to the interviewed mason and revised and completed based on his comments.

Analyzing the BIM models by reverse engineering, resulted in (1) Discovering a unique self-supporting masonry construction method applied for the erection of karbandi vaulting on large-spans. (2) Finding the effect of scale factor on the architectural and structural form of the karbandi vault. (3) Discovering the connection types of the karbandi vault based on the construction details.

Despite the wide applications of karbandi vaults throughout history, very little information of their construction techniques is available. The techniques have mostly been experientially and orally passed down from masters to apprentices and rarely been documented. The quest to design and construct a karbandi vault is therefore like solving a puzzle whose most important guide is historical cases. Due to the geometric complexity of karbandi and its ability to cover large-span spaces, solving the puzzle can lead to achieving some technical ideas for masonry cross-ribbed vaulting. A great riddle of the karbandi vaults is how to design and build them on a large span.