World Wide Web Conference 1

World Wide Web Conference 1 (Photo credit: Wikipedia)

Ägypten, Sakkara, Stufenpyramide

Ägypten, Sakkara, Stufenpyramide (Photo credit: Wikipedia)

• The growth of the World Wide Web has led to a new profession–that of the Information Architect. These specialists aim to build Web sites that are more clearly understood and more easily navigated by human users.
• While this metaphor seems to be providing a valuable model for building better Web sites, what are the elements mapped by this metaphor from the domain of architecture to the domain of Web design?
• Specifically, do we really communicate through architecture?
• And if we do communicate through architecture, what is the nature of that communication?
• There are a number of possible communication theories that can shed light on the nature of communication through architecture.

However, I believe these are inadequate to capture the complete nature of architecture. I believe that our understanding of architecture is itself a metaphorical understanding, and it would be most fruitful if we recognized it as such.

Constructivism and Gestalt


Piano (Photo credit: me5otron)

Constructivism was initially the architectural equivalent of expressionism in art and a symptom of the new found love affair with expressing the innermost qualities of human psychology. The early constructionist works – putting their obsession with technology aside – were breaking down the boundary between art and life – or more accurately the boundary between art and certain aspects of human physiology and psychology. The physiological aspects – with the ‘skeletons’ and ‘vessels’ of buildings exposed – would ultimately influence the externalised frame and pipework of Piano and Rodger’s Pompidou Centre in Paris.
However, the psychological aspects, in terms of representation and effect were equally important. Gestalt psychology was founded in Germany in the 1910s and its influence extended across Europe, including Russia. Arguing originally against the structuralists (who took the position that phenomena could be pared down to


Psychology (Photo credit: 田村)

certain primitive perceptual elements) the Gestaltists maintained that psychological phenomena could only be understood if considered as organised wholes, or Gestalten

the out side world to study art

Wenceslas Hollar – Say and Sele (Photo credit: Wikipedia)

•The Modernization of Ethiopian Art is…

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the out side world to study art

Wenceslas Hollar - Say and Sele

Wenceslas Hollar – Say and Sele (Photo credit: Wikipedia)

The Modernization of Ethiopian Art is not totally with the influence of the out side world but it was a kind of integrated. It is the gradual integration of the ancient teaching methods with that of the newly introduced teachings of the out side world (with students sent to the out side world to study art).

At historical context. Sele, which means “art,” has a long history in the country. Thus anybody wanting to do Sele required an art education of some kind.

An art education had existed in the nation for several centuries; the church school system prepared scholars, known as Arat-Ayna (Four-Eyed Ones) who were also artists. Considered as scholars and as masters of the arts of traditional instruction and scholarship.

The concept of modernizing Ethiopian art education was born as part of the overall modernizing of Ethiopia, which began during the second part of the 19th century. This was a period that saw the beginnings of unification, military reform, the birth of fairly well developed literary Amharic, and the establishment of schools

we set the clock of the modernization of art education in 1887. This was when the church trained artists; self-taught artists from all around the nation were lured to Entoto

Atse Menelik decided to send Afewerk Gebre Yesus to study art in Europe
In less than a quarter of a century, the art modernization movement shifted from its center in Entoto to Addis Ababa in part and to its primary center in Arat Kilo.
In the 1940s, the modern art movement began to bloom with the works of Ethiopian artists like, first with Abebe Wolde Giorgis, Agegnehu Engeda a Zerihun Dominique, and then.
In the 1960s a new trend in art occupied the minds of Ethiopian artist. Like Ale Felege Selam, Skunder Bogossian, Gebrekirstos desta, Maitre Artist Afework Tekele  and others lead the trend and introduced new modern forms of visual creativity into Ethiopian art.
Ethiopian art in the mid 1980s reflected the composition of Ethiopian life more than a decade into the 1974 revolution: what is modern in it derived for better or worse from the ideas and inventions of both eastern and western Europe. What is Ethiopian in it adhered to a traditional be designed by political and economic realities.
After the revolution of 1974, international socialist realism of officially displaced the remnants of modernism that had begun to influence the painting of student at the fine arts school in A.A in the 1960s

Some of the influential artists for the modernization of Ethiopian art are