The nature of 3D ability is deeply considered, but little is known about students’ learning and understandings of technology and about the meaning to become more technologically capable. We considered the spatial intelligence of first-grade engineering students, how much that improved to the effect of 18 times 45 minutes course of computer-aided 3D modeling. We consider the success of our 3D course in spatial intelligence. According to the result of the tests, one-third of the engineer candidates has good spatial intelligence. We introduce some useful problems in 3D education; the presented problems help the students in learning how to solve technology problems, and how to design objects. We offer the intellectual pleasure of problem solving through 3D problems. Our CAD course excellently improves the spatial skills of the middle third of the students. Computer-aided 3D modeling also bridges the gap for students with worse spatial ability. Dealing with students in a more differentiated way about CAD modeling would be advisable.
As a product of native masters of the vernacular and the accumulation of thousands of years of tradition, local architecture embodies the physical and sociocultural characteristics of the environment of which it is a part. This is an indigenous architecture that displays the character of multiple and unknown local contributors and openly reflects the traditions, culture, experience and customs of the people it serves. Vernacular architecture differs according to the physical conditions of each region, becoming an expression of the culture of that area. Underlying it is the ancient wisdom, experience, skills and mastery that is transferred from generation to generation. The vernacular in architecture is the direct and unconscious translation of a society’s culture into physical substance within the framework of specified needs. It draws from tradition and with time, provides a social and cultural documentation that is passed on from one generation to the next. The aim of the study is to examine the residential works of the self-taught architect Nail Çakırhan, one of the most adamant defenders of vernacular architecture in Turkey and a recipient of the Aga Khan award in 1983, in the context of the house he built for himself using the local architectural materials of the region of Ula, where he was born, and the residential buildings he created in Akyaka, in an attempt to analyze Çakırhan’s contemporary interpretation of local architecture.
Ernő Foerk and Gyula Sándy made common plans for several competitions. This study intends to show their successful cooperation as well as some of their realized buildings and awarded plans. The buildings and plans are shortly described and analyzed from the aspect of style. At the end of the study all of their common works are listed chronologically.
Tüköry Mansion in Dioš (Diósszentpál), Croatia, was designed by architects Ernő Foerk and Gyula Sándy in 1904. It is situated near the Central Slavonian town of Končanica and in close proximity of Daruvar, on an estate that belonged to Tüköry family. The late-historicist country house was commissioned by Paula von Falkenberg, a widow of Alajos Tüköry de Algyest, as a permanent residence for her and her three children. It was built in the eclectic late-historicist style of fin-de-siècle Hungary, highly inspired by the late-mediaeval art and architecture of northern Italy. Those stylistic influences were strongly manifested in the architectural design of the mansion, but even more its great hall, the focal point of its layout, designed in 1904–05. Based on both archival and terrain research, this paper aims to determine the main factors of cultural and architectural identity of the mansion by elucidating its history and stylistic genealogy.
The restoration of the Baroque cathedral of Kalocsa was led by Ernő Foerk between 1907 and 1912. During these years the facades of the church were renewed, a Neo-Baroque ambulatory was added, and excavations were carried out within the sanctuary and in front of the south facade. Based on these excavations, Ernő Foerk published theoretical reconstructions of the first and second medieval cathedrals and criticised the results of the previous research, conducted by Imre Henszlmann. Foerk, being also a scholar of the history of architecture, based his results on analogies. This paper intends to point out the elements which are outdated in the reconstruction of Foerk and his methodology that is still relevant.
The article reviews Ernő Foerk’s career through the perspective of his sacred buildings. Ernő Foerk’s oeuvre accounts for a significant proportion of these works. Most of his accomplished churches were made in a Historicist style with a Latin-cross-shaped plan and facade tower. His designs which remained on paper, however, show a more diverse picture from both spatial and stylistic aspect. A number of plans were marked together with Gyula Petrovácz, however, we should presume Foerk had a more significant role in the artistic formation. In addition to the general historicist language, his works also had unique stylistic features, which were mainly related to the design of towers’ proportions, windows, pediments and spires, and to the use of bricks in facade design.
After the flood has demolished the largest part of Szeged the citizens decided to build a Votive church dedicated to Virgin Mary as a symbol of Hungarian national identit. After the opening design tender finally Ernő Foerk was assigned as architect to design the new church. During the years numerous events stucked the construction like from the question of the designer person, the breaking out of the World War I. till the finding of a medieval tower inside the walls of the former church. We can have a deeper glimpse into the details of the story of the architecture due to Foerk’s diary is held in the Hungarian Museum of Architecture.