One of the objectives of the redevelopment project for Trajan's Market, which spanned from 2000 to 2002, was to rearrange the market's accessibility and the visiting paths that connect and cross the entire site. The purpose was to extensively expose its beauty and thus invite more tourists into the area. The project design consisted of a series of catwalks placed at different levels and was conceived with respect to three criteria: (1) the didactic significance of forms and materials; (2) the coherence between architectural forms, techniques, and materials with the identity of the place; and (3) the possibility of removing, if necessary, newly added elements without damaging the relics. The project also involved the rearrangement and reconstruction of the former “Giardino delle Milizie” (2002–2007) to allow public access to the archaeological stratification and to the ancient Roman street located at its bottom. Consequently, the vaults of the convent were suspended upon a system of steel beams, which, together with several wooden pillars, also support the glass roof of the space, offering a close view of the ancient Roman walls. The structure and architectural forms coincide, implying that each of these elements is necessary and genuine.

Palazzo Valentini, a historical site of Rome's Provincial Administration, is located at the heart of the city. The building was purchased in 1827 by Vincenzo Valentini, a banker and consul general of the Prussian Crown. In 1939, with the outbreak of World War II, a fully self-contained, air-raid shelter was built under the courtyard, with an exit tunnel heading onto the Trajan's Forum. Archaeological investigations started in 2005 in view of a simple rehabilitation work of the underground level. As work progressed, the sample-plots brought to light new archaeological findings: relics of a huge temple and what remained of two residential houses with thermal baths. We therefore designed an exhibition space with glass surfaces to allow visitors to appreciate the findings while following a path through historical ages: from the 16th-century courtyard to the underground Roman domus (the sumptuous houses of senators and dignitaries of the Roman Empire), with private baths, to the remains of a Roman temple, and all the way to the Trajan's Column pedestal by way of the air-raid shelter. Virtual reconstructions, graphic effects, and movies are the means used to revive the hypothetical original appearance of the environments and the daily life of that epoch in order to help us build a prototype of an on-site museum of the third millennium.

Restoration and redevelopment are difficult when traces of things that require preservation have been minimized. Such operations are even more complex whenever a portion of an ancient city is involved. This essay describes the redevelopment project of the historic center of Wuhu through the different themes raised during the drafting of the project: from the cultural opportunity of a wide reconstruction work, to the definition of the main design strategies, and the question of memory and identity.

The results show that the field of intervention in this project is broader than that of most restoration projects, that is, an evolving city center, which is impossible to consider with traditional restoration parameters or with pure conservation. The only possibility of intervention is on the city structure, which allows the city to develop itself continuously within a welldefined system of rules.

Commonly, in the evaluation of the optical appearance of glass panes in building envelopes, anisotropies are a reason for a dispute between the architect or client and the fa?ade manufacturer. Sometimes each party has a different perception, how strong the anisotropies are and what is permissible.

This paper discusses in the first part the formation of the anisotropies and their natural sources. It is shown that the appearance of this phenomenon is dependent on the environmental conditions of the building site as well as the glass quality. If the application of thermally tempered glass cannot be avoided, the quality assurance of the production process has to be carefully planned.

Furthermore a method for the quantitative measurement of anisotropies is proposed and prescribed in detail. This method can assist in the quality assurance process. Measurements are showing that probably the best tempered glass offers slight anisotropies and that under unfavorable conditions these anisotropies can become evident.

This study explores architectural design by examining air, fluid mechanics, and the natural ventilation of buildings. In this context, this research introduces a new way of dealing with the process of architectural synthesis. The proposed way can be used either to create new architectural projects or to rethink existing ones. This study is supported by previous investigation into the natural ventilation of buildings via computational and laboratory simulation (Stavridou, 2011; Stavridou and Prinos, 2013). The investigation into the natural ventilation of buildings provides information and data that affect architectural design through various parameters. The parameters of architectural synthesis that are influenced and discussed in this paper are the following: (i) inspiration and analogical transfer, (ii) initial conception of the main idea using computational fluid dynamics (digital design), (iii) development of the main idea through an investigatory process toward building form optimization, and (iv) form configuration, shape investigation, and other morphogenetic prospects. This study illustrates the effect of natural ventilation research on architectural design and thus produces a new approach to the architectural design process. This approach leads to an innovative kind of architecture called “breathing architecture.”

The three contemporary Chinese architects, namely Yung Ho Chang, Liu Jiakun, and Wang Shu, have often been labeled as the ‘avant-garde’ or xianfengarchitects in China. In response to the xianfeng architect label, Wang claims that he is a houfeng(rear-guard) architect because of his obsession with traditions. This paper aims to discuss the appropriateness of labeling these architects as ‘avant-garde,’ xianfeng, or houfeng. Through the theoretical analysis of western discourse, notable attributes of the western architectural avant-garde are identified, and a tentative framework is developed to test its validity and usefulness in a non-western context. The term youfeng is arguably a better phrase to describe these three Chinese architects considering the heterogeneous trajectory of modernity in China.

The integration of responsive components in architecture offers the potential to enhance the experience of the building by giving expression to fleeting, changeable aspects of the environment. Responsive buildings enable a physical response to changes in the environment through specific building elements; in rare cases these responsive elements become an integral and poetic element of a culturally significant work of architecture. In this paper I examine two types of responsiveness, one which concerns the changing environment and another the activities and needs of the building's inhabitants. I look at two examples of buildings that illustrate a potential poetic role for architectural components responding to these two types of change, and propose that architects will need to acquire experience with designing for specific rates, scales and types of change before responsive elements will more frequently appear as a poetic and integral part of the building.