2024-09-14_skvk6gwpxv8

### Armenian Architecture#9 (*0.598391652*) > In conjunction with the socialist classical style of architecture, socialist realism was the officially approved type of art in the Soviet Union. All material goods and means of production belonged to the community as a whole; this included the means of art production, which were also seen as powerful propaganda tools [16]. Architecture in the Soviet Union during the socialist period was associated with the socialist realism school of art and architecture. Function and form were the basic concepts of Modernist architecture. The corresponding concepts in socialist realism were "socialist content and national form". A building like a novel or a symphony had to be "socialist in content and national in form" [1, 49–50]. Abstract – The socialist realism principles, similar to other Eastern European countries, guided the construction and architecture in Albania from 1945 to 1990. the research done on various case studies of socialist architecture constructed in this period in Tirana tries to shed light on the topic of great interest nowadays regarding this style as part of Albanian heritage. The paper describes the history of socialist realism and the influence of the Albanian Communist Party on the development of the architecture during the socialist period. It demonstrates how the Albanian architecture development was radically changed by the socialist ideology and how this style was supported by the post-war architects. It is argued that the socialist realism style was predominant in the Albanian architecture of that period and this heritage needs to be preserved for next generations. Keywords – History of architecture, socialist realism, dictatorship, ideology, theories of socialism. Totalitarian regimes are characterized by attempts to control everyone and everything at any cost; by force and propaganda, they impose a single truth about the world and people. Lenin’s Bolshevik Revolution in 1917 was conducted in the name of socialism, and the proletarian state power passed under the control of the Communist Party. After the Second World War, the Union of Soviet Socialist Republics (USSR) carried out a powerful political and ideological invasion in many countries of Eastern Europe. Albania entered into the fold of the Soviet Union, "impatient" to pay tribute to Stalin. New elements of the communist ideology like socialist realism were introduced in all areas of culture and art. The control of the state was imposed over literature, music, visual arts and in the field of architecture and urban planning. ### Signs of a Totalitarian System in Architecture of Socialist Realism#0 (*0.589572191*) > Advanced Engineering Forum ISSN: 2234-991X, Vol. 12, pp 72-75 doi:10.4028/www.scientific.net/AEF..72 © 2014 The Author(s). Published by Trans Tech Publications Ltd, Switzerland. Signs of a Totalitarian System in Architecture of Socialist Realism WOLFOVÁ Marie, a, ŠEVČÍKOVÁ Hana, b, RYKALOVÁ Eva, c and FABIAN Radek, d * Faculty of Civil Engineering, VSB – Technical University of Ostrava, L. Podéště 1875, 708 33 Ostrava-Poruba, Czech Republic marie.wolfova@vsb.cz, hana.sevcikova@vsb.cz, eva.rykalova@vsb.cz, radek.fabian@vsb.cz Keywords: Architecture, propagation, ideology, totalitarian system, socialist realism. Abstract. The presented article deals generally with the use of architecture to the propagation of the ideas and the use of structure of space for propagation of power influences of one group at the expense of another group. The use of architecture to the propagation of ideology lies in the tendency to shape ideologically acceptable space. Space is shaped so the world should be seen in accordance to the ideology and not to the reality. Architectural styles are specific for certain communities that are separated by land, culture, and time. Morphology is associated in architecture with a certain cultural epoch. The article focuses on the use of architecture in propaganda of one totalitarian system - socialist realism, which is typical in the Czech cultural environment in 1948 – 1958. The architecture of socialist realism should promote sociability of people. The aim was to demonstrate the power of unity of collective and nothingness of human individuality. A few examples of basic elements and characters in the architecture of real socialism in Ostrava are mentioned in the conclusion of the article. ### Rasa Cepaitiene_In the shadow of moscow_the stalinist reconstruction of the capitals in the soviet republics#24 (*0.57527107*) > (Proletkult), a dynamic, active stream of proletarian culture, breaking norms and traditions, a movement of avant-garde, folk art, not regarding and rejecting the legacy of earlier eras. The architecture and arts of that time were also guided by avanguard, modernist concepts, in architecture the internationally well-evaluated constructivism won high positions. However, entrenched at the peak of political power around 1927– 1932, Joseph Stalin chose a completely different aesthetic program – the so-called socialist realism (Cooke 1993; Dobrenko 2007) –and forced Soviet architects and artists to reorient themselves to it rapidly. More traditional and coarser realism began to replace the experimental and modernist art of the times of the revolution from around 1927, entrenched in 1932 in the form of the method of socialist realism, which had become a mandatory doctrine for everyone. According to one of the most prominent researchers of this architectural style V. Papernyi the turn of the 1930s toward socialist realism in architecture and urbanism reflected the changing social organization in the direction of totalitarianism and marked the consolidation and hierarchy of political power (Papernyi 1996). In Soviet cities first of all there was an effort to implant a certain unified ideological scheme (Milerius 2008; Gill 2011), regardless of localized differences everywhere forming a coherent visual narrative. For this such subjects as Lenin, the October Revolution, "the leading role of the Party", "the government of the people", later – "Victory in the Great Patriotic War", etc. were deployed. Therefore, in public, especially representative spaces, monoperspective, one-dimensional, inflexible, value-united "knots of symbols", which had to hand over to the visitor or resident of the city simple, unambiguous ideological messages extracted with the help of well-thought-out visual, aesthetic, technical, discoursive and other means were reinforced. In the representative squares of the city the whole ideologically colored complex of objects and toponyms was used – the visual emphasis (public monument), names of streets, the surroundings of official buildings, etc.

### Political_architecture_and_relation_betw#30 (*0.534781396*) > Such building design, in its reduced form, was applied in most of the Nazi architecture in XIX and XX century, clearly stating the significance of the government and its ruler, their sublime rights, chosen by democracy or conquered by force. As a form of a pageantry, academic architecture was a spectacle, a monument, and this canon referred to the smaller buildings as well. Static forms and clear visual statements emphasized dominance of universal on individual, unity over imparity, experience over experiment, sublime over daily, absolute over relative, legal over revolutionary, institution over a unit, order over anarchy. Ideological and esthetic motifs in fascist Italy, Japan and SSSR are likewise good examples for such actions. 12Succeeding reform of architecture was launched by the representatives of Art-Nouveau and early functionalism, and influenced official administration edifices used for the authority‟s purposes. Connection between neo-classical, academic style, political representation of a building and the new modern approach had been made, marking the time of a mixture of transitional, heterogenic, semi academic and introductory modern style. The new tradition of monumentality with prominent totalitarian connotations in the countries where architecture was orchestrated by its politics was suppressing other designing styles, unlike in democratic countries, where the creations of new national styles wasn‟t restricted, and Art-Deco, modernism and international styles were simultaneously developing. 13 Influence on politics In one of his interviews, Lebbeus Woods mentions the influence building environment has on community. BLDGBLOG: There’s also the possibility that a building project, once complete, will change the society that built it. It’s the idea that a building could directly catalyse a transformation, so that the society that finishes building something is not the same society that set out to build it in the first place. The building changes them. WOODS: I think architecture should not just be something that follows up on events but be a leader of events. That’s what you’re saying: That by implementing an architectural action, you actually are making a transformation in the social fabric and in the political fabric. Architecture becomes an instigator; it becomes an initiator. The power of an idea, metamorphosed into architecture,the reminder of whatis and was, can act as a tool of control, intimidation, planting ideals into the general public and changing perceptions of their surroundings. ### architecture-power-and-national-identity#1534 (*0.529169738*) > The architecture of government buildings is political architecture. For the clients, it is often a matter of putting the best possible face on whatever exists, a wide means to serve narrow ends. Capitol complex design is inexorably a product of the political conditions prevailing at the time of the commission and during construction (though this hardly need be the only force affecting design). All buildings are politically engendered, but some buildings are arguably more political than others. Buildings that seem to be an important part of the public realm, such as capitols, should perhaps be judged by broader criteria than those which attend to narrowly private interests. Unlike a hotel, for example, parliament buildings are brought into being by forces closely related to the institution housed within. Capitol complexes are produced by ascendant groups who wish to give evidence of ascendant political institutions. Another dimension linking architectural and political design is the close identification between politicians and public works. The architect is not the only person whose reputation rides upon the outcome of a new capitol or new capital. Hitler’s Thousand Year Reich, in spite of its well-developed plans and models for a vast capitol complex with buildings of unprecedented scale, did not last long enough for most of its monuments to be built. Rulers in other places have tried to get an earlier start. They have worked hard to get their architectural visions of government built during their own political lifetimes. In the decades of postfascist backlash, the dreams of Hitler and Speer for a monumental new Berlin have been supplanted by equally audacious plans for modern capitals under political systems as diverse as those of Brazil, Hitler claimed to be rebuilding Berlin not to bolster his own rule, which he knew to be limited in time, but as an imposing backdrop for the führers of the future who might need this most solid form of support. While this future-orientation might well inspire any government leader contemplating the wholesale creation of a new capital (or even, as in Berlin, what amounted to a very large-scale capitol complex), there remains a remarkable degree of identification between the new capital and its government sponsor. Kubitschek and Brasília, Nehru and Chandigarh, Banda and Lilongwe, Nyerere and Dodoma, Mahathir and Putrajaya, Nazarbayev and Astana—the power pairings continue. ### architecture-power-and-national-identity#172 (*0.529133439*) > Hitler’s grandiose plans for a new monumental Berlin envisioned a reshaping of the capital’s center almost as dramatic as that caused by the destruction of the war, though in exactly the opposite extreme (1.10, 1.11). Albert Speer’s Berlin Plan, which provided a massive cross-axial ensemble of enormous buildings (some of which were sketched by Hitler himself), attempted not only to outdo the urban axes of power of earlier German rulers but to outscale every effort at architecture and urban design that the world had ever known. Speer termed its north-south axis "a Berlin Champs Élysées two and a half times the length of the original". This was to culminate in a Great Hall capable of accommodating a standing audience of 150, to 180, to listen to Hitler. Speer described it as "essentially a place of worship" and wished that "over the course of centuries, by traditions and venerability, it would acquire an importance similar to that St. Peter’s in Rome has for Catholic Christendom"; he noted elsewhere that the volume of St. Peter’s would fit inside his own grand dome sixteen times over. On one side of the square fronting the Great Hall, Speer sited Hitler’s multimillion-square-foot palace in which diplomats would have to hike half a mile in order to meet with the Führer. The proposed palace was no less than 150 times as large as the chancellor’s residence in Bismarck’s day. This monstrous display of power was also intended to overwhelm the dimensions of the Chancellery Speer had built for Hitler in 1937, which itself required visitors to Hitler’s office to traverse a gallery "twice as long as the Hall of Mirrors at Versailles". Curiously, the building opposite Hitler’s palace in this gargantuan capitol complex was to be the old Reichstag, though Speer assures us that it was included by "mere chance" and "in no way signified that Hitler meant the German parliament to play an important part in the exercise of power". Hitler’s Berlin: model of the north-south axis. Hitler’s Berlin: model of capitol complex.

### Artificial intelligences effects on design process creativity A study on used A.I. Text_to_Image in architecture Nervana Osama Hanafy#93 (*0.544197321*) > • Exterior Design: Finding a building’s style and mood in relation to its surroundings and terrain. This is effective in typical situations. • Interior design: Choosing a look or atmosphere for a room’s interior. This is also effective in many situations. • Texturing: Producing tiled designs to use as the surface materials for 2D or 3D models. Midjourney presently has no other features like this. Although Stable Diffusion appears to support fewer features than DALL-E, its fundamental benefit—the ability to run it locally and provide more training data to the model to expose it to new architectural concepts—cannot be understated. This makes Stable Diffusion the most effective of the three models to be specialized on architectural designs, in addition to the high quality of its outputs. We also looked into the practical applications of these AI art systems. As Midjourney is the sole system for which a large number of user inquiries are publicly visible, we examined around 40 million queries made by Midjourney users. Since the main interface of Midjourney is the messaging software Discord, we were able to keep an eye on the public channels for questions that we deemed to be of an architectural character. We chose searches using the terms "architect", "interior", "exterior" design, or one of 38 keywords related to architecture, such as "building", "facade", or "construction". By only choosing terms from architectural glossaries that appeared in the queries alongside "architect", "interior" or "exterior" at least 10 % of the time, we were able to identify these keywords. As we saw that numerous inquiries truly refer to the style of these architects, we also added the names of 941 illustrious architects from Wikipedia to the list of keywords. By using these filters, we were able to pinpoint 2.6 million searches (6.8 %) that may have had an architectural intention, including 1 million (2.6 %) that had the words "architect", "interior", or "exterior" design in them specifically. The following steps involve removing stop words from these searches and creating a WordVec model [31] to create a model of the Journal of Building Engineering 80 (2023) 107999 ### Foucault_Michel_Discipline_and_Punish_The_Birth_of_the_Prison_1977_1995#717 (*0.5412485*) > Bentham's Parupthon is the architectural 6gure of this composition. We know the principle on which it was based:at the periphery, an annular building; at the centre, a tower; this tower is pierced with wide windows that open onto the inner side of the ring; the peripheric building is divided into cells,eachof which extendsthe whole width of the building; they have two windows, one on the inside, corresponding to the windows of the tower; the other, on the outside, allows the light to cross the cell from one end to the other. All that is needed, then, is to place a supervisor in a central tower and to shut up in each cell a madman, a patient, a condemnedman, a worker or a schoolboy. By the effect of backlighting, one can observe from the tower, standing out precisely against the light, the small captive shadows in the cells of the periphery. They are like so many cages,so many small theatres,in which each actor is alone, perfectly individualized and constantly visible. The panoptic mechanismarrangesspatial unides that make it possible to seeconstantly and to recognize immediately. In short, it reversesthe principle of the dungeon; or rather of its three functions - to enclose,to deprive of light and to hide - it preservesonly the 6rst and eliminates the other two. Full lighting and the eye of a supervisor capture better than darkness,which ultimately protected. Visibility is a trap. ### THE ROLE OF POLITICAL POWER IN#10 (*0.540663183*) > Fig. 2. Ground floor plan. whole, the intervention reads more clearly as a figure intended for political effect. Here there is an expression of literal power. No higher ideal is manifest, nor is there a sense that it deals Wit major practical or political responsibilities. In contrast the palace accommodates a variety of existing conditions, presenting a complex image rather than n perfect form. Different facades relate to their localized concerns. While this renders the overall image of the building somewhat formally unclear, it also demonstrates an empathetic relation to its found circumstances. Not quite mimetic but almost, the faces of the palace negotiate very directly with both the reality and the potential of each neighboring aspect. Most famously, the facade directed outwards across the valley towards the road to Rome is pictorially conceived. Framed by two circular towers and housing special balconies, it is a place to see from and a thing to be seen, projecting a beacon of benign authority across the landscape. Yet it isn't the principle entry to the palace and indeed remains external in its impact, invisible within the city itself. Though recognizing the Renl' ' ~ssance fixation with glorious image, the building limits its expression to this single external instance. The entry to the palace occurs off a small piazza within the city, through an L shapedwingwhich seemingly deforms itself to the demands of the public space. Its image at this point is urbane and modest, though this is partly accidental. Constructed of the same brick as the surrounding town, the intent (begun but not completed) had been to clad the facade in white marble, classically articulated. Even in this more formal image, however, the building remains locally defined. Its entry does not project over the city but relates solely to the immediate piazza.

### THE ROLE OF POLITICAL POWER IN#44 (*0.648105085*) > This paper proposes not an avoidance of power but an approach which questions its responsibilit), rund expressive potenti:ll. Here architecture has a unique role. It displays the workings of authority within the city, revealing its operation. It may also, however, remind those in power of their responsibilities. A tr:~nsform;~tive strategy can be a correcti.e to pure power in itself, presenting moral lessons to the patrons and inhabitmts of a building in addition to its larger surrounding context. In this case architecture is no longer the transp:~renttool of authority but its foil, making use of the rerdities of the world in order to propose their improvement The Duc. Palace of Urbino demonstrates one example of how tlm is possible. ' Martines, PoiteraildO~zngiarioil(New York: Vintage Books. 1980), Chapters I 1 and 13. ? Mallett, Merceilnries n i ~ dTheir Masters: Wcirfwe ii, Reiiciissailce Imly (London: The Bodley Head, 1974). p. 195. The courtyard of the Ducal Palace of Urbino was described by Sir Kenneth Clark as one of the most humane spaces ever devised by man. In formal architectural terms i t is the court that solved the problem of the interior corner column. bringing an added stability to the space and becoming the model thereafter. Intarsia refers to a specific technique of wood inlay, used pictorially. A related idea of the totality of knowledge was expressed at a similar studiolo at the Ducal Palace at Gubbio, also owned by Federico da Montefeltro. In this case the decorative scheme depicted the Seven Liberal Arts, the codified and comprehensive image of knowledge operative at the period. ' Cheles, The Studiolo of Urbii~o:Ail Icoil~grnpl~ic 1111.estig~itio (University Park: The Pennsylvania State University Press, 1986).p. ### Architecture, Power and Parliament How do Buildings Shape Politics#8 (*0.644840181*) > This relegation of architecture and space to an unquestioned framework is the deepest linkage of built form to power. As Pierre Bourdieu puts it ‘The most successful ideological effects are those that have no words, and ask no more than complicitous silence’. 2 The more practices of power can be embedded in the framework of everyday life, the less questionable they become and the more effectively they can work. When we think of political power we generally refer to the power of the state over its citizens. Here we must make the key distinction between power to and power over. 3 The term ‘power’ derives from the Latin potere—‘to be able’, the capacity to achieve some end. Yet power in human affairs generally involves control ‘over’ others. This distinction between power to and power over, between power as capacity and as a relation, is fundamental. Power to is the original or ur-form of power, the capacity to act, empowerment. While less primary, power over is much more complex and incorporates a range of forms and practices such as force, coercion, manipulation, seduction and authority. These practices all have crucial connections to architecture and urbanism which I have explored elsewhere in relation to building types such as shopping malls, corporate towers, courthouses, housing enclaves and public space. 4 Authority/legitimacy ‘Authority’ is a form of power over that is integrated with the institutional structures of governance and which relies on an unquestioned recognition and compliance. It is the most pervasive, reliable, productive and stable form of power, but it rests upon a base of legitimation. 5 We recognise the authority of the state as legitimate only when it is seen to serve a larger public interest. The key linkage to architecture here is that authority becomes stabilised and legitimated through its symbols—the trappings of power. The nation state is not visible, it is what Ben Anderson calls an ‘imagined Pierre Bourdieu, Outline of a Theory of Practice, Cambridge UP, London, 1977, p. 188. Steven Lukes, Power: A Radical View, Macmillan, London, 1977. Kim Dovey, op. cit., 1999; Dovey, Becoming Places, Routledge, London, 2010. Hannah Arendt, ‘Communicative power’ in S. Lukes (ed), Power, Blackwell, Oxford, 1986, p. 65. ### Architecture Demonstrates Power#95 (*0.630692363*) > This spectacle is a very powerful part of the architecture of power because it overawes people. It provides a singular and unforgettable emotional charge, linked forever in the viewer’s mind with that particular site. The monument’s ability to influence people, to have an effect on them, makes that building powerful. Whether political power is described as the ability to create a desired effect or the ability to control a group, the monument embodies power. The creation of monumental architecture is a demonstration of leadership abilities, of the potential for political power. It proves the leader’s worthiness and greatness, his capacity for power. The act of construction was, through the mobilization and organization involved, an act of real power while the end product, as something greater than the sum of its parts and more moving in its magnificence than anything within the capabilities of an individual was both testament and realization of power. Monumental architecture embodies the leader’s ability to control and affect his followers. It both shows the group his actual power and demonstrates his worthiness and capacity to possess that power. Architecture is a sign pointing to a leader’s power. Contemporary Objections Contemporary western society does not put enough stock in everyday architecture to see any architectural statement as a demonstration of power. Buildings may demonstrate access to impressive resources, but they are usually not tied to manipulation of people’s worldviews and grand assertions of power. If the argument that architecture is tied to power is inapplicable to contemporary society, how useful is it? Though Wilson’s argument is fairly convincing in the context of domestic society, which he portrays as an evolutionary Wilson, The Domestication of the Human Species, 132-133 Referring to theories by Bertrand Russell and Hannah Arendt (Wilson, 117-118) Wilson, The Domestication of the Human Species, 148 Wilson, The Domestication of the Human Species, 126 step, even he believes that "the widespread recurrence of symbolic patterns to be found in constructions and layouts… is something particular to the epoch of domesticated culture, something of little moment to hunter/gathers or to urban industrial cultures". He also states that industrial societies think of power in terms of "destructive force", and that any sort of power "can now be measured in terms of equivalents of so many megaton blasts".

### THE ROLE OF POLITICAL POWER IN#44 (*0.648105085*) > This paper proposes not an avoidance of power but an approach which questions its responsibilit), rund expressive potenti:ll. Here architecture has a unique role. It displays the workings of authority within the city, revealing its operation. It may also, however, remind those in power of their responsibilities. A tr:~nsform;~tive strategy can be a correcti.e to pure power in itself, presenting moral lessons to the patrons and inhabitmts of a building in addition to its larger surrounding context. In this case architecture is no longer the transp:~renttool of authority but its foil, making use of the rerdities of the world in order to propose their improvement The Duc. Palace of Urbino demonstrates one example of how tlm is possible. ' Martines, PoiteraildO~zngiarioil(New York: Vintage Books. 1980), Chapters I 1 and 13. ? Mallett, Merceilnries n i ~ dTheir Masters: Wcirfwe ii, Reiiciissailce Imly (London: The Bodley Head, 1974). p. 195. The courtyard of the Ducal Palace of Urbino was described by Sir Kenneth Clark as one of the most humane spaces ever devised by man. In formal architectural terms i t is the court that solved the problem of the interior corner column. bringing an added stability to the space and becoming the model thereafter. Intarsia refers to a specific technique of wood inlay, used pictorially. A related idea of the totality of knowledge was expressed at a similar studiolo at the Ducal Palace at Gubbio, also owned by Federico da Montefeltro. In this case the decorative scheme depicted the Seven Liberal Arts, the codified and comprehensive image of knowledge operative at the period. ' Cheles, The Studiolo of Urbii~o:Ail Icoil~grnpl~ic 1111.estig~itio (University Park: The Pennsylvania State University Press, 1986).p. ### Architecture, Power and Parliament How do Buildings Shape Politics#8 (*0.644840181*) > This relegation of architecture and space to an unquestioned framework is the deepest linkage of built form to power. As Pierre Bourdieu puts it ‘The most successful ideological effects are those that have no words, and ask no more than complicitous silence’. 2 The more practices of power can be embedded in the framework of everyday life, the less questionable they become and the more effectively they can work. When we think of political power we generally refer to the power of the state over its citizens. Here we must make the key distinction between power to and power over. 3 The term ‘power’ derives from the Latin potere—‘to be able’, the capacity to achieve some end. Yet power in human affairs generally involves control ‘over’ others. This distinction between power to and power over, between power as capacity and as a relation, is fundamental. Power to is the original or ur-form of power, the capacity to act, empowerment. While less primary, power over is much more complex and incorporates a range of forms and practices such as force, coercion, manipulation, seduction and authority. These practices all have crucial connections to architecture and urbanism which I have explored elsewhere in relation to building types such as shopping malls, corporate towers, courthouses, housing enclaves and public space. 4 Authority/legitimacy ‘Authority’ is a form of power over that is integrated with the institutional structures of governance and which relies on an unquestioned recognition and compliance. It is the most pervasive, reliable, productive and stable form of power, but it rests upon a base of legitimation. 5 We recognise the authority of the state as legitimate only when it is seen to serve a larger public interest. The key linkage to architecture here is that authority becomes stabilised and legitimated through its symbols—the trappings of power. The nation state is not visible, it is what Ben Anderson calls an ‘imagined Pierre Bourdieu, Outline of a Theory of Practice, Cambridge UP, London, 1977, p. 188. Steven Lukes, Power: A Radical View, Macmillan, London, 1977. Kim Dovey, op. cit., 1999; Dovey, Becoming Places, Routledge, London, 2010. Hannah Arendt, ‘Communicative power’ in S. Lukes (ed), Power, Blackwell, Oxford, 1986, p. 65. ### Architecture Demonstrates Power#95 (*0.630692363*) > This spectacle is a very powerful part of the architecture of power because it overawes people. It provides a singular and unforgettable emotional charge, linked forever in the viewer’s mind with that particular site. The monument’s ability to influence people, to have an effect on them, makes that building powerful. Whether political power is described as the ability to create a desired effect or the ability to control a group, the monument embodies power. The creation of monumental architecture is a demonstration of leadership abilities, of the potential for political power. It proves the leader’s worthiness and greatness, his capacity for power. The act of construction was, through the mobilization and organization involved, an act of real power while the end product, as something greater than the sum of its parts and more moving in its magnificence than anything within the capabilities of an individual was both testament and realization of power. Monumental architecture embodies the leader’s ability to control and affect his followers. It both shows the group his actual power and demonstrates his worthiness and capacity to possess that power. Architecture is a sign pointing to a leader’s power. Contemporary Objections Contemporary western society does not put enough stock in everyday architecture to see any architectural statement as a demonstration of power. Buildings may demonstrate access to impressive resources, but they are usually not tied to manipulation of people’s worldviews and grand assertions of power. If the argument that architecture is tied to power is inapplicable to contemporary society, how useful is it? Though Wilson’s argument is fairly convincing in the context of domestic society, which he portrays as an evolutionary Wilson, The Domestication of the Human Species, 132-133 Referring to theories by Bertrand Russell and Hannah Arendt (Wilson, 117-118) Wilson, The Domestication of the Human Species, 148 Wilson, The Domestication of the Human Species, 126 step, even he believes that "the widespread recurrence of symbolic patterns to be found in constructions and layouts… is something particular to the epoch of domesticated culture, something of little moment to hunter/gathers or to urban industrial cultures". He also states that industrial societies think of power in terms of "destructive force", and that any sort of power "can now be measured in terms of equivalents of so many megaton blasts".

### Artificial intelligences effects on design process creativity A study on used A.I. Text_to_Image in architecture Nervana Osama Hanafy#135 (*0.564997137*) > In Fig. 8 (i), Stable Diffusion starts off with significantly better results than its two rivals, producing pictures that successfully include the "realistic" and "lived in" aspects of the query. These spaces don’t appear to be computer-generated projections but rather like actual rooms. However, each picture is close-up to provide the viewer a good interior look. For this reason, in addition to using inpainting in (j) to correct mistakes, we also include more canvas space for outpainting. As a result, the outpointed sections have some really illogical versions. The option in (l) was chosen as the best after some additional iterations. Because all of the initial versions are very realistic, stable diffusion performs the best overall in this situation. Additionally, it exhibits no significant flaws in the later stages. Only the last outpainting stage, where it might be necessary to manually smooth the transitions into the outpointed portions, requires attention. Midway produced results of comparable quality, but provided a less strong starting point for free design ideation. Additionally, text-to-image conversion holds the promise of democratising interior design. By offering a more user-friendly and accessible method for visualizing designs, text-to-image generation can make the design process more accessible to a wider range of people, including those who might lack the technical know-how to create intricate 3D models or challenging computer-generated images. As a result, the interior architecture community may become more diverse and welcoming, and new ideas and creativity may be encouraged. Text-to-image generation in interior architecture has a wide range of possible advantages, but there are also a number of challenges and limitations that must be taken into account. For text-to-image creation algorithms to generate accurate and realistic images, they need high-quality training data. This is among the biggest challenges. It is challenging and time-consuming to create a big and diverse dataset of interior design photos annotated with accompanying text descriptions, and it is uncertain how effectively current algorithms can handle the unique difficulties of interior architecture. Potentials for Exterior Design One must become familiar with the terminology and parameters each model is trained to function inside and the right style of image generation in order to utilize each model’s capabilities. The fact that the keyword "digital art" can considerably improve many prompts is one of the first suggestions DALL-E gives new users, which is closely tied to the data it was trained on. ### Artificial intelligences effects on design process creativity A study on used A.I. Text_to_Image in architecture Nervana Osama Hanafy#146 (*0.541055799*) > The embryonic stages of an idea generated using Midjourney are depicted in Fig. 10 (a)–(c). "Single-family home with garden, full exterior view, modern architecture, photo, sunlight" was the search term that produced this specific outcome. Before this result was chosen, remastered, and then upscaled, several keyword arrangements and weights on various phrases were explored. Although that method wasn’t used here, it is also feasible to start with one or more reference photos. The finished product was then transferred to the DALL-E, where it was outpointed in Fig. 10 (d) to provide a wider viewing angle and later inpainted in Fig. 10 (e)–(f) to remove extraneous elements such the cables hanging in the air and the variously colored windows. We transferred image (f) to Stable Diffusion after failing to successfully add a paved pathway from the sideway to the entrance through inpainting in DALL-E. As the walkway would frequently be overrun by vegetation, we adjusted the query to remove the garden reference and add "paved" early in the prompt (earlier keywords are weighted higher). We then removed the walkway and replaced it with inpainting. In response, the prompt "single-family home, paved between sidewalk and door, full exterior view, modern archi­ tecture, photo, sunlight" was generated, with the outcome shown in image (g). Now, if we picture a scenario where the outcome of this procedure is used to show to a potential client, demands for modifications must be met. Consider the scenario where a client requests a second storey or another type of roof component. This is simple to do with inpainting by deleting the roof and a portion of the sky and using a slightly modified prompt that specifies the new image’s style. Fig. 10 (h) and (i) depict the outcome of the Stable Diffusion query "single-family home, two stories, clear blue sky, curved roof, full exterior view, modern architecture, photo, sunlight" following the removal of the roof and the center portion of the sky and the extension of the canvas upward to make more space for the roof elements. Note that it can be challenging to avoid some latent effects, such as the tree branches that extend into the picture. ### Artificial intelligences effects on design process creativity A study on used A.I. Text_to_Image in architecture Nervana Osama Hanafy#140 (*0.528066695*) > When it comes to Midjourney, refinement begins with a process of adding and removing certain terms from the prompt to get as close as we can to the intended style. These expressions can be highly tangled. It typically helps to mention the modelling software types (like "octane render" or "cinemaD″) or even quality indicators (like "top 10 on artstation") that would produce the required kind of image in the prompt. The use of weighting words, picture references, and parameters, which further parameterize the prompt system, provides a far more targeted method of influencing requests. 3.2.1. Exterior Design - combining the models Iteration across image variants for DALL-E and Stable Diffusion is typically a quicker, more accurate procedure since iterations call for direct intervention on the image data in the form of in-/outpainting. Once we are aware of these resources’ advantages, we can use them to combine them into a more adaptable process. As Midjourney thrives at free-form ideations, we will begin the next ideation workflow with a Midjourney prompt to generate a desired scene, which we will then polish using in-/outpainting in DALL-E and Stable Diffusion to achieve a specific outcome that is inspired by the initial Midjourney result. Fig. 9 is a flowchart of the process, which we Fig. 9. The combination process that is suggested between Midjourney, DALL-E, and (optionally) Stable Diffusion. Journal of Building Engineering 80 (2023) 107999 N.O. Hanafy shall explain along with the outcomes in Fig. 10. Additionally, text-to-image conversion might not correctly depict abstract or complicated design principles. While the technology can create accurate visual representations of actual architectural features like roads and buildings, it can have trouble with more abstract or conceptual ideas. This might limit how fully designers can use this technology to explore and convey their creative ideas (see Fig. 2).