Architecture

This paper explores the Persistence Question about cities, that is, what is necessary and sufficient for two cities existing at different times to be numerically identical. We first show that we can possibly put an end to the existence of a city in a number of ways other than by physically destroying it, which reveals the metaphysics of cities to be partly different from that of ordinary objects. Then we focus in particular on the commonly perceived vulnerability of cities to (...) imaginary relocation; and we make the hypothesis that cities do have among their essential properties that of being surrounded by a specific geographical context. Finally we investigate the pos- sibility that a city can survive relocation in virtue of the capacity of its geographical context to survive it in the first place. We suggest that city contexts may not be essentially context-dependent in turn, and outline a possible description of the cri- teria for their persistence over time. (shrink)

In this article, I apply Australian logician and ecofeminist philosopher Val Plumwood’s Feminism and the Mastery of Nature, specifically its alternative logic of “the dance of interaction,” to a controversial community-engagement program in my home state of Alabama. At Rural Studio, Auburn University students design free housing and public works for one of the poorest regions in the United States, known as the “Black Belt.” Through the lens of Plumwood’s ecofeminist dancing logic, the marginalized source of Rural Studio’s survival is (...) revealed to be the resilience of the disempowered majority-Black community. Inspired thereby, I sketch an ecofeminist choreography with three “dancing” concepts (namely Plumwood’s “the master model,” Vandana Shiva’s “nature’s logic,” and Ariel Salleh’s “holding”), acknowledging the resilience of the disempowered as a necessary step toward an ethically-sustainable aesthetics. (shrink)

The present paper proposes a new reading of one of the most obscure passages of De Architectura; in I, 1,3 Vitruvius claims that in architecture there is always a signifier and a signified, but his approach differs from Quintilian’s as presented in the latter’s Institutio Oratoria. Vitruvius’ is closer to Chrysippus approach, but he fails to mention the third constituent, the tynchanon. This omission is probably due to the fact that Vitruvius speaks of designs rather, than of existing buildings. What (...) can successfully signify a proposed building is, according to my reading, the design and erection of a building that is easily recognized by the public as realizing the intentions of the community to erect the proposed building. Such successful signification constitutes the ultimate criterion for good architecture. (shrink)

This essay explores a theory of panoramas put forward by the experimental postwar German novelist and translator Arno Schmidt. Schmidt claims that panoramas were so pervasive in the visual culture of the nineteenth century that they unconsciously influenced writers of the period, so that when they wanted to describe vast landscapes they unthinkingly framed their descriptions by drawing on experience with specific panoramas. He primarily expounds the theory in his longest work of fiction, Zettel’s Traum (1970), translated as Bottom’s Dream (...) (2016), where he supports it with evidence from Edgar Allan Poe and Jules Verne. He also promoted the theory in later interviews, and regarded it not just as part of his fiction but as a significant discovery in its own right. This essay extracts Schmidt’s theory from its fictional context and illustrates how he thought it could be used hermeneutically to uncover submerged panoramas in the works of nineteenth century authors. We conclude by locating the theory as part of the contemporary reception history of panoramas. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

-/- Die ästhetische Tradition im Gefolge der Moderne hat die Architektur als randständiges Phänomen behandelt. Eine am Paradigma autonomer Kunst oder an einer kontemplativ verstandenen Theorie ästhetischer Erfahrung orientierte Ästhetik wusste mit der immer auch auf Zwecke bezogenen Architektur nicht immer viel anzufangen. Kants Diktum des interesselosen Wohlgefallens legt davon ebenso Zeugnis ab wie Hegels Verortung der Architektur an der Grenze der Kunst. -/- Die Beiträge des Bandes einschlägiger Expert*innen thematisieren die Frage, was es für die Grundbegriffe der Ästhetik heißen (...) würde, sie ausgehend von der Architektur und damit einer immer auch funktionalen Kunst neu zu denken: Bedürfen Begriffe wie Kunst, Sinnlichkeit, Urteil und Erfahrung einer Reformulierung, um den ästhetischen Eigenarten der Architektur angemessen Rechnung zu tragen? (shrink)

A critical note on Paul Guyer’s A Philosopher Looks at Architecture (2021). In his book, Paul Guyer proposes that the Vitruvian triad of venustas, utilitas, and firmitas represents central goals and normative values of architecture – ideals that architects should realize and success criteria regarding their realization – that persist through time, place, cultural settings, and other contextual parameters. Indeed, the triad presents sufficiently abstract goals that many disparate views in architectural theory may be subsumed under the triad as distinctive (...) ways of explaining how architecture may be beautiful, functional, or structurally sound. These are significant thematic values by which we experience and judge architecture (as are also useful in gauging other human pursuits), and which architects draw on in their creative acts. There is much to recommend this broad picture of the triad as architectural ideals. That said, I suggest two difficulties for Guyer’s claim as to the centrality of these values, relative to architectural success regardless of Vitruvian goal-satisfaction; and to non-persistence across architectural cultures. (shrink)

The goal of this paper is to argue that the Neptuno Alegórico and the Theatro de Virtudes Políticas, which were composed in 1680 by the Novohispanic philosophers Sor Juana Inés de la Cruz and Carlos de Sigüenza y Góngora to accompany respectively two arches erected to celebrate the entry of the Spanish viceroy to Mexico City, are notable not only as examples of panegyrical Baroque literature but also as philosophical texts aimed at moral instruction. To be specific, I argue that (...) the Neptuno and the Theatro belong to a hybrid genre that I label ekphrastic moral mirrors. Ekphrastic moral mirrors, which constitute a subset of the traditional speculum principis, are characterized by offering moral instruction to a prince indirectly, by means of an elaborate ekphrasis of a work of art (which, in the case of the Neptuno and the Theatro, were the two arches that they were paired with). I also argue that, insofar as the Neptuno and the Theatro create different audiences that are mutually aware of each other in virtue of systematically relying on ekphrasis deployed in a public setting, they are potentially more effective for moral instruction than other traditional mirrors of princes. (shrink)

This study explores the architectural and urban design strategies for revitalizing non-formalized open spaces within the historical context of former Ottoman cities, focusing on the Ulus central neighborhood in Ankara, Türkiye. Ulus Square served as a testing ground for a collaborative studio methodology conducted with third-year students in the Department of Architecture at Bilkent University. By examining the design studio’s efforts to integrate various architectural languages amidst Ankara’s eclectic/historicist backdrop, this paper highlights the complexities and opportunities in transforming Ulus Square (...) into an ‘active void’. The methodology we adopted involves reimagining these open spaces through a revised understanding of spatial analysis, departing from three key principles: favoring multiplicity over uniform solutions; designing public spaces as urban thresholds; and prioritizing inactivity over complex functional programs. We observed that the charrette format, moving from collaborative visions to individual tasks, was ideal for incrementing students’ participation compared to more rigid studio structures experimented with in previous years. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and the (...) upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics. (shrink)

The chapter explores how architectural historiographies could challenge the dichotomies Western/non-Western and Eurocentric/non-Eurocentric. It also aims to explain why the politics of resistance characterizing the endeavours of shaping historiographical methods that try to represent the other go hand in hand with the intention to challenge concepts and historiographies that are based on Zeitgeist. In other words, the rejection of colonialist models of writing architectural history is related to the endeavour of placing Eurocentric narratives and Zeitgeist theories under critical scrutiny. Models (...) of architectural historiography that intend to challenge Eurocentrism should place particular emphasis on revealing the different agents that contributed to the realization of architectural and urban projects under study. Archival research plays a major role in bringing to light the aspects concerning these different agents. The chapter places particular emphasis on Edmund Husserl’s understanding of Europe, Immanuel Wallerstein’s critique of Eurocentrism, and Reinhart Koselleck’s theory of overlapping temporal layers. (shrink)

It is not infrequently heard in architectural circles that architecture is an inherently political enterprise and pursuit, such that build structures are, correspondingly, inherently political objects. But does architecture, by its nature as practice or artifact, universally serve political ends? Taking ends of something X to be political iff X serves the projection of power by state or government, or advances policy-making, ideologies, or the body politic, it may be thought that AP1. Architecture, in its products, always serves political ends. (...) on the grounds that, roughly speaking, wherever one looks, one finds cases providing evidence that AP2. Buildings (built structures, generally) always serve political ends, and AP3. Buildings (built structures) are the only products of architecture. On the supposition that this fairly tracks the common view, I take for granted that the argument goes through if the premises are defensible. I propose, though, that neither AP2 nor AP3 are defensible, at least in the grand, universal fashion that they are offered. (shrink)

I sketch a version of the right to the city (RTTC) that is (a) feasible, (b) generic, and so (c) broadly amenable to many of its adherents. This right, I suggest, entails special sorts of responsibilities or obligations for architects and others tending to our built environment and the spaces—especially public space—so structured and defined. Along the way, I provide a brief account of some historical motivations for embracing the right to the city, as well as reasons for endorsing my (...) generic account. Typical reasons for supporting a right to the city are grounded in traditional rights considerations: for one, benefits of urban life point to a positive right, along the lines of an entitlement; and for another, dangers and impediments to life—and quality of life—in the city point to a negative right, along the lines of freedoms from harm and liberties to voluntary engagements. How all this has a particularly urban focus and character, and how such a right or rights translate into specifically architectural responsibilities, depends at least in part on the sorts of things cities are and how they are constituted. (shrink)

Practical Ethics in Architecture and Interior Design Practice presents the basics of design practice through ethical scenarios, ushering design students into real-world experiential learning. Each chapter begins with a detailed story involving a complicated set of practical and ethical dilemmas, exemplifying those encountered each day in the world of professional practice. Practice-based topics such as contracts and project delivery methods, marketing design services, cross-cultural collaboration, virtual connectivity, social justice and sustainable design, soft skills, and other related professional practice themes are (...) anchored in realistic scenarios. While all the stories are fictional, in writing them the authors drew from over 75 combined years of professional experience in architecture and interior design, as well as many years of academic experience in teaching professional practice and ethics to architecture and interior design students. Each story is followed by discussion questions and suggested additional resources. This book provides a unique integrated perspective into the allied fields of architecture and interior design with topics relevant to both fields as well as specific to each profession. It prepares students of both disciplines for the broad issues of professional practice and encourages them to become ethical practitioners ready to contribute effectively to design teams and to ask the right questions. (shrink)

This essay follows the fascinating mythology of grace and gift exchange to construct an argument about appearances as transcending the boundaries of things through a form of radiance or shining. The latter is based on the primary figure of the Graces, Aglaea, whose name literally signifies shining. The question arises how the obligatory rules of gift exchange—giving, receiving, and returning—apply to appearances, which leads to a cyclical “alternating current” of shining and working. It now becomes clear why the ancient Greeks (...) married the ethereal figure of Aglaea to the sweaty, clubfooted smithgod Hephaestus: shining things are necessarily linked to the making of shining things. In the magic realm of Hephaestus shining and automation are fully merged: automata are without exception made of gold or silver, while the abundantly embellished objects he creates always evoke movement. At this point in the essay the term “phenotechnology” is coined: the work of making things lies in their overworking (hypergon) which is sharply contrasted to the classic notion of ornament as parergon, as by-work, or in the words of Aby Warburg, as bewegtes Beiwerk. Instead of viewing movement as added-on (Alberti) to structure we find that the figural movement of pliant motifs in fact creates structure, a structure that according to Gottfried Semper undergoes “the mystery of transfiguration,” which reverses the relationship between surface and space: space is the very depth of radiating surfaces. (shrink)

There is a troubling trend in contemporary writing pedagogy to construe classical approaches to writing instruction "as fixed, static entities . . . produced by asymmetrical power relations that . . . reinforce oppressive or stereotypical attitudes and ideologies" (Mutnick and Lamos 25). In place of the classical tradition, progressive educators, following the lead of Paulo Freire, have championed student-centered approaches to education, in effect developing students in the service of themselves as opposed to in the service of knowledge as (...) is characteristic of classical approaches. In this article I argue against the pedagogical monism that characterizes contemporary educational models by positing an integrated model of writing instruction that builds contemporary, theory-driven frameworks on top of historically valid and progressively developed principles, using the languages of modernistic and classical architecture as a mnemonic. Using the "Palladian Arch" as a guiding image, I then close my article by describing how vertically-aligned, foundational approaches such as process pedagogy and genre and rhetorical studies relate to the horizontally-aligned, theoretical approaches that ultimately lead to the apotheosis of each student's intellectual persona. (shrink)

A bioclimatic eco-renovation project can be implemented in every cell of the city, both in the existing buildings and in the new ones. Reducing the demand for energy can result in the creation of zero-energy houses. Implementing a bioclimatic eco-renovation project is a courageous and innovative initiative. The heat exchange through the building envelope should be controlled since in the early stage of design. The passive design strategies depend on the orientation of the different areas of the building, considering also (...) the glazing areas, the use of different shading devices, the thermal trap zone, thermal masses, ventilation strategies, etc. Greenhouses as one of the basis systems of passive strategies, are designed to conduct desired air to other spaces via direct opening adding special materials for conduction. Greenhouses are constructed to connect inner spaces as a heat transferor. They have the character of a transitional space, located between the indoor and outdoor environment. During the winter their inner temperature is higher as a consequence of the thermal trap meanwhile during summer such structures must be ventilated. Thermal mass is generally applied to the floor or masonry. The use of shading devices is also important during summer in order to reduce the penetration of solar radiation into the building as well as planting vegetation. The applied green houses in Tirana case study are sized according to the international normative, considering also the climate characteristics of the zone. The implementation of the solar chimneys (another passive system) is necessary in order to subtract the fresh air form the anti-bombing underground tunnels, bringing it to the customers (residents). The benefits of such strategy are enormous. The combination of them with the anti-bombing tunnels located in the selected neighborhood in Tirana is crucial, in order to subtract the cool air from the underground due to temperature and air pressure differences. The aim is to include the existing buildings within the comfort zone without the use of mechanical systems. There are also undermined temperature measurements of the underground and ground surface, very close to the zone during winter and summer, in order to better clarify the temperature differences between the areas. It is found that the temperatures of the underground area are relatively constant compared to the ground surface. Photovoltaics panels implemented in the project can convert sunlight into electricity and are considered as solar systems. According to the electricity demand of the inhabitants, specific calculations using Canadian RETScreen expert application in order to fulfill their electricity requirements for one of the buildings located in the neighborhood are undermined. It is observed that the implementation of the PV panels will reduce the GHG emission compared to the base case and also the gross annual GHG will be reduced too. The recycling of the rain water and wastewater is considered too, using reed bed strategy and fertilizing bathing tubes. The solar tube is another technology applied in all the dwellings, which turned to have a very good performance, saving a lot of electrical energy. A specific and unique proposal is designed in order to fulfill graphically the proposed ideas in combination with a software simulation application, MEEC (Montenegrin Energy Efficiency Certification) which is finally used as a tool of better understanding the thermal performance of the considered building as part of the neighborhood. Two scenarios are involved in order to draw conclusions and enhance the building thermal performance category. It is revealed that the added greenhouses involved in the second scenario contribute massively improving the thermal performance of the building. (shrink)

Mimarlık diğer sanat dallarından iki bakımdan ayrılır. İlk olarak mimari yapıtlarla etkileşim kaçınılmazdır. Müzik dinlemeden, tiyatro veya sinemaya gitmeden, resim veya heykel sergilerini gezmeden yaşamımızı sürdürebiliriz ancak mimari yapılar olmadan bu olanaklı olmaz. Bu bakımdan mimarlık sanatlar içinde belki de insan yaşamını en fazla etkileyen daldır. İkinci olarak mimarlık bir yaşam gereksinimini karşılayan, böyle bir işlevi olan belki de tek sanat dalıdır. Örneğin resim, heykel, şiir, sinema veya tiyatro yapıtlarını sanatsal açıdan değerlendirirken hangi gereksinimimizi karşıladıkları sorusunu sormayız. Buna karşılık mimari (...) yapılar barınma başta olmak üzere bir dizi maddi gereksinimimizi karşılarlar. Hangi gereksinimi karşılamak amacıyla yapıldıkları sorusu onların sanatsal açıdan değerlendirilmesinde önem taşır. Bu yazıda mimarlığın sanatlar içindeki bu iki özgünlüğünü dikkate alan bir düşünürün, Ömer Naci Soykan'ın mimarlık konusundaki görüşlerini sırasıyla “mimarlıkta temel nitelikler”, “mimarlık etkinliği”, “mimarlık dili” ve “mimarlık estetiği” başlıkları altında ele alacağız. (shrink)

Considering the impact of COVID-19 outbreak on the foundation of our socio-economic and environmental systems, it is imperative to apply multi-faceted sustainability approaches for the current and post-pandemic era. The built environment plays a key role in the spatial engagement of humans and their workspace in the urban environment. Proposing new concepts for the post-pandemic era that combine the built environment and sustainability techniques may provide an opportunity for better integration into the essence of sustainability. In this regard, this paper (...) recommends applying circular economy idea in adaptive reuse practice of industrial heritage to create circular workplaces for the post-pandemic period. As an example of this given proposal, a scheme for a textile factory in Isfahan, Iran is presented. (shrink)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took (...) place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

The article explores the relationship between Baukunst and Zeitwille in the practice and pedagogy of Ludwig Mies van der Rohe, and the significance of the notions of civilization and culture for his philosophy of education and design practice. Focusing on the negation of metropolitan life and mise en scene of architectural space as its starting point, it examines how Georg Simmel’s notion of objectivity could be related to Mies’s understanding of civilization. Its key insight is to recognize that Mie’s practice (...) and pedagogy was directed by the idea that architecture should capture the driving force of civilization. The paper also summarizes the foundational concepts of Mies’s curriculum in Chicago. It aims to highlight the importance of the notions of Zeitwille and impersonality in Mies van der Rohe’s thought and to tease apart the tension between the impersonality and the role of the autonomous individual during the modernist era. (shrink)

The article examines the impact of the study for Levittown of urban sociologist Herbert Gans on Denise Scott Brown’s thought. It scrutinizes Denise Scott Brown, Robert Venturi, and Steven Izenour’s ‘Remedial Housing for Architects or Learning from Levittown’ conducted in collaboration with their students at Yale University in 1970. Taking as its starting point Scott Brown’s endeavour to redefine functionalism in ‘Architecture as Patterns and Systems: Learning from Planning’, and ‘The Redefinition of Functionalism’, which were included in Architecture as Signs (...) and Systems: For a Mannerist Time (2004), the article sheds light on the fact that the intention to shape a new way of conceiving functionalism was already present in Learning from Las Vegas, where Robert Venturi, Denise Scott Brown and Steven Izenour suggested an understanding of Las Vegas as pattern of activities. Particular emphasis is placed on Scott Brown’s understanding of ‘active socioplastics’, and on the impact of advocacy planning and urban sociology on her approach. At the core of the reflections developed in this article is the concept of ‘urban village’ that Gans uses in US in The Urban Villagers: Group and Class in the Life of Italian-Americans (1972) to shed light on the socio-anthropological aspects of inhabiting urban fabric. (shrink)