scholarly journals Architectural design in a new social order: Re-exploring the reasons for application of spatial standards

2012 ◽  
Vol 4 (1) ◽  
pp. 99-112
Author(s):  
Vladimir Mihajlov

The essence of the problem in this paper has been recognized in deterioration of public and residential space in the city, after deregulation of architecture in neoliberal context. This field is marked by increasing lack of rules-especially spatial standards in the architectural practice. Therefore, re-exploring the application of space standards in modern context is needed. The paper, thus, tries to give the answer to the following question: why contemporary architectural practice does not insist on standards for the design and planning any longer? Since the production of space in neoliberal context is powered by mighty individuals who tend to be unique and to manifest power, using the spatial standards in architecture is not welcome. However, NEO-Marxist orientation tries to revive the critical reflection of reality, and its main task is to define the standards and types derived from the spatial context. Different approaches, both theoretical and practical ones are necessary requirements in profession. A clear visibility of method is required for problem solving. The wider population should influence the architectural theory and practice by common set of criteria/standards. Finally, both ideological orientations mentioned are based on those who produce urban space and not on those who speculates with it.

2018 ◽  
Vol 28 (55) ◽  
pp. 980-1005
Author(s):  
Tiago Santos

Considerando a dinâmica e a estrutura urbana de Belém no início do século XXI como expressão da acumulação das intervenções urbanas e das práticas de planejamento e gestão do espaço da cidade, analisa-se a genealogia do planejamento urbano para compreender a produção de um espaço que tem como característica a negação da natureza e a produção da desigualdade entre classes sociais. Nesse aspecto, identificou-se três períodos específicos que produziram impactos significativos na produção do espaço urbano de Belém: o terceiro quarto do século XVIII (1755 – 1777) com as reformas promovidas no período Pombalino na Amazônia, momento de expressão de uma modernidade urbana e arquitetônica; o final do século XIX e a primeira década do século XX (1890 – 1910), momento de ascensão da economia regional a partir da intensificação de atividades extrativas que produziram reformas urbanísticas com tons higienistas e; por fim, o período entre 1940 e 1970, que marcou uma série de propostas de planejamento com viés técnico-burocrático na produção do espaço. Do ponto de vista da metodologia adotada, estabeleceu-se como percurso de pesquisa: i) levantamento bibliográfico de caráter teórico e empírico da temática; ii) levantamento documental acerca das práticas de planejamento e intervenção dos períodos destacados com base em legislação, planos e projetos de cada um dos períodos; iii) coleta de iconografia representativa da época as quais as políticas foram executadas. Apresenta-se como resultados a hipótese de que a narrativa de uma pretensa ausência de planejamento como fator explicativo dos problemas da cidade é um discurso que não tem base na realidade, posto que historicamente é exatamente o oposto que a pesquisa indica, as modalidades de planejamento efetivadas em Belém acentuam problemas como a segregação socioespacial.Palavras-Chave: História, Planejamento Urbano, Modernidade, Belém.AbstractConsidering the dynamics and urban structure of Belém at the beginning of the 21st Century as an expression of the accumulation of urban interventions and planning and management practices of the city, the historical genealogy of urban planning is analyzed as a way of understanding production of a space that has as characteristic the negation of the nature and the production of the inequality between social classes. In this aspect, three specific periods were identified that produced significant impacts on the production of the urban space of Belém: the third quarter of the seventeenth century (1755 - 1777) with the reforms promoted in the Pombaline period in the Amazon, a time of expression of an urban and architectural design; the end of the nineteenth century and the first decade of the twentieth century (1890 - 1910), a time of great rise of the regional economy from the intensification of extractive activities that produced urban reforms with hygienic tones; and finally, the period between 1940 and 1970, which marked a series of planning proposals with a bureaucratic technical aproach in the production of space in Belém. This work established as following research methodology: i) survey bibliographical of theoretical and empirical character of the analyzed subject; ii) documentary survey of the planning and intervention practices of the highlighted periods based on municipal, state and federal legislation, as well as the master plans and development plans of the periods; iii) collection of iconography representative of the time to which the policies were executed in the urban space. The hypothesis is that the narrative of a supposed absence of planning as a factor of the city's problems is a discourse that has no basis in reality, since historically it is exactly the opposite that the research indicates, that is, the modalities in Belém accentuate problems such as socio-spatial segregation.Keywords: History, Urban Planning, Modernity, Belém.


2001 ◽  
Vol 33 (12) ◽  
pp. 2205-2218 ◽  
Author(s):  
Jean La Marche

In this paper I examine how notions of the surface are being reconstituted in architectural theory and practice. Specifically, I contrast how modernist-influenced theory treated surfaces with how some architectural theorists today are beginning to think about them. Whereas modernist theory saw surfaces as dedicated to the expression of interior volume, recent interactive technologies such as ‘smart walls’ mean that surfaces no longer are fixed but can, instead, be changed in ways that are beyond the control of the architects who designed the structures of which they are a part. This means that surfaces are much less predictable and much more subject to transformation by individual users than in the past. Such a technological revolution, I argue, is ‘de-authorizing’ architecture as it is understood in conventional, professional, and disciplinary terms, and is bringing about new conceptions of time and space in architectural practice.


2021 ◽  
Author(s):  
◽  
Benjamin Tunui

<p>Contemporary Māori architecture in Aotearoa is rapidly becoming ‘mainstreamed’ within a New Zealand architectural idiom. However, Māori architecture has been narrowed down to surface ornamentation, a handful of motifs and exhausted narratives. This dissonance is owing to the fact that Mātauranga Māori is not at the iho (core) of Māori architecture at a formal and spatial level. Consequently, this thesis aims to expand Māori architectural theory and practice by proposing that elements of tikanga Māori can be understood both formally and spatially in ways that generate new architectural possibilities. The research was conducted as an iterative design process. Three parts of the pōwhiri process are mapped for their underlying spatiality, both in the physical and meta-physical worlds. The ephemera are translated through a design methodology which reveals what these patterns could mean for contemporary Māori architecture. The three rituals: karanga, wero and hongi are explored as a series of design experiments which follow the same workflow. Each design experiment developed a range of different architectural techniques for expressing tikanga Māori. The use of speculative drawing/ mapping techniques is the principal way in which the spatiality of the ephemera is excavated and interrogated. The following research is not tied to an architectural site. The architecture is not based within a specific context, rather it is born of context, conceiving an architecture of the ephemeral and atmospheric qualities of ritual. This research acknowledges the Māori concept of tuakana-teina (elder sibling-younger sibling) knowledge exchange and draws a parallel with architectural design methodology. This thesis suggests a method of speculation for future generations of architectural designers in Aotearoa to build upon with their own whakaaro (thoughts).</p>


2017 ◽  
Vol 46 (5) ◽  
pp. 845-861 ◽  
Author(s):  
Neeta Rajesh Lambe ◽  
Alpana R Dongre

In architecture, context refers to the surrounding area or setting in which the building is placed. In architectural theory and practice, context plays an important role in proposing architectural vocabulary. Since the mid-20th-century, creating harmony with traditional context amidst growing development has been a major concern and interest of designers. Contextualism theory in architecture refers to the relationship between new buildings and the existing surroundings while addressing the issue of fitting new to old structures together to achieve congruence and continuity. The analysis of traditional architectural style significantly influences a designer’s decision-making process when adopting contextual design approach. In this study, a shape grammar approach is proposed to create a harmonious environment through the generation of new designs based on the grammar of existing architectural style without curbing the designer’s creativity. This paper demonstrates the pattern-generating quality of traditional Pol row houses of Ahmedabad, India. The grammar of the traditional Pol house forms the architectural context for the new in-fill development in the area. The shape grammar approach to architectural design is examined as a process of interpreting the context as socio-cultural experience through rule schema when addressing the issue of contemporary demands and needs. Here, shape grammar is explored as a tool to analyse the existing design through the generation of new designs. The grammar differs from the previous work in terms of the derivation method and identification of the clues for rule schema in the Indian context. This method has been examined in the process of resolving the issue of unsympathetic development by providing design variations within the grammar for in-fill development to derive spatial clues for generation of new designs, which would be argued as the first step towards achieving aesthetic congruence.


2015 ◽  
Vol 19 (4) ◽  
pp. 361-367 ◽  
Author(s):  
Sarah Robinson

Sustainability is the most significant force to change architecture since the breakthrough of modernism a century ago. So far the contributions of architects to this mandate have largely amounted to technological interventions. Yet the urgent call for sustainability demands going beyond merely technological solutions to modify behavioral patterns, cultural habits and even our deeply ingrained ideas about ourselves. The very notion that architecture could modify behavioral patterns, or the sedimentation of habits seems far-fetched in an epistemological framework that has drawn strict lines between outside and inside, subject and object, body and mind — all the dualities that the cognitive and neurosciences have been gradually working to undermine. Our practice as architects has been unconsciously shaped by centuries of formalist thinking that have turned buildings into inanimate objects; a habit of thinking that has weakened our role and contributed to the sense that architecture is a luxury item, one among many consumable commodities — though we can no longer deny that it is the very fabric of our survival and flourishing.Further, the once healthy plurality of our architectural theory has left us without a coherent philosophical framework with which to confront the climate crisis. For John Dewey, theory and practice were not ontologically separate domains, but two distinct yet inseparable and necessary aspects of engaging in the world. This essay explores how Dewey's pragmatic philosophy could help to build a theoretical framework that would allow us to apply and integrate the findings of the cognitive and neurosciences into our architectural practice and education, so that we might respond not only to the constraints and opportunities of the given context — site, program and energy resources—but also to the limits and affordances of our perceptual systems and the whole of our body and mind.


2003 ◽  
Vol 62 (4) ◽  
pp. 448-469 ◽  
Author(s):  
Mario Carpo

Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectural forms.


Author(s):  
E. Turikova ◽  
◽  
V. Titinov ◽  
O. Pogorolev ◽  
◽  
...  

The paper focuses on the development and description of an environmental scenography model. The presented material seeks to characterize the concepts included in the complex of “architectural and design scenography”, to identify and summarize thestructural-component composition of thearchitectural and design scenography. The paper is based on the synthesis of the conceptual framework of stage scenography and environmental approach in the design of the architectural environment. Based on the specific experience of architectural theorists and practitioners who experimented in stage scenography, organization of production processes outside the theaters, the parallels were drawn between the theory and practice of environmental and stage scenography.In view of the foregoing, the nomenclature of environmental scenography has been clarified and expanded. It was found that the architectural and design scenography is implemented in the formation of visual impressions as part of various scenarios of user and environment interaction. At the same time, the environment and its components are “mobile substance”, which is perceived in dynamics, in the course of its interaction with users, in spatial amplifications, metamorphoses, overlapping of “pictures”, etc. With a scenographic approach to the design of the architectural environment, the organization of various connections comes to the fore for a variety of visual contact conditions between the environment and the user.The paper describes the concept of “architectural and design scenography” (ADS), outlines the scope of its application in the architectural design, emphasizes the priority of visual perception, provides examples of the mutual enrichment of the scenographic and architectural practice. The definition of ADS as a type of artistic design of the architectural environment aimed at creation of its graphical-plastic image, and the definition of the visual and aesthetic significance of the environment image are clarified. The main functions of the environmental scenography are listed: character,acting functions and designation of the scene.The structural-component composition of the ADS includes 3 compositional systems, 3 architectonic levels, 4 content-related levels, means of expression, composite components, and stages.


2021 ◽  
Author(s):  
◽  
Benjamin Tunui

<p>Contemporary Māori architecture in Aotearoa is rapidly becoming ‘mainstreamed’ within a New Zealand architectural idiom. However, Māori architecture has been narrowed down to surface ornamentation, a handful of motifs and exhausted narratives. This dissonance is owing to the fact that Mātauranga Māori is not at the iho (core) of Māori architecture at a formal and spatial level. Consequently, this thesis aims to expand Māori architectural theory and practice by proposing that elements of tikanga Māori can be understood both formally and spatially in ways that generate new architectural possibilities. The research was conducted as an iterative design process. Three parts of the pōwhiri process are mapped for their underlying spatiality, both in the physical and meta-physical worlds. The ephemera are translated through a design methodology which reveals what these patterns could mean for contemporary Māori architecture. The three rituals: karanga, wero and hongi are explored as a series of design experiments which follow the same workflow. Each design experiment developed a range of different architectural techniques for expressing tikanga Māori. The use of speculative drawing/ mapping techniques is the principal way in which the spatiality of the ephemera is excavated and interrogated. The following research is not tied to an architectural site. The architecture is not based within a specific context, rather it is born of context, conceiving an architecture of the ephemeral and atmospheric qualities of ritual. This research acknowledges the Māori concept of tuakana-teina (elder sibling-younger sibling) knowledge exchange and draws a parallel with architectural design methodology. This thesis suggests a method of speculation for future generations of architectural designers in Aotearoa to build upon with their own whakaaro (thoughts).</p>


2008 ◽  
Vol 32 (4) ◽  
pp. 201-220 ◽  
Author(s):  
Algis Vyšniūnas

This paper is about public spirit, national monuments and a sign system in Lukiškės Square in Vilnius. Such a system is a part of national Policy, therefore, one should keep distinct the pure artistical and national identity ideas. Nowadays a sense of national pride is very important and at the same time a real problem in Lithuania. A nation always has an essential place, a system of symbols or an extraordinary monument. Lithuania is only getting ready to consider the issue of monuments and signs in all its aspects. That is why, according to the rules of Lukiškės Square architectural competition, it is demanded to solve this problem. A representative function is required. „The memory of an unknown partisan and fighter for Lithuania’s freedom will be memorialized“ a slogan incused on a stone panel proclaims in Lukiškės Square. But there are still no results. The conception of public space is unidentified, so an urban space and ordinary functional aspects are always muddled up. West European public space practice indicates that Renaissance squares are the most popular, multifunctional public spaces. The space system and nominal space hierarchy are very complicated and indefinite, therefore, the final result is under diferent interpretations. Memorialization of dedication to fighters for Lithuania’s freedom is of great importance, but practical square formation aspects, such as parking, fountain construction, etc., are also important. The Lithuanian Parliament adopted a resolution on Lukiškės Square functions (11 Feb. 1999), but pursuancee belongs to the Municipality. That is a mistake and a real problem because the Municipality’s activities are not transparent. Such problems must be solved by a Steering Committee which must be formed. Otherwise a qualitative result is impossible. In 2008 Lukiškės Square architectural competition was proclaimed. The format of the main task is double – urban and artistical aspects are declared. The result of this competition is an abstract artistical accent, but not a real representative memorial. The purpose of this work is to reveal the formation process of Lukiškės Square as the main square of Lithuania. The basic principles of the Square formation and those of erecting a monument to the Lithuanian freedom fighters are presented. Santrauka 2008 m. paskelbtas Lukiškių aikštės sutvarkymo ir simbolio „Laisvė“ projekto sukūrimo konkursas. Vertinimo komisija išrinko 7 geriausius konkursinius projektus. Šie rezultatai sukėlė daug diskusijų, nes neaišku, ar tikrai pasiektas pagrindinis konkurso tikslas – įprasminti Laisvės kovas ir pagerbti tų kovų dalyvių atminimą? Nors yra labai konkretus LR Seimo nutarimas „Dėl Lukiškių aikštės funkcijų“, vis tiek lieka neaiškus Lukiškių aikštės statusas: ar ji yra valstybinio rango aikštė, ar paprasta vieša savivaldybės erdvė? Kai neaiškus aikštės statusas, neaiškus ir tikslo realizavimo mechanizmas bei priemonės. Straispnyje apžvelgiami pagrindiniai Lukiškių aikštės urbanistinės plėtros etapai, įvertinant ne tik realizacijas, bet ir visas idėjas, profesines koncepcijas. Pagrindinis straipsnio tikslas – atskleisti Lukiškių aikštės formavimo mechanizmus, bet ne komentuoti atskirus meninius pasiūlymus. Straipsnyje nekomentuojami atskirų suinteresuotų socialinių ir politinių grupių pareiškimai, taip pat tariamai moksliniai pranešimai viešųjų ryšių renginiuose ir akcijose. Taip pat nediskutuojama apie grynojo meno paskirtį ir santykį su mokslu ir politika. Išvadose pateikiami Lukiškių aikštės urbanistinio formavimo ir paminklo Laisvės kovotojams statymo principai.


2012 ◽  
Vol 524-527 ◽  
pp. 2884-2892
Author(s):  
Yang Li

Along with the acceleration of China’s urbanization process and the steady growth of residents’ disposable income in recent two decades, the concept of “Livable Dwelling” has becoming more and more popular. Creating real livable residential environment needs the designers to work out measures to suit local conditions and not to advocate the theory of “Coping with shifting events by sticking to a fundamental principle or policy”. Based on the concepts of “People-oriented” and “Sustainable Development”, we should make great efforts in the aspects of improving the relationship between residential space and urban space, and improving the combination of internal residential space’s functions. This paper describes the ways of creating a livable residential environment from the following aspects: changing the single residential function mode; advocating diversified community modes; breaking the barriers of surrounding the residential area; building a harmonious community; using ecological energy-saving strategies; advocating low-carbon living mode; conducting people-oriented architectural design.


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