Pub Date : 2022-01-02DOI: 10.1080/20507828.2021.2020040
M. Yiu
Abstract “Cultural center” is a new type of architecture and institution that has emerged since WWII and has become a model for many contemporary cultural institutions. It reflects the physical realization of the European welfare-state cultural policy, especially in Britain and France. With reference to the European cases, this paper examines three major cultural centers in Hong Kong from the 1960s to the present day (City Hall, Hong Kong Cultural Center, and the Xiqu Center at the West Kowloon Cultural District). Employing a socio-spatial approach, the methods include an archival study of government documents and spatial analysis of public space at the selected cultural centers. The paper demonstrates how the positioning of culture has shifted from a public welfare provision into a capital-oriented urban development strategy and, in this context, questions the role of contemporary cultural institutions.
{"title":"Cultural Centers in Hong Kong: Welfare Provision or Economic Instrument?","authors":"M. Yiu","doi":"10.1080/20507828.2021.2020040","DOIUrl":"https://doi.org/10.1080/20507828.2021.2020040","url":null,"abstract":"Abstract “Cultural center” is a new type of architecture and institution that has emerged since WWII and has become a model for many contemporary cultural institutions. It reflects the physical realization of the European welfare-state cultural policy, especially in Britain and France. With reference to the European cases, this paper examines three major cultural centers in Hong Kong from the 1960s to the present day (City Hall, Hong Kong Cultural Center, and the Xiqu Center at the West Kowloon Cultural District). Employing a socio-spatial approach, the methods include an archival study of government documents and spatial analysis of public space at the selected cultural centers. The paper demonstrates how the positioning of culture has shifted from a public welfare provision into a capital-oriented urban development strategy and, in this context, questions the role of contemporary cultural institutions.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47261216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/20507828.2022.2027637
Nina Stener Jørgensen
Abstract Following the dictum: “Form Follows People” two Danish offices used patterns generated from pedestrian movement to create the infrastructural layout when redesigning Copenhagen’s Nørreport train station. A choice that was praised by a unanimous jury and municipal client who were eager to present the winning proposal as being shaped by “the people.” However other readings are possible, the design can also be seen as a striking architectural gesture where the public is both framed as a vital prerequisite yet at the same time as the unaware producers of space. In order to understand this reasoning, this essay looks at the “human oriented approach” the offices adopted for the Nørreport project. This entails discussing the project as somewhat participatory and tracing its references back to the research on pedestrian movement done by Danish architect and urbanist Jan Gehl in the 1960s. An approach that now 50 years later can be seen coinciding with a shift in city planning where municipalities and planning offices readily embrace designing for more loosely defined subjects such as pedestrians or simply “people.” As the argument for the design only formally maintains the social agenda of participation, this essay asks whether the project could instead be read in terms of system design and its participatory practice understood in a cybernetic sense as feedback and input, and as such, if the project ultimately could be perceived as a “post-participatory” project.
{"title":"Form Follows People? – Copenhagen’s Ny Nørreport as a Post-Participatory Project","authors":"Nina Stener Jørgensen","doi":"10.1080/20507828.2022.2027637","DOIUrl":"https://doi.org/10.1080/20507828.2022.2027637","url":null,"abstract":"Abstract Following the dictum: “Form Follows People” two Danish offices used patterns generated from pedestrian movement to create the infrastructural layout when redesigning Copenhagen’s Nørreport train station. A choice that was praised by a unanimous jury and municipal client who were eager to present the winning proposal as being shaped by “the people.” However other readings are possible, the design can also be seen as a striking architectural gesture where the public is both framed as a vital prerequisite yet at the same time as the unaware producers of space. In order to understand this reasoning, this essay looks at the “human oriented approach” the offices adopted for the Nørreport project. This entails discussing the project as somewhat participatory and tracing its references back to the research on pedestrian movement done by Danish architect and urbanist Jan Gehl in the 1960s. An approach that now 50 years later can be seen coinciding with a shift in city planning where municipalities and planning offices readily embrace designing for more loosely defined subjects such as pedestrians or simply “people.” As the argument for the design only formally maintains the social agenda of participation, this essay asks whether the project could instead be read in terms of system design and its participatory practice understood in a cybernetic sense as feedback and input, and as such, if the project ultimately could be perceived as a “post-participatory” project.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42657942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/20507828.2021.2016254
Jeremy Payne-Frank, Siri Schwabe
Abstract Openness is a term often found in relation with urban development projects that seek to add social value to the built environment, not least within the context of Nordic welfare cities. In this article, we explore the Oslo Opera House (OOH) as an example of contemporary Nordic architecture and interrogate its purported openness through an atmospheric lens. Our study is based on extensive fieldwork and unfolds using three interconnecting generators of atmosphere: materials, light, and movement. We argue that openness is paradoxically shaped through partial atmospheric enclosures, and further suggest that understanding the workings of atmospheres is crucial to coming to terms with how our contemporary urban spaces are produced and experienced.
{"title":"Staging Openness through Atmosphere at the Oslo Opera House","authors":"Jeremy Payne-Frank, Siri Schwabe","doi":"10.1080/20507828.2021.2016254","DOIUrl":"https://doi.org/10.1080/20507828.2021.2016254","url":null,"abstract":"Abstract Openness is a term often found in relation with urban development projects that seek to add social value to the built environment, not least within the context of Nordic welfare cities. In this article, we explore the Oslo Opera House (OOH) as an example of contemporary Nordic architecture and interrogate its purported openness through an atmospheric lens. Our study is based on extensive fieldwork and unfolds using three interconnecting generators of atmosphere: materials, light, and movement. We argue that openness is paradoxically shaped through partial atmospheric enclosures, and further suggest that understanding the workings of atmospheres is crucial to coming to terms with how our contemporary urban spaces are produced and experienced.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42865907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/20507828.2022.2050644
Runa Johannessen, Kirsten Marie Raahauge, Martin Søberg
To describe something as spaces of welfare immediately raises questions: What is welfare and what does it have to do with space? First, the noun welfare has a least two meanings. It can signify the state of a person’s or group’s physical and mental health and happiness, for instance in relation to safety and material goods. It also signifies the help given to people in need, for instance by the state or by organizations. There are various ways in which states might or might not provide such benefits. The Nordic countries (Denmark, Finland, Iceland, Norway and Sweden) are for instance well-known for providing rather extensive services to their inhabitants based on high levels of taxation, a model which political scientist Gøsta Esping-Andersen has described as “a social democratic capitalist welfare state model.” In many other countries, the role of the state is less significant while organizations such as private health insurance companies might be of more importance. Second, welfare – as explicated above – comprises an abundance of elements including people, actions, things and feelings. All these elements interact somewhere, hence the notion of space: Welfare is always situated, for instance as services provided in purpose-built public welfare ARCHITECTURE AND CULTURE
{"title":"Spaces of Welfare: Editorial Introduction","authors":"Runa Johannessen, Kirsten Marie Raahauge, Martin Søberg","doi":"10.1080/20507828.2022.2050644","DOIUrl":"https://doi.org/10.1080/20507828.2022.2050644","url":null,"abstract":"To describe something as spaces of welfare immediately raises questions: What is welfare and what does it have to do with space? First, the noun welfare has a least two meanings. It can signify the state of a person’s or group’s physical and mental health and happiness, for instance in relation to safety and material goods. It also signifies the help given to people in need, for instance by the state or by organizations. There are various ways in which states might or might not provide such benefits. The Nordic countries (Denmark, Finland, Iceland, Norway and Sweden) are for instance well-known for providing rather extensive services to their inhabitants based on high levels of taxation, a model which political scientist Gøsta Esping-Andersen has described as “a social democratic capitalist welfare state model.” In many other countries, the role of the state is less significant while organizations such as private health insurance companies might be of more importance. Second, welfare – as explicated above – comprises an abundance of elements including people, actions, things and feelings. All these elements interact somewhere, hence the notion of space: Welfare is always situated, for instance as services provided in purpose-built public welfare ARCHITECTURE AND CULTURE","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44254078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-28DOI: 10.1080/20507828.2021.1946746
Javier Fernández Contreras
Abstract Enric Miralles’ Ph.D. thesis was first presented in November 1987 at the Barcelona School of Architecture in two small volumes, the first one containing thirty-one pages of text and the second sixty-one illustrations. The thesis, entitled Cosas vistas a izquierda y derecha – sin gafas (“Things Seen to the Right and Left, Without Glasses”), focuses on the relationship between annotation and thought in the notebooks of Grand Tour travelers. Through it, Miralles sought a thought process that was inseparable from graphic expression; the text became more the construction of a personal reflection than a strictly academic discourse. This was why the dissertation was initially rejected. Two subsequent enlargements accounting for more than 200 pages, Miralles’ insistence and his evident erudition finally led to its acceptance. It proved to be the longest document that Miralles ever wrote, and an essential insight into his design method in subsequent years.
摘要Enric Miralles的博士论文于1987年11月在巴塞罗那建筑学院首次发表，分为两小卷，第一卷包含三十一页的文本，第二卷包含六十一幅插图。这篇题为“Cosas vistas a izquierda y derecha–sin gavas”的论文（《看向左右的东西，没有眼镜》），重点研究了Grand Tour旅行者笔记本中注释与思想之间的关系。通过它，米拉莱斯寻求一种与图形表达密不可分的思维过程；文本更多地成为一种个人反思的建构，而不是一种严格意义上的学术话语。这就是论文最初被拒绝的原因。随后的两次放大版长达200多页，Miralles的坚持和他明显的学识最终使其被接受。事实证明，这是米拉莱斯写过的最长的文件，也是他在随后几年的设计方法的重要见解。
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Pub Date : 2021-10-02DOI: 10.1080/20507828.2021.2003059
Sigal Eden Almogi, Shelly Cohen
{"title":"Potential Space: Home during the COVID-19 Pandemic","authors":"Sigal Eden Almogi, Shelly Cohen","doi":"10.1080/20507828.2021.2003059","DOIUrl":"https://doi.org/10.1080/20507828.2021.2003059","url":null,"abstract":"","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45338966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-12DOI: 10.1080/20507828.2021.1945371
Marianna Charitonidou
Abstract 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.
{"title":"Mies van der Rohe’s Zeitwille: Baukunst between Universality and Individuality","authors":"Marianna Charitonidou","doi":"10.1080/20507828.2021.1945371","DOIUrl":"https://doi.org/10.1080/20507828.2021.1945371","url":null,"abstract":"Abstract 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.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42276255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-19DOI: 10.1080/20507828.2021.1919854
D. McMeel
Abstract This article focuses on contemporary craft as a transactional phenomenon in the twenty-first century. It explores the influence of automation technology – such as laser-cutters and robotics – arguing that our approach to automation has gone unchanged since the Industrial Revolution. Practical implementations of automation reinforce a Marxist ideology that labor is placed under threat and individuals stripped of skill. By focusing on craft as a fundamentally transactional activity between individuals, the essay confronts preconceived ideas regarding automation. It steps through a series of theoretical frameworks including Wittgenstein, Arendt and Marx to unpack the relationship between labor, value and craft. Using two case-studies – one designing aided by a laser cutter, the other drawing portraiture with an industrial robot – the author offers a conceptual shift from considering production to be “from” machines to production “with” machines. I use this shift within the case-studies to offer a delineation of streams for approaching and ultimately reclaiming craft from machines.
{"title":"Artisan to Automation: Value and Craft in the 21st Century","authors":"D. McMeel","doi":"10.1080/20507828.2021.1919854","DOIUrl":"https://doi.org/10.1080/20507828.2021.1919854","url":null,"abstract":"Abstract This article focuses on contemporary craft as a transactional phenomenon in the twenty-first century. It explores the influence of automation technology – such as laser-cutters and robotics – arguing that our approach to automation has gone unchanged since the Industrial Revolution. Practical implementations of automation reinforce a Marxist ideology that labor is placed under threat and individuals stripped of skill. By focusing on craft as a fundamentally transactional activity between individuals, the essay confronts preconceived ideas regarding automation. It steps through a series of theoretical frameworks including Wittgenstein, Arendt and Marx to unpack the relationship between labor, value and craft. Using two case-studies – one designing aided by a laser cutter, the other drawing portraiture with an industrial robot – the author offers a conceptual shift from considering production to be “from” machines to production “with” machines. I use this shift within the case-studies to offer a delineation of streams for approaching and ultimately reclaiming craft from machines.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20507828.2021.1919854","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46523315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-19DOI: 10.1080/20507828.2021.1919855
Arielle Marshall
Abstract This paper develops a material history of Art Nouveau with reference to the ceram ic façade of André Arfvidson’s block of artists’ studios at 31 rue Campagne-Première, Paris (1911). Tracking the constituent element of this façade (glazed tile), this paper narrativizes the exchanges between four contexts – industry, craft, architecture and art – that underscored the rise and fall of Art Nouveau in fin-de-siècle France. References are drawn widely from art and archaeology; treating materials as sources of knowledge, complicit in the processes of architectural history. Exploring the idea of Art Nouveau as a transitory movement, this paper fosters a novel reading of the ceramic skin of 31 rue Campagne-Première in material terms.
{"title":"The Skin of a Line: Surface Conditions in the Ceramic Skin of Art Nouveau","authors":"Arielle Marshall","doi":"10.1080/20507828.2021.1919855","DOIUrl":"https://doi.org/10.1080/20507828.2021.1919855","url":null,"abstract":"Abstract This paper develops a material history of Art Nouveau with reference to the ceram ic façade of André Arfvidson’s block of artists’ studios at 31 rue Campagne-Première, Paris (1911). Tracking the constituent element of this façade (glazed tile), this paper narrativizes the exchanges between four contexts – industry, craft, architecture and art – that underscored the rise and fall of Art Nouveau in fin-de-siècle France. References are drawn widely from art and archaeology; treating materials as sources of knowledge, complicit in the processes of architectural history. Exploring the idea of Art Nouveau as a transitory movement, this paper fosters a novel reading of the ceramic skin of 31 rue Campagne-Première in material terms.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20507828.2021.1919855","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42013628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/20507828.2021.1915640
F. Goffi, A. Dekker
Abstract The interview by Federica Goffi with curator and researcher Annet Dekker focused on the archival futures of born digital media. Dekker discussed her 2014–2016 collaboration with Het Nieuwe Instituut (HNI), through the speculative project: New Archive Interpretations, which probed into the digital archive as a system of how processes and individuals influence what can and cannot be seen, accessed, distributed, and re-used. Dekker discussed topics such as the dynamic and stable nature of physical and digital archives; the interdependence between born digital media and software and its impact on conservation; the relation between co-production and authorship; and the vital curatorial questions regarding inclusion/exclusion, omission/promotion of materials. Dekker warns about dark archives and the complexity of technical infrastructures and metadata reflecting ideological constructs and socio-cultural views. The interview questioned whether living digital archives can blur the line between the projective dimension of materials and retrospective conservation.
摘要Federica Goffi对策展人兼研究员Annet Dekker的采访聚焦于天生数字媒体的档案未来。Dekker通过推测性项目“新档案解释”讨论了她与Het Nieuwe Instituut（HNI）在2014-2016年的合作，该项目探讨了数字档案作为一个系统，将过程和个人如何影响哪些内容可以被看到、访问、分发和重复使用。德克尔讨论了一些主题，如物理和数字档案的动态和稳定性质；天生的数字媒体和软件之间的相互依存关系及其对保护的影响；合作制作与作者关系；以及关于材料的纳入/排除、遗漏/推广的重要策展问题。德克尔警告说，黑暗的档案以及反映意识形态结构和社会文化观点的技术基础设施和元数据的复杂性。采访质疑活的数字档案是否会模糊材料的投影维度和追溯性保护之间的界限。
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