Pub Date : 2021-03-01DOI: 10.1017/S1359135521000142
Anna Myjak-Pycia
The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).
参与式建筑设计的现象被认为出现在20世纪60年代末和70年代的欧洲。1969年，吉安卡洛·德·卡洛(Giancarlo De Carlo)，其主要倡导者之一，发表了一份宣言，他断言“建筑太重要了，不能留给建筑师”，批评建筑实践是一种“建筑内在的侵略性和用户的被动”的关系，并呼吁在建筑师和用户之间建立“创造性和决策等价的条件”，这样实际上建筑师和用户都承担了建筑师的角色。他还主张“发现用户的需求”，并将设计过程设想为“与”用户一起规划，而不是“为”用户规划同年，De Carlo开始在意大利Terni的一个住宅区工作，让未来的居住者参与设计决策。在那个时候进行的其他参与性项目中，有Lucien Kroll为鲁汶大学设计的医学院大楼(1970-6)和Ottaker Uhl在维也纳设计的多层公寓楼Fesstgasse Housing(1979)。
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Pub Date : 2021-03-01DOI: 10.1017/s135913552100018x
straightforward, rational consequence of design decisions taken in relation to programme, site, and environmental and social conditions. There has been plenty of research – in relation to particular designers, design practices, building types, and numerous thematics – illustrating how modern architects’ judgements of what might be considered straightforward or rational played out. There is also much contemporary scholarship surrounding how other human and non-human factors produce form, such as: environmental agents (at a variety of scales); the multiple infrastructures into which buildings are connected; cultural and political ideas including those of gender, ethnicity, class, and power; the cultures of design in which architecture gets produced; the influence of regulations, contract, and specification types; and of digital and analogue representation practices. In this context, our current issue of arq addresses various factors influencing form, examining historical and contemporary examples. Matthew Mindrup examines how certain postwar modern architects and engineers imagined architecture as the clear expression of structure via the medium of models (pp. 4–16), considering how ‘clarity of form and function’ emerged through modelmaking practices. Anna Myjak-Pycia recounts how home economists of the 1950s and ‘60s ‘dismantled the traditional notion of architectural authorship’, analysing the function of spaces in direct participation with users, bypassing architects’ form-making ego (pp. 17–30). In contrast, Simon Richards shows how cultural forces play out in form-making by interpreting demolition traditions, relating together the works of architect Arata Isozaki and writer Ango Sakaguchi (pp. 31–42); and Stephen Parnell and Mark Sawyer document how architectural magazines, powerful influencers of architectural culture and therefore architectural form, can themselves be imagined as sites of architectural production or as architectural projects. Meanwhile, Mark David Major examines the multiple interconnected factors at play in the failure of the Pruitt-Igoe housing scheme in St Louis, Missouri, famously demolished in 1972 (pp. 55–68); and Aleksandar Kŭsić and Vladan Djokić examine Belgrade’s late 1960s Julino Brdo housing estate as a consequence of the wider dynamics of the city’s socialist urbanisation. Lastly, Jing Yang, Jonathan Hale, and Toby Blackman appreciate light, movement, and the effects of film editing techniques on designers’ and inhabitants’ imaginations, as factors influencing the experience of form, in relation to the Rolex Learning Centre in Lausanne designed by SANAA in 2010.
与项目、场地、环境和社会条件相关的设计决策的直接、合理的结果。有大量的研究——与特定的设计师、设计实践、建筑类型和众多的主题有关——说明了现代建筑师如何判断什么可能被认为是直接的或理性的。也有很多关于其他人为和非人为因素如何产生形式的当代学术研究，例如:环境因素(在各种尺度上);连接建筑物的多个基础设施;文化和政治观念，包括性别、种族、阶级和权力观念;建筑产生的设计文化;法规、合同、规范类型的影响;以及数字和模拟表现实践。在这种背景下，我们本期的arq探讨了影响形式的各种因素，考察了历史和当代的例子。Matthew Mindrup考察了战后某些现代建筑师和工程师如何将建筑想象为通过模型媒介清晰地表达结构(第4-16页)，并考虑了“形式和功能的清晰度”是如何通过模型制作实践出现的。Anna Myjak-Pycia讲述了20世纪50年代和60年代的家庭经济学家是如何“拆除传统的建筑作者概念”的，他们绕过建筑师的自我形式，与用户直接参与分析空间的功能(第17-30页)。相比之下，西蒙·理查兹通过解释拆迁传统，将建筑师矶崎荒田和作家坂口安的作品联系在一起，展示了文化力量如何在形式制造中发挥作用(第31-42页);斯蒂芬·帕内尔和马克·索耶记录了建筑杂志是如何对建筑文化和建筑形式产生强大影响的，它们本身可以被想象为建筑生产或建筑项目的场所。与此同时，马克·大卫·梅杰(Mark David Major)研究了导致1972年密苏里州圣路易斯市普鲁特-伊戈(Pruitt-Igoe)住房计划失败的多个相互关联的因素(第55-68页);Aleksandar Kŭsić和Vladan djokiki研究了贝尔格莱德20世纪60年代末的Julino Brdo住宅区，作为城市社会主义城市化的更广泛动态的结果。最后，杨静、乔纳森·黑尔和托比·布莱克曼以2010年SANAA在洛桑设计的劳力士学习中心为例，将光线、运动以及电影剪辑技术对设计师和居民想象力的影响作为影响形式体验的因素。
{"title":"Factors influencing form","authors":"","doi":"10.1017/s135913552100018x","DOIUrl":"https://doi.org/10.1017/s135913552100018x","url":null,"abstract":"straightforward, rational consequence of design decisions taken in relation to programme, site, and environmental and social conditions. There has been plenty of research – in relation to particular designers, design practices, building types, and numerous thematics – illustrating how modern architects’ judgements of what might be considered straightforward or rational played out. There is also much contemporary scholarship surrounding how other human and non-human factors produce form, such as: environmental agents (at a variety of scales); the multiple infrastructures into which buildings are connected; cultural and political ideas including those of gender, ethnicity, class, and power; the cultures of design in which architecture gets produced; the influence of regulations, contract, and specification types; and of digital and analogue representation practices. In this context, our current issue of arq addresses various factors influencing form, examining historical and contemporary examples. Matthew Mindrup examines how certain postwar modern architects and engineers imagined architecture as the clear expression of structure via the medium of models (pp. 4–16), considering how ‘clarity of form and function’ emerged through modelmaking practices. Anna Myjak-Pycia recounts how home economists of the 1950s and ‘60s ‘dismantled the traditional notion of architectural authorship’, analysing the function of spaces in direct participation with users, bypassing architects’ form-making ego (pp. 17–30). In contrast, Simon Richards shows how cultural forces play out in form-making by interpreting demolition traditions, relating together the works of architect Arata Isozaki and writer Ango Sakaguchi (pp. 31–42); and Stephen Parnell and Mark Sawyer document how architectural magazines, powerful influencers of architectural culture and therefore architectural form, can themselves be imagined as sites of architectural production or as architectural projects. Meanwhile, Mark David Major examines the multiple interconnected factors at play in the failure of the Pruitt-Igoe housing scheme in St Louis, Missouri, famously demolished in 1972 (pp. 55–68); and Aleksandar Kŭsić and Vladan Djokić examine Belgrade’s late 1960s Julino Brdo housing estate as a consequence of the wider dynamics of the city’s socialist urbanisation. Lastly, Jing Yang, Jonathan Hale, and Toby Blackman appreciate light, movement, and the effects of film editing techniques on designers’ and inhabitants’ imaginations, as factors influencing the experience of form, in relation to the Rolex Learning Centre in Lausanne designed by SANAA in 2010.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"24 1","pages":"3 - 3"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79215041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.1017/S1359135521000166
Chiara Monterumisi
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Pub Date : 2021-03-01DOI: 10.1017/S1359135521000130
M. Major
Pruitt-Igoe, in St Louis, Missouri, United States, was one of the most notorious social housing projects of the twentieth century. Charles Jencks argued opening his book The Language of Post-Modern Architecture, ‘Modern Architecture died in St Louis, Missouri on July 15, 1972 at 3.32 pm (or thereabouts) when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite.’ However, the magazine Architectural Forum had heralded the project as ‘the best high apartment’ of the year in 1951. Indeed, one of its first residents in 1957 described Pruitt-Igoe as ‘like an oasis in a desert, all of this newness’. But a later resident derided the housing project as ‘Hell on Earth’ in 1967. Only eighteen years after opening, the St Louis Public Housing Authority (PHA) began demolishing Pruitt-Igoe in 1972 [1]. It remains commonly cited for the failures of modernist design and planning.
{"title":"‘Excavating’ Pruitt-Igoe using space syntax","authors":"M. Major","doi":"10.1017/S1359135521000130","DOIUrl":"https://doi.org/10.1017/S1359135521000130","url":null,"abstract":"Pruitt-Igoe, in St Louis, Missouri, United States, was one of the most notorious social housing projects of the twentieth century. Charles Jencks argued opening his book The Language of Post-Modern Architecture, ‘Modern Architecture died in St Louis, Missouri on July 15, 1972 at 3.32 pm (or thereabouts) when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite.’ However, the magazine Architectural Forum had heralded the project as ‘the best high apartment’ of the year in 1951. Indeed, one of its first residents in 1957 described Pruitt-Igoe as ‘like an oasis in a desert, all of this newness’. But a later resident derided the housing project as ‘Hell on Earth’ in 1967. Only eighteen years after opening, the St Louis Public Housing Authority (PHA) began demolishing Pruitt-Igoe in 1972 [1]. It remains commonly cited for the failures of modernist design and planning.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"45 1","pages":"55 - 68"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88469300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.1017/S135913552100004X
A. Kušić, V. Djokić
The housing estate of Julino Brdo was built in the late 1960s in the Čukarica municipality of Belgrade, and housed the ‘middle class’ of Yugoslav selfmanagement socialism – managers, experts, and administrators, in an area that was also populated by the improvised homes of illegal settlers. Approaching the estate from the north, the observer first notices two clusters of homogeneous masses rising out of a plateau known as ‘Grujina Strana’. As the observer moves forward, the estate briefly disappears from sight, only to reappear as a single cluster merged with the steep sides of the plateau.
{"title":"The parallax landscape and its middle-class spatiality: the case of the Julino Brdo housing estate, Belgrade","authors":"A. Kušić, V. Djokić","doi":"10.1017/S135913552100004X","DOIUrl":"https://doi.org/10.1017/S135913552100004X","url":null,"abstract":"The housing estate of Julino Brdo was built in the late 1960s in the Čukarica municipality of Belgrade, and housed the ‘middle class’ of Yugoslav selfmanagement socialism – managers, experts, and administrators, in an area that was also populated by the improvised homes of illegal settlers. Approaching the estate from the north, the observer first notices two clusters of homogeneous masses rising out of a plateau known as ‘Grujina Strana’. As the observer moves forward, the estate briefly disappears from sight, only to reappear as a single cluster merged with the steep sides of the plateau.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"296 1","pages":"69 - 82"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74954208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.1017/S1359135521000051
Matthew Mindrup
In the above cited quote, Kevin Roche, a principal associate at Eero Saarinen’s architectural practice in 1957, recalls an early morning discussion about the design of the Trans World Airlines’ (TWA) Flight Center. Roche’s story about Saarinen reminds us that at the beginning of an architectural project, a solution may come from any variety of sources, not least of all from everyday objects. This was certainly the case for Saarinen, who found the seed for his design of the structural shells of the TWA Flight Center in the rind of a grapefruit. Despite its seeming novelty, Saarinen is not unique in his approach to the generation of architectural form with models; the Greek-French composer, architect and engineer Iannis Xenakis, who while working with Le Corbusier in 1957, used strings and thick wire to design the hyperbolic shell for their Philips Pavilion at the 1958 Brussels Expo. That a model will play a defining role in an architect’s approach to structural design is also demonstrated by the ‘spherical solution’ that Jørn Utzon discovered while stacking models of his Sydney Opera House’s shell roofs. These explorations with the expression of structure emerged at a time when a new generation of designers, including Eduardo Torroja, Pier Luigi Nervi and Felix Candela, had realised a handful of buildings using models to study and test structural form.
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Pub Date : 2021-01-01DOI: 10.5659/AIKAR.2021.23.2.19
Sook-Young Lee, Li-Ting Hung, H. Chaudhury, Agneta Morelli
{"title":"Effects of Physical Environment on Quality of Life among Residents with Dementia in Long-Term Care Facilities in Canada and Sweden: A longitudinal study in a large-scale institutional setting versus a small-scale homelike setting","authors":"Sook-Young Lee, Li-Ting Hung, H. Chaudhury, Agneta Morelli","doi":"10.5659/AIKAR.2021.23.2.19","DOIUrl":"https://doi.org/10.5659/AIKAR.2021.23.2.19","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"12 1","pages":"19-28"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81844318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-28DOI: 10.1017/S1359135520000457
Stephen Parnell, M. Sawyer
This article develops a theoretical framework for the relationship between the architectural magazine and architecture, understood as a profession, a discipline, and a culture. By developing David Abrahamson’s idea of ‘magazine exceptionalism’ from the field of magazines studies, it offers a definition of what constitutes an architectural magazine, arguing that to be architectural, a magazine must be a site of architectural production, as either a validator in the field of architecture or as an architectural project in its own right.
{"title":"In search of architectural magazines","authors":"Stephen Parnell, M. Sawyer","doi":"10.1017/S1359135520000457","DOIUrl":"https://doi.org/10.1017/S1359135520000457","url":null,"abstract":"This article develops a theoretical framework for the relationship between the architectural magazine and architecture, understood as a profession, a discipline, and a culture. By developing David Abrahamson’s idea of ‘magazine exceptionalism’ from the field of magazines studies, it offers a definition of what constitutes an architectural magazine, arguing that to be architectural, a magazine must be a site of architectural production, as either a validator in the field of architecture or as an architectural project in its own right.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"72 1","pages":"43 - 54"},"PeriodicalIF":0.1,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81495132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1017/s1359135521000099
{"title":"Longing to re-inhabit public architecture and civic space","authors":"","doi":"10.1017/s1359135521000099","DOIUrl":"https://doi.org/10.1017/s1359135521000099","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"24 1","pages":"307 - 308"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86963516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.1017/S1359135521000026
Stuart Mills
In the summer of 1945, Ernö Goldfinger produced a twenty-sheet exhibition entitled ‘Planning Your Neighbourhood’ (PYN) for the Army Bureau of Current Affairs (ABCA) [1]. It shows how Goldfinger continued to promote a vision of modern architecture that had evolved in the 1930s, by adapting it to planning for postwar urban reconstruction. The reach of PYN went beyond that of a public exhibition because of its role in Army education; for the majority of its audience it wasn’t a matter of choice – the sheets were brought to them. This article examines the strategies he adopted to communicate the validity of modernism in Britain. It will show how wartime circumstances provided Goldfinger with a remarkable opportunity to present modern architecture to a mass audience.
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