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Radical practices, radical pedagogies: intercultural explorations in language and meaning 激进实践,激进教学法:语言和意义的跨文化探索
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/S1359135522000550
Jacqui Alexander, Samuele Grassi, G. Mellos
This article reflects on the visual, spatial, and textual devices deployed by the Architettura Radicale in the 1960s and 1970s through a discussion of a pedagogical project developed for undergraduate architecture students from Monash University, Australia, as part of a travelling intensive based in Prato, Italy. At the time, Prato became the subject of debate about the rapid expansion of consumer culture in Italy, as underscored in Claudio Greppi’s graduating project, ‘Territorial City-Factory’ (1964-5). This architectural proposal rendered the area between Prato and Florence as a totalising city-factory, a proposition that was later developed under Archizoom as ‘No-Stop City’ (1968-70). Greppi’s recasting of Prato as a site for political and architectural experimentation became the catalyst for a teaching-led research project, re-examining the work of the Radical movement in Tuscany. In collaboration with architect and artist Gianni Pettena, the intensive sought to draw out the performative and embodied approaches implicit in his own work and that of his peers including UFO and 9999, as well as the rhetorical devices embedded within the critical fictions of Superstudio and Archizoom. By first dissecting and then redeploying these techniques in response to a site-specific brief, the ultimate pedagogical aim was to expose the students to an expanded range of architectural approaches and to re-evaluate the nature of radical practices ‘within and against’ the omnipresent struggles of late capitalism, and the contemporary cultural and educational context of neoliberalism and the university.
本文通过对澳大利亚莫纳什大学建筑学本科生的教学项目的讨论,反思了20世纪60年代和70年代Radicale建筑事务所所采用的视觉、空间和文本设备,该项目是意大利普拉托密集旅行的一部分。当时,普拉托成为关于意大利消费文化快速扩张的争论的主题,正如克劳迪奥·格雷皮(Claudio Greppi)的毕业项目“领土城市工厂”(1965 -5)所强调的那样。这个建筑方案将普拉托和佛罗伦萨之间的区域呈现为一个整体的城市工厂,这一主张后来在Archizoom的领导下发展为“无停城市”(1968-70)。Greppi将普拉托重新塑造为政治和建筑实验的场所,成为一个以教学为主导的研究项目的催化剂,重新审视托斯卡纳激进运动的工作。在与建筑师和艺术家Gianni Pettena的合作中,他试图在自己的作品和他的同行的作品中,包括UFO和9999,以及在Superstudio和Archizoom的批评性小说中嵌入的修辞手段中,找出隐含的表演和具体化的方法。通过首先剖析然后重新部署这些技术来回应特定的场地简要,最终的教学目标是让学生接触到更广泛的建筑方法,并重新评估激进实践的本质,“内部和反对”无所不在的晚期资本主义斗争,以及新自由主义和大学的当代文化和教育背景。
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引用次数: 0
The ‘becoming-complex’ of architecture 建筑的“变得复杂”
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/S1359135522000562
Jacqui Alexander, Samuele Grassi, G. Mellos, Gianni Pettena
Gianni Pettena (1940) has been described as an ‘architect by training and artist by protest’, and an ‘architect actively on strike’. Both a member of the Florentine branch of the Architettura Radicale and a selfproclaimed outsider – as insinuated by his contribution to the iconic Global Tools portrait, in which he holds up a sign: Io sono la spia, or ‘I am a spy’ – Pettena’s work was unique among the group in its deep affinities with the land art and the American countercultural movement, as an extension of earlier, anti-capitalist ideas pursued in Italy that explored the decoupling of function from form in architecture.
Gianni Pettena(1940)被描述为“训练有素的建筑师和抗议的艺术家”,以及“积极罢工的建筑师”。的佛罗伦萨分支的成员Architettura Radicale和selfproclaimed局外人,暗示他的贡献全球标志性工具肖像,他举起一个信号:Io园子spia,或“我是间谍”——Pettena当中唯一的工作是独特的深度与土地艺术和美国反文化运动的紧密联系,为一个扩展的早些时候,在意大利资本主义的思想追求,探索建筑的功能与形式的分离。
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引用次数: 0
Architecture's learning opportunities 建筑学的学习机会
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135523000015
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引用次数: 0
ARQ volume 26 issue 4 Cover and Back matter ARQ第26卷第4期封面和封底
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135523000027
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引用次数: 0
Sweeping criticism: Rem Koolhaas’ Kunsthal in Rotterdam and the new Europe 全面批评:雷姆·库哈斯的鹿特丹艺术与新欧洲
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135522000574
Tibor Pataky
Previous research on the Kunsthal Rotterdam - designed by OMA/Rem Koolhaas from 1987 to 1992 - has been limited in scope and depth, taking into account only a fraction of the available archival sources. The few scholarly articles to be published in the past twenty years have focused on the relation between interior and exterior (2003), the role of montage (2015), the concept of the ‘pliable’ floor (2018), and a first project for the Kunsthal that never materialised (2016).1 The subject of this article, namely the relation between the project and its context of origin, has not yet been addressed. My argument is based on a research project that reconstructs the genesis of the arts centre in minute detail, drawing on extensive archival research and interviews with several OMA staff members and municipal representatives involved in the project.2 The account dovetails with the discussion of three distinct phases in the Kunsthal's design - the first project, the inception of the second scheme, and the development of the project between 1989 and 1992 - with ‘digressions’ on the respective historical backdrop, concluding with the particularly intricate relation between the project and the prospect of European unification at the turn of the 1990s.
之前对鹿特丹艺术中心的研究——由OMA/Rem Koolhaas于1987年至1992年设计——在范围和深度上都是有限的,只考虑了一小部分可用的档案资源。在过去的二十年里,发表的几篇学术文章集中在室内和室外的关系(2003年),蒙太奇的作用(2015年),“柔软”地板的概念(2018年),以及Kunsthal的第一个从未实现的项目(2016年)本文的主题,即项目与其起源背景之间的关系,尚未得到解决。我的论点是基于一个研究项目,该项目通过广泛的档案研究和对参与该项目的几位OMA工作人员和市政代表的采访,详细地重建了艺术中心的起源该描述与Kunsthal设计的三个不同阶段的讨论相吻合——第一个项目,第二个方案的开始,以及1989年至1992年之间的项目发展——在各自的历史背景下“离题”,最后以该项目与20世纪90年代初欧洲统一前景之间特别复杂的关系结束。
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引用次数: 0
ARQ volume 26 issue 4 Cover and Front matter ARQ第26卷第4期封面和封面
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135523000039
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引用次数: 0
Civil landscapes 民事风景
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135522000549
R. Risser
Drawing on philosophical writings ranging from the Enlightenment and the Romantics through to the contemporary world - including, among others, Rousseau, Hegel, and Thoreau - I explore the civil dimensions of Cornelia Hahn Oberlander’s gardens and landscape designs. I argue that Oberlander’s landscapes are not merely visual delights; they are civil, humanist works. I survey a selection of her designs, from collaborations with Arthur Erickson and Renzo Piano to her public housing projects and the playgrounds that she designed in-and-around her home of Vancouver, Canada. A secondary argument I make is that Oberlander’s gardens and landscapes are not merely aesthetic objects, but artworks, and they do the work of art as Hegel describes it: showing us something of our human spirit, and specifically our creative and political geist.
从启蒙运动和浪漫主义到当代世界的哲学著作——包括卢梭、黑格尔和梭罗——我探索了科妮莉亚·哈恩·奥伯兰德的花园和景观设计的民间层面。我认为奥伯兰德的风景不仅仅是视觉上的愉悦;它们是民间的、人文主义的作品。我调查了她的一些设计,从与亚瑟·埃里克森和伦佐·皮亚诺的合作,到她在加拿大温哥华的家及其周围设计的公共住房项目和操场。我提出的第二个论点是,奥伯兰德的花园和景观不仅是审美对象,而且是艺术品,它们所做的艺术工作正如黑格尔所描述的那样:向我们展示我们的人类精神,特别是我们的创造性和政治精神。
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引用次数: 0
Community Place Initiatives post-austerity, and how a ‘civic’ School of Architecture might support them 紧缩后的社区场所倡议,以及“公民”建筑学院如何支持它们
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/s1359135522000495
C. Butterworth, T. Schneider, Maša Šorn
Austerity measures have been discussed widely since sweeping cuts have been made to local government budgets following the global financial crisis of 2007-08. More than a decade later, the impact of these measures on everyday lives of communities is still growing. We use the context of austerity to discuss our research in partnership with Community Place Initiatives in the city of Sheffield, UK, and to examine the approaches they use to attempt to overcome the shortcomings and challenges of precarity. This article focuses on revealing the impacts that budget cuts have had and are still having, and speculates upon what these findings mean for the role that schools of architecture can play outside the academy. We draw on research conducted by Urban Education Live Sheffield - a team of researchers and educators from the School of Architecture, University of Sheffield in the UK, and the Department of Architecture, Technische Universität Braunschweig in Germany. The team is part of a broader international project, Urban Education Live (UEL), a multidisciplinary research project with partners from across Europe funded by the ERA-NET Cofund Smart Urban Futures (ENSUF) programme, established by the Joint Programming Initiative Urban Europe. Through a multi-modal ethnographic and design-led approach combining interviews, case studies, and ‘live’ pedagogy, we examine how Community Place Initiatives in Sheffield deal with a context that has fundamentally changed the ways in which they operate in, or in relation to, their place over the past decade. We explore how collaborations between these local partners and architectural researchers and students can be mutually beneficial within this context, in order to speculate upon how such collaborations can be more effective in their contribution to local place-based urban capacity building and future resilience.
2007-08年全球金融危机爆发后,地方政府大幅削减预算,自那以来,紧缩措施一直是人们广泛讨论的话题。十多年后,这些措施对社区日常生活的影响仍在扩大。我们利用紧缩的背景来讨论我们与英国谢菲尔德市的社区场所倡议合作进行的研究,并研究他们用来试图克服不稳定的缺点和挑战的方法。这篇文章的重点是揭示预算削减已经产生和仍然存在的影响,并推测这些发现对于建筑学院可以在学院之外发挥的作用意味着什么。我们借鉴了城市教育现场谢菲尔德进行的研究,这是一个由来自英国谢菲尔德大学建筑学院和德国布伦瑞克理工学院Universität建筑系的研究人员和教育工作者组成的团队。该团队是一个更广泛的国际项目“城市教育直播”(UEL)的一部分,这是一个多学科研究项目,由欧洲城市联合规划倡议建立的ERA-NET共同基金智能城市未来(ENSUF)项目资助,由欧洲各地的合作伙伴共同开展。通过多模式人种学和设计为主导的方法,结合访谈、案例研究和“现场”教学法,我们研究了谢菲尔德的社区场所倡议如何处理在过去十年中从根本上改变了他们在其所在地方运作或与其相关的方式的背景。我们探索这些当地合作伙伴与建筑研究人员和学生之间的合作如何在这种背景下互惠互利,以便推测这种合作如何能够更有效地为当地基于地方的城市能力建设和未来弹性做出贡献。
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引用次数: 0
Visualising St Brendan’s: mapping a conservation management plan for Birr Community School 可视化圣布伦丹:绘制Birr社区学校的保护管理计划
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-12-01 DOI: 10.1017/S1359135522000604
G. Boyd, Aoibheann ni Mhearain, J. McLaughlin, Tara D. Kennedy
Paradigmatic of a cultural shift in Irish education in the 1960s, St Brendan’s Community School in Birr, County Offaly was designed by Peter and Mary Doyle as a flexible and extendable mat-building articulated by generous social spaces including exterior courtyards and an interior ‘street’. Owned by the Department of Education and Skills, administered by a Board of Management and occupied by approximately one thousand staff and pupils daily, St Brendan’s has been in continuous use since its opening in 1980. Generations of students have benefited from the intimate relationship between the cultural and social life of the school and the architectural form, fabric, and technology that facilitates it. But by the beginning of the twentieth-first century, due to the lack of consideration given to such aspects at the time it was conceived and constructed, the building was suffering from ongoing material degradation and issues in environmental performance. This article reflects on a research project undertaken on the school, which aimed to provide the means by which its learning environment and energy use could be improved and optimised in a manner consistent with the integrity of the architects’ conceptual thinking and built design: the opportunity for St Brendan’s to continue its course as a successful paradigm, this time for twenty-first-century education through the reconciliation of its future use with its social and education heritage. Guided by the ‘three dimensions of modernity’ - social, technical, and aesthetic - this process involved the development of new ‘ways of seeing’ and ‘methods of action’ applied to the school realised through the production of a series of representations that collectively identified, mapped, and re-presented the significances and values of the school, element by element. The relationships between these phenomena were complex and necessitated an innovative interdisciplinary approach. St Brendan’s may have embodied a radical new social agenda for education and indeed society in twentieth-century Ireland in its architecture, but the building remains unlisted and, until recently, its significance (nationally and internationally) has been much overlooked. Part of this project’s agenda, therefore, involved raising awareness in the value of the building among existing and potential future stakeholders. The creation of accessible forms of communication that would both synthesise and make clear the complex data generated and the relationships between them was of central importance to the team’s approach. The paper ultimately argues that while attuned to a specific site, these techniques contain the possibility of a wider application, a new visual literacy for the conservation of twentieth-century buildings.
圣布伦丹社区学校是20世纪60年代爱尔兰教育文化转变的典范,由彼得和玛丽·道尔设计,它是一个灵活的、可扩展的垫式建筑,由宽敞的社交空间连接起来,包括外部庭院和内部“街道”。圣布伦丹学校由教育和技能部所有,由管理委员会管理,每天约有1000名教职员工和学生,自1980年开放以来一直在持续使用。一代又一代的学生从学校的文化和社会生活与建筑形式、结构和技术之间的亲密关系中受益。但到了21世纪初,由于在构思和建造时缺乏对这些方面的考虑,该建筑遭受了持续的材料退化和环境性能问题。这篇文章反映了在学校进行的一个研究项目,该项目旨在提供一种与建筑师的概念思维和建筑设计的完整性一致的方式来改善和优化其学习环境和能源使用的方法:圣布兰登的机会继续作为一个成功的范例,这一次是为了21世纪的教育,通过其未来的使用与社会和教育遗产的协调。在“现代性的三个维度”——社会、技术和美学——的指导下,这一过程涉及到应用于学校的新的“观察方式”和“行动方法”的发展,通过生产一系列的表征来实现,这些表征集体地识别、映射和再现了学校的意义和价值,一个元素一个元素。这些现象之间的关系是复杂的,需要一种创新的跨学科方法。圣布伦丹教堂的建筑可能体现了20世纪爱尔兰教育和社会的激进新社会议程,但这座建筑仍未被列入名单,直到最近,它的重要性(国内和国际)一直被忽视。因此,该项目的一部分议程涉及提高现有和潜在的未来利益相关者对建筑价值的认识。创建可访问的通信形式,既能合成又能明确生成的复杂数据以及它们之间的关系,这对团队的方法至关重要。这篇论文最后认为,虽然与特定的地点相适应,但这些技术包含了更广泛应用的可能性,为20世纪建筑的保护提供了一种新的视觉素养。
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引用次数: 0
Alistair Fair on supporting transformation Alistair Fair谈支持转型
IF 0.1 4区 艺术学 0 ARCHITECTURE Pub Date : 2022-09-01 DOI: 10.1017/s1359135522000331
A. Fair
Queer Spaces: An Atlas of LGBTQIA+ Places & Stories, edited by Adam Nathanial Furman and Joshua Mardell, is a landmark work in the history of architecture and the city. Bringing together some fifty contributors to discuss almost one hundred buildings and sites (and a few unbuilt projects), this global survey offers a much-needed and diverse overview of the ways in which, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places, for a diverse range of uses from the intensely personal to the highly public. The book’s title is clearly deliberate. Although it has echoes of Aaron Betsky’s seminal Queer Space: Architecture and Same-Sex Desire,1 the plural in the title of the current work – ‘spaces’ is key. Whereas Betsky’s title implied a singular ‘queer space’, Furman and Mardell are concerned to highlight a range of voices and perspectives, from around the globe. For the editors of this volume, queer spaces have a fundamental significance: they are ‘places where you can express yourself without fear or shame.’2 Olivia Laing’s foreword quotes the lyrics to the Pet Shop Boys’ song ‘Being Boring’ in support of this idea: ‘I never dreamt that I would get to be / the creature that I meant to be’, representing what Laing calls ‘the idea of a hidden self, a mysterious creature that can emerge from its chrysalis, given the right conditions.’3 Queer spaces are thus the ‘ecosystem’ that supports this transformation, ranging from buildings designed to support particular ways of living, to subversive, perhaps transient appropriations and adaptations of the built environment. Discussions of queer architecture and urbanism have emerged in print since the 1990s but, though ground-breaking and essential, have often been narrowly focused in terms of place, ethnicity, and gender.4 In contrast, Queer ‘...how, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places ...’
由Adam Nathanial Furman和Joshua Mardell编辑的《酷儿空间:LGBTQIA+地点与故事地图集》是建筑史和城市史上具有里程碑意义的作品。汇集了大约50位贡献者,讨论了近100个建筑和场地(以及一些未建成的项目),这个全球调查提供了一个急需的和多样化的概述,自18世纪以来,酷儿人群创造和占用空间、建筑和场所的方式,用于从强烈的个人到高度公共的各种用途。这本书的书名显然是经过深思熟虑的。虽然它与亚伦·贝茨基的开创性作品《酷儿空间:建筑与同性欲望》相呼应,但当前作品标题中的复数形式——“空间”是关键。贝茨基的标题暗示了一个单一的“酷儿空间”,而弗曼和马德尔则关注于强调来自全球各地的一系列声音和观点。对于这本书的编辑来说,酷儿空间具有根本的意义:它们是“你可以表达自己而不害怕或羞耻的地方”。奥利维亚·莱恩(Olivia Laing)的前言引用了“宠物店男孩”(Pet Shop Boys)的歌曲《无聊》(Being Boring)中的歌词来支持这一观点:“我从未梦想过我会成为/我想成为的那种生物”,这代表了莱恩所说的“隐藏自我的想法,一种神秘的生物,只要条件合适,就能从蛹中钻出来。”因此,酷儿空间是支持这种转变的“生态系统”,从为支持特定生活方式而设计的建筑,到颠覆性的,也许是短暂的挪用和对建筑环境的适应。自20世纪90年代以来,关于酷儿建筑和城市主义的讨论已经出现在印刷品中,但是,尽管具有开创性和必要性,但通常只局限于地点、种族和性别相反,酷儿……自18世纪以来,同性恋者是如何创造和占有空间、建筑和场所的……”
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引用次数: 0
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arq-Architectural Research Quarterly
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