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Silence and the city: an examination of the power of architectural form 寂静与城市:对建筑形式力量的检验
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.1017/S1359135522000367
F. Lyons
The article suggests that the misuse of architectural form is the major threat to our cities. Form has power and form used mindlessly has indiscriminate consequences for the urban environment and its citizens. To explore this ‘silent’ power of form, the article takes Louis Kahn’s lecture on ‘Silence and Light’ as its opening text. Kahn‘s distinction between the ‘measurable’ and ‘unmeasurable’ dimensions of architecture is compared to similar distinctions made by Kant, and extended by Schopenhauer at the turn of the nineteenth century. We learn that it is the ‘unmeasurable’ aspect of reality that gives form its power and in the second part of the article, using detailed analyses of Frank Lloyd Wright’s work, we are able to explain how the ‘unmeasurable’ is revealed within the ‘measurable’ and how such carefully balanced use of form can make a significant contribution to the health of our cities.
这篇文章指出,建筑形式的滥用是对我们城市的主要威胁。形式具有力量,盲目使用形式会对城市环境和市民造成不加区分的后果。为了探索这种“沉默”的形式力量,本文以路易斯·卡恩关于“沉默与光”的演讲作为开篇文本。卡恩对建筑的“可测量”和“不可测量”维度的区分与康德的类似区分进行了比较,并在19世纪初由叔本华扩展。我们了解到,正是现实的“不可测量”方面赋予了形式力量,在文章的第二部分,通过对弗兰克·劳埃德·赖特作品的详细分析,我们能够解释“不可测量”是如何在“可测量”中揭示出来的,以及这种精心平衡的形式使用如何为我们城市的健康做出重大贡献。
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引用次数: 0
Architectural knowledge and the ‘Dravidian’ temple in colonial Madras Presidency 建筑知识和殖民地马德拉斯总统的“德拉威人”寺庙
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000343
C. Branfoot
In around 1912 Gabriel Jouveau-Dubreuil, a young science teacher from French colonial Pondicherry in South India, visited the nearby town of Cuddalore in order to inspect the construction of a new Hindu temple. Since arriving in South India in 1909 he had been travelling to many temples and archaeological sites in order to understand the history of South Indian art. The modern temple that he visited in a suburb of Cuddalore at Tiruppappuliyur was not in fact new but a wholesale renovation of a nine-hundred-year-old shrine on a site sacred to Tamil Shaivas. This was just one of the many temples substantially rebuilt from the 1890s to the 1930s under the patronage of a wealthy merchant community, the Nattukkottai Chettiars, at a time of religious revival and growing Tamil cultural nationalism. The Nattukkottai Chettiars came from the villages and towns of Chettinadu, an arid region in southern Madras Presidency. This region was significant not only for being the provenance of the most prolific patrons of South Indian temple architecture in colonial Madras Presidency but also their builders, for many of the architects and craftsmen working on the temple at Tiruppappuliyur were from villages in Chettinadu. One of these men, M. S. Swaminathan of Pillaiyarpatti, was Jouveau-Dubreuil’s chief informant, one of the many ‘natives’ who were a critical and inextricable element of colonial knowledge production. The understanding of formal composition and terminology that Jouveau-Dubreuil learnt from contemporary architects and craftsmen and his observations of the evolution of architectural design contributed towards the first study of the Tamil temple for both a scholarly and wider public audience from the very earliest monuments of the seventh century through to those currently under construction. This article explores this architectural ‘renaissance’ in colonial Madras Presidency under Chettiar patronage and evaluates modern temple design through the pioneering scholarship of Jouveau-Dubreuil and his contemporaries.
大约在1912年,来自南印度法属殖民地本地治里的年轻科学教师加布里埃尔·朱弗-杜布里尔(Gabriel Jouveau-Dubreuil)为了检查一座新印度教寺庙的建设,来到了附近的Cuddalore镇。自1909年抵达南印度以来,他一直在许多寺庙和考古遗址旅行,以了解南印度艺术的历史。他在库达洛郊区的蒂鲁帕普里尤尔参观的这座现代寺庙实际上并不是新的,而是对一座有900年历史的神庙进行了大规模翻新,该神庙位于泰米尔沙瓦教徒的圣地。从19世纪90年代到20世纪30年代,在一个富有的商人社区Nattukkottai Chettiars的赞助下,在宗教复兴和泰米尔文化民族主义日益增长的时期,许多寺庙得到了大量重建,这只是其中之一。Nattukkottai Chettiars来自马德拉斯南部干旱地区Chettinadu的村庄和城镇。这个地区的重要性不仅在于它是马德拉斯殖民地时期南印度寺庙建筑最多产的赞助人,而且还在于它们的建设者,因为在蒂鲁帕普利尤尔寺庙工作的许多建筑师和工匠都来自切蒂纳杜的村庄。其中一个人是皮莱亚尔帕蒂的斯瓦米纳坦,他是茹弗-迪布勒伊的主要线人,是许多“本地人”中的一个,他们是殖民地知识生产的关键和不可分割的因素。Jouveau-Dubreuil从当代建筑师和工匠那里学习到对形式构成和术语的理解,以及他对建筑设计演变的观察,为学术和更广泛的公众对泰米尔神庙的第一次研究做出了贡献,从7世纪最早的纪念碑到目前正在建设的纪念碑。本文探讨了在Chettiar赞助下的马德拉斯殖民地的建筑“复兴”,并通过Jouveau-Dubreuil及其同时代人的开创性学术来评估现代寺庙设计。
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引用次数: 0
Kirti Durelle on spaces of desertion and the historical architecture of class formation Kirti Durelle关于遗弃空间和阶级形成的历史建筑
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s135913552200029x
K. Durelle
Edited by three historians of varying seniority,1 A Global History of Runaways provides an overview of worker desertions in European imperial territories during the early modern period. Encompassing a range of worker types (slaves, indentured workers, wage workers, convicts and penal labourers, sailors and soldiers, domestic servants, and agricultural workers), the eleven essays outline the experiences and coercive labour conditions that compelled them to abscond from their circumscribed positions, and the effects of desertion on developing capitalist organisation. What is common to the various categories of workers represented in the volume is their labour power in the vast projects of European states’ imperial expansion, often via the East and West India Companies – corporations acting as the vehicles of early capitalist production and trade in the colonies [1]. The historical context of the essays is ‘the establishment of European empires and the rise of capitalism around the globe beginning in the sixteenth century’, two ‘entwined processes [that] created multiple labour regimes’.2 The Portuguese, Dutch, English, French, and Danish India Companies feature prominently as the dominant force in coercive labour relations, as do military and police institutions, local colonial governments, colonial planters, and slave owners. Though perhaps not immediately apparent, this web of colonial agents commanded a tremendous amount of labour power. Taking, for example, the Dutch East India Company (or VOC): Throughout its Eurasian empire, the VOC employed large numbers of sailors, soldiers and other workers engaged in construction, maintenance, warfare, control, and the production and transport and goods. At its height in the middle of the eighteenth century, the Company directly employed some 57,000 workers.3 Texts in this volume share a commitment to studying the historical agencies of these ‘...spatial relationships between escapees and the territories they were fleeing ...’
由三位不同资历的历史学家编辑,《全球逃亡史》提供了近代早期欧洲帝国领土上工人逃亡的概况。这十一篇文章涵盖了一系列的工人类型(奴隶、契约工人、工资工人、罪犯和劳役工人、水手和士兵、家仆和农业工人),概述了迫使他们从受限制的岗位上潜逃的经历和强制劳动条件,以及遗弃对发展资本主义组织的影响。本书中所代表的各类工人的共同点是他们在欧洲国家帝国扩张的庞大项目中的劳动力,通常是通过东印度公司和西印度公司——这些公司作为早期资本主义生产和殖民地贸易的工具[1]。论文的历史背景是“16世纪欧洲帝国的建立和资本主义在全球的兴起”,这两个“相互交织的过程创造了多种劳动制度”葡萄牙、荷兰、英国、法国和丹麦的印度公司,以及军事和警察机构、地方殖民政府、殖民种植园主和奴隶主,都是强制劳动关系中的主导力量。虽然可能不会立即显现出来,但这个殖民代理人网络掌握着大量的劳动力。以荷兰东印度公司(或VOC)为例:在整个欧亚帝国,VOC雇佣了大量的水手、士兵和其他工人从事建筑、维修、战争、控制、生产、运输和货物。在十八世纪中叶的鼎盛时期,公司直接雇用了大约五万七千名工人本卷中的文本都致力于研究这些“……逃亡者和他们逃离的领土之间的空间关系……”
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引用次数: 0
Living (in) the archive 住在档案馆里
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000227
Megha Chand Inglis
Let us sit down here on this seat. We had it made as a sample for a temple in Junagadh. Now it has a place here at home. We call its back the kakshasan. Do you know why? Because the backrest supports the kaksh or the armpit, when you lean against it while sitting, just like this.
让我们坐在这个座位上。我们把它作为样品放在了朱纳加德的一座寺庙里。现在它在国内有了一席之地。我们称它为kakshasan。你知道为什么吗?因为靠背支撑着腋窝,当你坐着的时候靠在靠背上,就像这样。
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引用次数: 0
ARQ volume 26 issue 1 Cover and Back matter ARQ第26卷第1期封面和封底
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000409
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引用次数: 0
The Indian temple and modernity 印度寺庙与现代性
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000306
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引用次数: 0
Sacred architectures as monuments: a study of the Kalkaji Mandir, Delhi 作为纪念碑的神圣建筑:对德里卡尔卡吉神庙的研究
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000380
Deborah Sutton
This article considers the relationship between architecture, bodies, and custodies in the making of Indian urban monuments. Monuments are created through a combination of design and designation. In this article I explore a religious architecture that is dynamic and iterative and at which monumental designation was attempted and quickly abandoned. I align three issues: what a monument looks like, what a monument does, and how both design and function connect to the custodian regimes at monumental, or potentially monumental, sites. In particular, I am concerned with architectures of divinity, and devotion, as both quotidian and monumental aspects of a city.
这篇文章考虑了在印度城市纪念碑的制作中,建筑、身体和保管者之间的关系。纪念碑是通过设计和命名的结合来创造的。在这篇文章中,我探索了一种宗教建筑,它是动态的和迭代的,在这种建筑中,人们尝试了纪念性的命名,但很快就放弃了。我将三个问题结合起来:纪念碑的样子,纪念碑的作用,以及纪念性或潜在纪念性遗址的设计和功能如何与保管制度联系起来。我特别关注具有神性和奉献精神的建筑,它们既是城市的日常方面,也是城市的纪念性方面。
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引用次数: 0
Rethinking ‘architect’ and ‘architecture’
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/S1359135522000318
J. Chatterjee
My fellow architects, let me begin this piece with a provocative, even blasphemous, proposition: it is time to do away with the twin terms ‘architect’ and ‘architecture’ as signs that stand in for what we are, what we do or as a ‘thing’ in the world.
我的建筑师同行们,让我以一个挑衅的,甚至是亵渎的命题开始这篇文章:是时候抛弃“建筑师”和“建筑”这两个术语了,它们代表着我们是什么,我们做什么,或者作为世界上的一个“东西”。
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引用次数: 0
Jeenay bhi do yaaron: reimagining architectural pedagogy and practice in India, 1990–2020 Jeenay bhi do yaaron: 1990-2020年印度建筑教学与实践的重新构想
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000197
Ashok B. Lall
At the Cambridge University Department of Fine Art and Architecture, we were brought up in a tradition of architecture in which the architect was the designer of cultural artefacts. Imagination, here, was aligned to the histories and philosophies of European art and aesthetics, leading up to the ‘modern’ age. It was also concerned, primarily, with the language and expression of philosophic positions and values through form and space of buildings. At the Architectural Association, which I joined after completing my degree at Cambridge, the architect was to be a strategist exploring the systemic possibilities concerning what purposes buildings serve in a changing, dynamic world. This was aligned to systems theory and computer sciences, and the potential of new materials and technologies. And at the Tropical Studies Department, which ran a postgraduate course that evolved into the Development Planning Unit at UCL, the strategist architect or planner was to place herself as an expert of the built environment in the service of the challenging tasks of social and economic development in the developing world.
在剑桥大学美术与建筑系,我们是在建筑的传统中成长起来的,在这种传统中,建筑师是文化艺术品的设计师。在这里,想象力与欧洲艺术和美学的历史和哲学相一致,引领了“现代”时代。它还主要关注通过建筑的形式和空间表达哲学立场和价值观。在完成剑桥大学的学位后,我加入了建筑协会,作为一名建筑师,我将成为一名战略家,探索建筑在一个不断变化、充满活力的世界中服务于何种目的的系统性可能性。这与系统理论和计算机科学以及新材料和新技术的潜力是一致的。在热带研究系,这个研究生课程后来演变成了伦敦大学学院的发展规划部门,战略建筑师或规划师将自己定位为建筑环境专家,为发展中国家具有挑战性的社会和经济发展任务服务。
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引用次数: 0
Ephemeral by design 短暂的设计
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000215
S. Chattopadhyay
Between the months of September and October, Kolkata celebrates the Hindu religious festival of Durgapuja on a grand scale. Organised by local clubs and neighbourhood voluntary associations, approximately 2,500 temporary structures – pandals – are built for the worship or puja of the goddess Durga and her entourage. Of these about two thousand occupy the city’s public spaces: streets, parks, green islands, and vacant lots. A large number of the pandals are finely engineered structures that are fabulously decorated and attract hundreds of thousands of visitors each day of the festivities. It takes anywhere between three months to three days to build these pavilions. After five days of festivities the pandals are dismantled and the clay deities destroyed by immersing them in the Hooghly River or another nearby body of water.
每年的9月到10月,加尔各答都会举行盛大的印度教节日杜尔加普贾节。在当地俱乐部和社区志愿者协会的组织下,建造了大约2500个临时建筑——pandals——用于崇拜或祈祷杜尔迦女神和她的随从。其中大约2000个占据了城市的公共空间:街道、公园、绿岛和空地。许多熊猫都是精心设计的结构,装饰得令人难以置信,在节日期间每天吸引成千上万的游客。建造这些亭子需要三个月到三天的时间。在5天的庆祝活动之后,人们会拆除这些熊猫,将粘土神像浸泡在胡格利河(Hooghly River)或附近的其他水体中,以此摧毁它们。
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引用次数: 0
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arq-Architectural Research Quarterly
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