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ARQ volume 26 issue 1 Cover and Front matter ARQ第26卷第1期封面和封面
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000410
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引用次数: 0
Practice between the profession of architecture and its margins Changing interpretations of architectural modernity 建筑专业与边缘之间的实践对建筑现代性不断变化的诠释
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000203
Megha Chand Inglis, C. Branfoot
Modernity is easy to inhabit but difficult to define. If modernity is to be a definable, delimited concept, we must identify some people or practices or concepts as nonmodern.
现代性很容易居住,但很难定义。如果现代性是一个可定义的、有界限的概念,我们必须将一些人、实践或概念认定为非现代的。
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引用次数: 0
Saptarshi Sanyal on the paradox of categories 萨塔什·桑亚尔论范畴悖论
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000288
Saptarshi Sanyal
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引用次数: 0
Horse and rider: who will drive change in ethics and practices of globalised conservation on living heritage sites? 马与骑手:谁将推动全球化遗产保护的伦理和实践变革?
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/S1359135522000033
O. Prizeman
This article explores challenges that surround the implementation of conservation management strategies for living heritage in the context of two case study sites in India. Acknowledging that, in theory, ‘bottom-up’ strategies for expertise exist but are rarely constituted in practice, it presents two vivid but fragile examples where such possibilities might be observed. It first distinguishes the Indian Cultural Heritage context from many conventional conceptions of heritage, defined by its distance from the beholder. Vignettes illustrate how the complexity of simultaneous value systems and beliefs may confound precepts relating to the treatment of tangible heritage. A discussion of the role of the architect in drawing and model making in this context is promoted for the purpose of deeper documentation. It draws upon previous work, which has proposed the enhanced potential to record the ephemeral as well as the monumental using photogrammetry. Building on this, the role of 3D digital models has recently been suggested as a means to contribute to processes for mediating between contested conservation strategies. Challenges of heritage that is at risk of destruction from being overwhelmed by nature are separated from those associated with dereliction or, in this instance and most importantly, increased use. The two case studies, in north and south India – at Ajmer in Rajasthan and at Madurai in Tamil Nadu – are discussed in relation to other examples. These present the opportunity to consider in context how issues of the designation of value at a local or a global scale might relate to corresponding difficulties in terms of governance and control at local or global scales. It again emphasises the role and scope of deeper documentation for this purpose. In terms of safeguarding, it suggests that better means for deeper observation of existing practices of maintenance should specifically be incorporated in future work.
本文以印度的两个案例研究地点为背景,探讨了围绕实施活态遗产保护管理战略所面临的挑战。承认理论上存在“自下而上”的专门知识策略,但很少在实践中构成,它提出了两个生动但脆弱的例子,可以观察到这种可能性。它首先将印度文化遗产的背景与许多传统的遗产概念区分开来,传统的遗产概念是由它与观察者的距离来定义的。小插图说明了同时存在的价值体系和信仰的复杂性如何可能混淆有关物质遗产处理的规则。在这种情况下,建筑师在绘图和模型制作中的作用的讨论是为了更深入的文档。它借鉴了以前的工作,这些工作提出了使用摄影测量法记录短暂和不朽的增强潜力。在此基础上,3D数字模型的作用最近被建议作为一种手段,有助于调解有争议的保护策略之间的过程。遗产面临着被自然淹没而遭到破坏的风险,这与那些被遗弃或(在这种情况下,最重要的是)被增加使用的挑战是分开的。在印度北部和南部- -在拉贾斯坦邦的Ajmer和在泰米尔纳德邦的Madurai - -进行的两个案例研究与其他例子一起讨论。这提供了一个机会,可以考虑在地方或全球范围内指定价值的问题如何与地方或全球范围内的治理和控制方面的相应困难相关联。它再次强调了为此目的的更深入的文档的作用和范围。在维护方面,它建议在今后的工作中应特别采用更好的方法来更深入地观察现有的维护实践。
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引用次数: 0
Re-creation and self-creation in temple design 寺庙设计中的再创造与自我创造
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2022-03-01 DOI: 10.1017/s1359135522000082
A. Hardy
The article discusses an approach taken for the design of a new temple in Karnataka, India, to be built in the medieval ‘Hoysala’ style, which followed the Karnata Dravida tradition of temple architecture. This style is unfamiliar to present-day traditional temple builders in India. The design needs to be based on research into architectural history, of a kind that aims to relive the processes through which temples were designed, assimilating the architectural language and its principles. This kind of architectural history involves re-creation, and this kind of design can contribute to architectural history as ‘design research’. An application of such research is the reconstruction of temple designs from ruins. The temples can potentially be rebuilt, or they can be reconstructed graphically, and presented meaningfully on site. Re-creation of temples through drawing is also a key for understanding canonical Sanskrit texts on architecture. These texts are not illustrated but call for interpretation through drawing. Temple types are typically presented in sequences of evolution from simple to complex forms, one type emanating from another in way reminiscent of how the architectural traditions themselves develop. Texts provide a framework for a design, demanding interpretation, improvisation, and invention. The results are only partly determined by an individual architect, and the framework can stimulate creations that an individual would never have thought of, as if such temples are svayambhu, or ‘self-creating’. A ’svayambhu’ approach has been taken in the design of the new Hoysala temple. No texts survive from the Karnata Dravida tradition, but the surviving creations of that tradition display the emanatory logic of its unfolding. A ‘self-creating’ design for this temple can be achieved by exploring formal possibilities inherent in the tradition and extrapolating a new form, while accommodating ritual and iconographic requirements, and being open to the unexpected.
本文讨论了印度卡纳塔克邦一座新寺庙的设计方法,该寺庙将以中世纪的“Hoysala”风格建造,遵循卡纳塔陀罗毗陀寺庙建筑的传统。这种风格对于当今印度传统的寺庙建造者来说是陌生的。设计需要基于对建筑史的研究,旨在重温寺庙设计的过程,吸收建筑语言及其原则。这种建筑史涉及到再创造,这种设计可以作为“设计研究”为建筑史做出贡献。这种研究的一个应用就是从废墟中重建寺庙设计。这些寺庙可以重建,也可以用图形化的方式重建,并在现场进行有意义的展示。通过绘画再现寺庙也是理解梵文建筑典籍的关键。这些文本没有插图,但需要通过绘图来解释。寺庙的类型通常是按照从简单到复杂的演变顺序呈现的,一种类型从另一种类型衍生出来,让人想起建筑传统本身是如何发展的。文本为设计提供了一个框架,要求解释、即兴创作和发明。结果只是部分由建筑师个人决定,框架可以激发个人从未想过的创作,好像这样的寺庙是“自我创造”的。新Hoysala寺庙的设计采用了“svayambhu”的方法。没有文本从卡纳塔陀罗吠陀传统中幸存下来,但该传统的幸存创作显示了其展开的发散逻辑。这座寺庙的“自我创造”设计可以通过探索传统中固有的形式可能性和推断出一种新的形式来实现,同时适应仪式和肖像的要求,并对意想不到的东西开放。
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引用次数: 0
Why do you need more towers? Four approaches to sustainable urban regeneration in Japan 你为什么需要更多的塔?日本可持续城市更新的四种方法
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.1017/s1359135522000069
Minna Sunikka-Blank, Yumi Kiyono
The article explores the interpretation of sustainability from the Japanese perspective. Drawing from four case studies, the article asks: how is sustainability interpreted in the context of urban regeneration in Japan? Two case studies (Musashi Kosugi and Kashiwanoha) are high-rise, high-density developments that use new building technology but have little or no attention to the context. UR Yokodai danchi renovation and Kamakura ‘regional capitalism’ are community-led projects that preserve the existing buildings and the local community. These four developments are analysed in relation to sustainability criteria that includes socioeconomic targets and conservation of the townscape. The findings suggest that although Musashi Kosugi and Kashiwanoha are prime examples of urban densification and the use of smart technology, challenges posed by the post-population peak society, oversupply of housing, and consequences of the pandemic question the flexibility and sustainability of these developments. Yokodai danchi demonstrates the potential of postwar housing stock to accommodate sustainable renovation and provide affordable housing. Kamakura ‘regional capitalism’, rooted in joint venture between the local governance, entrepreneurs, and old residents, middle-density and mixed-use urban fabric, can develop into flexible, idiosyncratic, and family-friendly environments. The research suggests that the Japanese government’s new policies such as Super Cities Program should not restrict the vision of sustainable cities to new build developments and that urban densification should not always be taken as a synonym to sustainable city developments.
本文从日本的角度探讨了可持续性的解释。通过四个案例研究,本文提出了一个问题:在日本城市更新的背景下,可持续发展是如何解释的?两个案例研究(Musashi Kosugi和Kashiwanoha)是使用新建筑技术的高层高密度开发项目,但很少或根本不关注环境。UR Yokodai danchi翻新和镰仓“区域资本主义”是社区主导的项目,保护现有建筑和当地社区。分析了这四个发展与可持续性标准的关系,包括社会经济目标和城市景观的保护。研究结果表明,尽管武藏小杉和柏树是城市高密度化和智能技术使用的主要例子,但人口峰值后社会、住房供过于求以及大流行的后果带来的挑战,对这些发展的灵活性和可持续性提出了质疑。横代团地展示了战后住房存量的潜力,以适应可持续的改造和提供经济适用房。镰仓的“区域资本主义”植根于地方政府、企业家和老居民之间的合资企业,中等密度和混合用途的城市结构,可以发展成灵活、独特和家庭友好的环境。研究表明,日本政府的新政策,如超级城市计划,不应将可持续城市的愿景局限于新建开发,城市密度化不应总是被视为可持续城市发展的代名词。
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引用次数: 0
On the image of the Hurricane Katrina and the rebuilding of New Orleans 卡特里娜飓风的形象和新奥尔良的重建
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.1017/S135913552200015X
S. Rodeš
The article examines the neighbourhood of Lower Ninth Ward in New Orleans following the Hurricane Katrina in 2005. It focuses on the rebuilding project initiated by Make it Right Foundation (2007-ongoing), founded by actor Brad Pitt. The article looks into media images of the rebuilding of Lower Ninth, and notes that the rebuilt architecture cannot be analysed outside of its relationship with media and images. The rebuilt architecture in Lower Ninth relates to image in multiple levels - it represents image of social justice and resilience, and aims to assign a new (image) value to the suburb. The article analyses the rebuilding within the framework of the relationships between contemporary architecture and media image and argues that these relationships are more complex than perceived by current architectural literature. It sees these relationships as productive in the case of this rebuilding, and aims to expand the space of their analysis.
这篇文章考察了2005年卡特里娜飓风过后新奥尔良的下九区社区。影片聚焦于由演员布拉德·皮特(Brad Pitt)创立的Make It Right基金会(2007年至今)发起的重建项目。本文考察了下九楼重建的媒体形象,并指出重建后的建筑不能脱离其与媒体和形象的关系来分析。下九区的重建建筑在多个层面上与形象相关——它代表了社会正义和韧性的形象,旨在为郊区赋予新的(形象)价值。文章分析了当代建筑与媒体形象关系框架内的重建,认为这些关系比当前建筑文献所理解的更为复杂。它认为这些关系在这种重建的情况下是富有成效的,并旨在扩大他们的分析空间。
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引用次数: 1
arq at 25 Arq在25
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.1017/S1359135522000161
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引用次数: 0
ARQ volume 25 issue 4 Cover and Back matter ARQ第25卷第4期封面和封底
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.1017/S1359135522000173
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引用次数: 0
Continuity and the everyday in architecture: four British practices working in Flanders 建筑的连续性和日常:四个在佛兰德斯工作的英国实践
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.1017/S1359135522000136
Lucas Antonissen
Since 2000, when the Flemish Government Architect established the ‘Open Oproep’, an instrument for awarding large public building projects in Flanders, it has been relatively easy for foreign offices to compete for commissions that are more difficult to obtain in their own countries. Participating in a competition, however, is one thing, winning it is another. The prevailing building culture creates a certain pattern of expectations against which entries are measured; in a design competition, the architecture needs to connect to this culture to meet these (typically implicit) expectations. In terms of these cultural resonances, Dirk Somers has referred to the ‘brown banana’, a metaphor for an architecture of mutual interest stretching from London, via Flanders, Germany, and Switzerland to part of northern Italy. This is an architecture linked by a certain continuity, defined by both invention and convention. This article takes a closer look at the northwestern part of Somers’s brown banana: Flanders and Great Britain. It examines the work of four contemporary British firms that have featured prominently in the final selection since the ‘Open Oproep’ began; namely, Sergison Bates, Tony Fretton, Maccreanor Lavington, and Witherford Watson Mann. On the basis of publications and lectures about and by these firms, a comparison is made between Flemish architecture and building culture, on one hand, as it has been described in recent years and the theoretical position of the four British firms, on the other. Key concepts in this study are collective memory, accumulation, continuity, style, phenomenology, teaching, and writing.
自2000年以来,佛兰德政府建筑师设立了“Open Oproep”,这是一种在佛兰德斯授予大型公共建筑项目的工具,外国办公室可以相对容易地竞争在本国更难获得的佣金。然而,参加比赛是一回事,赢得比赛是另一回事。流行的建筑文化创造了一定的期望模式,与之相对应的是衡量入口;在设计竞赛中,架构需要与这种文化相联系,以满足这些(通常是隐含的)期望。在这些文化共鸣方面,Dirk Somers提到了“棕色香蕉”,这是一个从伦敦延伸到佛兰德斯、德国、瑞士和意大利北部部分地区的共同利益的建筑的隐喻。这是一个由一定的连续性联系起来的建筑,由发明和惯例定义。本文将深入研究萨默斯棕香蕉的西北部:佛兰德斯和大不列颠。它考察了四家当代英国公司的作品,这些公司自“Open opproep”开始以来在最终评选中占据突出地位;也就是中士森·贝茨、托尼·弗雷顿、麦克雷诺·拉文顿和威瑟福德·华生·曼。在关于这些公司的出版物和讲座的基础上,对佛兰德建筑和建筑文化进行了比较,一方面是近年来所描述的,另一方面是四家英国公司的理论立场。本研究的主要概念是集体记忆、积累、连续性、风格、现象学、教学和写作。
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arq-Architectural Research Quarterly
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