Pub Date : 2021-06-01DOI: 10.1017/S135913552100021X
Álvaro Clua Uceda
On 11 October 1935, the inauguration of the Slussen urban cloverleaf took place in front of the excited citizens of Stockholm. It had the attributes of a pure traffic machine taken from the most advanced traffic engineering publications, and it expressed the optimistic cultural modernism that five years ago the Stockholm International Exhibition had promoted.1 This urban cloverleaf was made of translucent glass, reinforced concrete, metallic handrails, and reflective tiles and was meant to solve, in one single gesture, the complex urban link between the Lake Mälaren and the Baltic Sea, between Gamla Stan – the historic city centre – and Södermalm – the southern district built on top of the 35-metre-high plateau [1]. The solution made difficult urban compromises between the foothills of the Brunkeberg topography, the smooth water surfaces of the Stockholm archipelago, the architecture of the historic urban tissue, and the demands of a complex articulated mobility. Boats, goods, suburban trains, subways, trams – later buses – pedestrians, cyclists, and automobiles finally converged on this place at different levels, completing the intricacies of a threedimensional geometry which, for the first time in history, was inserted into a compact city.
{"title":"Urban cloverleaves: origin, aesthetics, and contradictions of the Slussen, Stockholm","authors":"Álvaro Clua Uceda","doi":"10.1017/S135913552100021X","DOIUrl":"https://doi.org/10.1017/S135913552100021X","url":null,"abstract":"On 11 October 1935, the inauguration of the Slussen urban cloverleaf took place in front of the excited citizens of Stockholm. It had the attributes of a pure traffic machine taken from the most advanced traffic engineering publications, and it expressed the optimistic cultural modernism that five years ago the Stockholm International Exhibition had promoted.1 This urban cloverleaf was made of translucent glass, reinforced concrete, metallic handrails, and reflective tiles and was meant to solve, in one single gesture, the complex urban link between the Lake Mälaren and the Baltic Sea, between Gamla Stan – the historic city centre – and Södermalm – the southern district built on top of the 35-metre-high plateau [1]. The solution made difficult urban compromises between the foothills of the Brunkeberg topography, the smooth water surfaces of the Stockholm archipelago, the architecture of the historic urban tissue, and the demands of a complex articulated mobility. Boats, goods, suburban trains, subways, trams – later buses – pedestrians, cyclists, and automobiles finally converged on this place at different levels, completing the intricacies of a threedimensional geometry which, for the first time in history, was inserted into a compact city.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"9 1","pages":"177 - 190"},"PeriodicalIF":0.1,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74556555","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 : 2021-06-01DOI: 10.1017/s1359135521000221
Simon Weir, G. Hill
Scholarly analysis of the writings on architecture of philosopher Friedrich Nietzsche (1844–1900) has largely focused on passages in Twilight of the Idols where he claims that ‘Architecture is a kind of eloquence of power in forms – now persuading, even flattering, now only commanding.’1 Yet, considering Nietzsche’s theory of the will-to-power – that an innate drive towards power, might, and self-overcoming is the dominant force of existence – architecture gets interpreted in this passage as he would likely have interpreted sculpture. Any recognition of the social, political, physical, and psychological accommodations of architecture are absent. However, in a passage in Joyful Wisdom entitled ‘Architecture for the Perceptive’, Nietzsche wrote of architecture as a carefully crafted space to inhabit. This discussion of architecture as a lived space has received considerably less attention.
{"title":"Making space for degenerate thinking: revaluing architecture with Friedrich Nietzsche","authors":"Simon Weir, G. Hill","doi":"10.1017/s1359135521000221","DOIUrl":"https://doi.org/10.1017/s1359135521000221","url":null,"abstract":"Scholarly analysis of the writings on architecture of philosopher Friedrich Nietzsche (1844–1900) has largely focused on passages in Twilight of the Idols where he claims that ‘Architecture is a kind of eloquence of power in forms – now persuading, even flattering, now only commanding.’1 Yet, considering Nietzsche’s theory of the will-to-power – that an innate drive towards power, might, and self-overcoming is the dominant force of existence – architecture gets interpreted in this passage as he would likely have interpreted sculpture. Any recognition of the social, political, physical, and psychological accommodations of architecture are absent. However, in a passage in Joyful Wisdom entitled ‘Architecture for the Perceptive’, Nietzsche wrote of architecture as a carefully crafted space to inhabit. This discussion of architecture as a lived space has received considerably less attention.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"12 1","pages":"125 - 132"},"PeriodicalIF":0.1,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89796256","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 : 2021-04-21DOI: 10.1017/S1359135522000148
Jake M. Robinson, H. Watkins, I. Man, C. Liddicoat, R. Cameron, B. Parker, M. Cruz, L. Meagher
Microbiome-Inspired Green Infrastructure (MIGI) was recently proposed as an integrative system to promote healthy urban ecosystems through multidisciplinary design. Specifically, MIGI is defined as nature-centric infrastructure restored, designed, and managed to enhance health-promoting interactions between humans and environmental microbiomes while sustaining microbially mediated ecosystem functionality and resilience. MIGI also aims to stimulate a research agenda that focuses on considerations for the importance of urban environmental microbiomes. In this article, we provide details of what MIGI entails from a bioscience and biodesign perspective, highlighting the potential dual benefits for human and ecosystem health. We present ‘what is known’ about the relationship between urban microbiomes, green infrastructure, and environmental factors that may affect urban ecosystem health - taken here to mean ecosystem functionality and resilience, as well as human health. We discuss how to start operationalising the MIGI concept based on current available knowledge and present a horizon-scan of emerging and future considerations in research and practice. We conclude by highlighting challenges to implementing MIGI and propose a series of workshops to discuss multi-stakeholder needs and opportunities. This research will enable urban landscape managers to incorporate initial considerations for the microbiome in their development projects to promote human and ecosystem health. However, overcoming the challenges to operationalising MIGI will be essential to furthering its practical development. Although the research is in its infancy, there is considerable potential for MIGI to help deliver sustainable urban development driven by considerations for reciprocal relations between humans and the foundations of our ecosystems – the microorganisms.
{"title":"Microbiome-Inspired Green Infrastructure: a bioscience roadmap for urban ecosystem health","authors":"Jake M. Robinson, H. Watkins, I. Man, C. Liddicoat, R. Cameron, B. Parker, M. Cruz, L. Meagher","doi":"10.1017/S1359135522000148","DOIUrl":"https://doi.org/10.1017/S1359135522000148","url":null,"abstract":"Microbiome-Inspired Green Infrastructure (MIGI) was recently proposed as an integrative system to promote healthy urban ecosystems through multidisciplinary design. Specifically, MIGI is defined as nature-centric infrastructure restored, designed, and managed to enhance health-promoting interactions between humans and environmental microbiomes while sustaining microbially mediated ecosystem functionality and resilience. MIGI also aims to stimulate a research agenda that focuses on considerations for the importance of urban environmental microbiomes. In this article, we provide details of what MIGI entails from a bioscience and biodesign perspective, highlighting the potential dual benefits for human and ecosystem health. We present ‘what is known’ about the relationship between urban microbiomes, green infrastructure, and environmental factors that may affect urban ecosystem health - taken here to mean ecosystem functionality and resilience, as well as human health. We discuss how to start operationalising the MIGI concept based on current available knowledge and present a horizon-scan of emerging and future considerations in research and practice. We conclude by highlighting challenges to implementing MIGI and propose a series of workshops to discuss multi-stakeholder needs and opportunities. This research will enable urban landscape managers to incorporate initial considerations for the microbiome in their development projects to promote human and ecosystem health. However, overcoming the challenges to operationalising MIGI will be essential to furthering its practical development. Although the research is in its infancy, there is considerable potential for MIGI to help deliver sustainable urban development driven by considerations for reciprocal relations between humans and the foundations of our ecosystems – the microorganisms.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"26 1","pages":"292 - 303"},"PeriodicalIF":0.1,"publicationDate":"2021-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78238273","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/s1359135521000154
Simon Richards
If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.
{"title":"Demolition traditions: Isozaki and Sakaguchi","authors":"Simon Richards","doi":"10.1017/s1359135521000154","DOIUrl":"https://doi.org/10.1017/s1359135521000154","url":null,"abstract":"If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"96 1","pages":"31 - 42"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83378477","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/S1359135521000129
Jing Yang, J. Hale, Toby Blackman
The Venice Architecture Biennale in 2010, curated by Japanese architect Kazuyo Sejima, co-founder of Tokyo-based practice SANAA, included a remarkable twenty-four-minute 3D film by the German director Wim Wenders depicting the practice’s Rolex Learning Centre in Switzerland. Entitled If Buildings Could Talk, the film ran in a continuous loop, without a tangible beginning or end, much like the building itself. Invited by SANAA to develop the film, Wenders found himself confronted with a new type of space that he had no prior experience of, and no vocabulary to describe: ‘The Rolex Learning Centre’, said Wenders during a talk given at the Biennale, ‘is more landscape than building.’
{"title":"How do buildings talk? Embodied experience in the Rolex Learning Centre","authors":"Jing Yang, J. Hale, Toby Blackman","doi":"10.1017/S1359135521000129","DOIUrl":"https://doi.org/10.1017/S1359135521000129","url":null,"abstract":"The Venice Architecture Biennale in 2010, curated by Japanese architect Kazuyo Sejima, co-founder of Tokyo-based practice SANAA, included a remarkable twenty-four-minute 3D film by the German director Wim Wenders depicting the practice’s Rolex Learning Centre in Switzerland. Entitled If Buildings Could Talk, the film ran in a continuous loop, without a tangible beginning or end, much like the building itself. Invited by SANAA to develop the film, Wenders found himself confronted with a new type of space that he had no prior experience of, and no vocabulary to describe: ‘The Rolex Learning Centre’, said Wenders during a talk given at the Biennale, ‘is more landscape than building.’","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"35 1","pages":"83 - 92"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82512835","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/s1359135521000191
{"title":"ARQ volume 25 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1359135521000191","DOIUrl":"https://doi.org/10.1017/s1359135521000191","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"1 1","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87779880","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/s1359135521000208
{"title":"ARQ volume 25 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1359135521000208","DOIUrl":"https://doi.org/10.1017/s1359135521000208","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":"70 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85696153","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}
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