Pub Date : 2023-06-30DOI: 10.4305/metu.jfa.2023.1.6
Başak YÜNCÜ KARANFİL, A. Tavukçuoğlu
Contemporary building technology focuses on fully airtight building envelopes supported with mechanical or hybrid ventilation systems for energy-efficient buildings and healthier indoors. In fact, during COVID-19 pandemic and associated lock-downs, people realized how valuable fresh air is in built environments. Experts and governments promoted natural ventilation to meet higher air change rates. If mechanical ventilation is the only option, it is recommended to stop recirculation and feed the indoor air with 100% outdoor air (ASHREA, 2020; REHVA, 2021). These recommendations are quite challenging for a sustainable construction sector aiming at energy efficiency. This challenge presents an opportunity to think out of the box. In other words, this situation awakens curiosity to other undiscovered horizons beyond the common approach which encourages fully airtight built environments and advanced mechanical ventilation solutions. Here, this study asks a striking question: “What if the key to healthier indoor air is the breathable building envelopes?” This question may be considered as a paradigm shift for the building science community obsessed with airtightness. In fact, the concept of breathable walls is not new, but this hitherto underestimated approach is worth reconsidering.
{"title":"A NEW APPROACH CHANGING EXPECTATIONS FROM SOLID PARTS OF BUILDING ENVELOPES: TESTING THE CARBON DIOXIDE DIFFUSION AND RETAINING PERFORMANCES OF BUILDING MATERIALS","authors":"Başak YÜNCÜ KARANFİL, A. Tavukçuoğlu","doi":"10.4305/metu.jfa.2023.1.6","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.6","url":null,"abstract":"Contemporary building technology focuses on fully airtight building envelopes supported with mechanical or hybrid ventilation systems for energy-efficient buildings and healthier indoors. In fact, during COVID-19 pandemic and associated lock-downs, people realized how valuable fresh air is in built environments. Experts and governments promoted natural ventilation to meet higher air change rates. If mechanical ventilation is the only option, it is recommended to stop recirculation and feed the indoor air with 100% outdoor air (ASHREA, 2020; REHVA, 2021). These recommendations are quite challenging for a sustainable construction sector aiming at energy efficiency. This challenge presents an opportunity to think out of the box. In other words, this situation awakens curiosity to other undiscovered horizons beyond the common approach which encourages fully airtight built environments and advanced mechanical ventilation solutions. Here, this study asks a striking question: “What if the key to healthier indoor air is the breathable building envelopes?” This question may be considered as a paradigm shift for the building science community obsessed with airtightness. In fact, the concept of breathable walls is not new, but this hitherto underestimated approach is worth reconsidering.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82909193","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 : 2023-06-30DOI: 10.4305/metu.jfa.2023.1.8
Hande SAVAŞ OKUMUŞ, Figen Kıvılcım Çorakbaş
{"title":"UNDERSTANDING, INTERPRETING AND PRESENTING HERITAGE SITES THAT LACK INTEGRITY: THE CASE OF THE OLD ARİFİYE VILLAGE INSTITUTE CAMPUS","authors":"Hande SAVAŞ OKUMUŞ, Figen Kıvılcım Çorakbaş","doi":"10.4305/metu.jfa.2023.1.8","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.8","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87638273","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 : 2023-06-30DOI: 10.4305/metu.jfa.2023.1.2
Tuğba Özer
{"title":"ALDO VAN EYCK’İN ARA ALAN KAVRAMININ GÖZDEN GEÇİRİLMESİ","authors":"Tuğba Özer","doi":"10.4305/metu.jfa.2023.1.2","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.2","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82752823","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 : 2023-06-30DOI: 10.4305/metu.jfa.2023.1.7
Aysu Boysan, Gülru MUTLU TUNCA
Architects and designers have debated consumerism and its effect on the production and design of cultural content since Adorno and Horkheimer first claimed in their 1947 essay “The Culture Industry: Enlightenment as Mass Deception” that culture and cultural products became commodities of the constant reproduction and legitimization progress of capitalism and industrial society. Nevertheless, the discussions have never been as intense as in the 1960s and 1970s European intelligentsia, when the economic boom amplified the controversial progress of mass production and consumption. One of the first instances of this highly critical and political intellect’s dissemination on the other side of the ocean was through the 1972 cutting-edge exhibition “Italy: The New Domestic Landscape” (INDL), held in the Museum of Modern Art, New York (MoMA, NY), which had broad repercussions on the architecture and design circles of the day in both continents; hence has a tremendous impact on that of today beyond dispute. The young Argentinean architect and designer Emilio Ambasz (1943-), the Design Curator of MoMA, curated the exhibition to introduce American society to the rising star of Italian design through “objects” he collected and “environments” designed and produced solely for this exhibition. Identifying Italian design as the precursor of a unique, colorful, sensuous, and “hedonistic” style, Ambasz aimed to “honor” a selected repertoire in New York and analyze the “diversity” behind responses DESIGN AND COUNTER DESIGN AGAINST CONSUMPTION: 1972 “ITALY, THE NEW DOMESTIC LANDSCAPE” EXHIBITION (1)
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2205430
M. Crinson
The problems of archives accumulated under colonialism are now well known. This paper uses aspects of the Percy Johnson-Marshall Collection at the University of Edinburgh to reflect on how to interpret the archive not only through what it records, or the relation between what survives and what does not, but in terms of alternative ways of understanding the archive’s conceptual structure. As an influential post-Second World War architect and planner, active in Britain and in international organisations, Percy Johnson-Marshall’s (1915–1993) attitudes towards the work of the welfare state were significantly formed by his colonial background and his reactions against that background. This article draws out the deeper meanings of his archive by deploying A. J. Greimas’ ‘semiotic square’, as interpreted by Fredric Jameson. Explaining it first via the legal thriller Dark Waters (2019), which has an archive as its narrative pivot, the semiotic square is then used to map the conceptual structure of the Johnson-Marshall Collection. Finally, the article focusses on ‘My Village’, a set of papers in the collection documenting a pedagogic project preparing Indian soldiers to reform their villages following wartime service. Here themes of organisation and disorganisation (good and bad villages) are specific articulations of the archive’s epistemology while the idea of collectivity is problematically related to them.
殖民主义时期积累的档案问题现在是众所周知的。本文利用爱丁堡大学珀西·约翰逊-马歇尔收藏的各个方面来思考如何解读档案，不仅通过它记录了什么，或者幸存与不存在之间的关系，而且从理解档案概念结构的另一种方式来解读。珀西•约翰逊-马歇尔(Percy Johnson-Marshall, 1915-1993)是二战后一位有影响力的建筑师和规划师，活跃在英国和国际组织中，他对福利国家工作的态度在很大程度上是由他的殖民背景和他对这种背景的反应形成的。本文通过运用A. J. Greimas的“符号学方阵”(semiotic square)，通过弗雷德里克·詹姆森(frederic Jameson)的解释，引出了他的档案中更深层次的含义。首先通过以档案为叙事枢纽的法律惊悚片《黑暗水域》(Dark Waters, 2019)来解释这一点，然后用符号学广场来映射约翰逊-马歇尔收藏的概念结构。最后，文章聚焦于“我的村庄”，这是文集中的一组文件，记录了一个教育项目，帮助印度士兵在战时服役后改革他们的村庄。在这里，有组织和无组织的主题(好村庄和坏村庄)是档案认识论的具体表述，而集体的概念与它们有问题。
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2206408
F. Hernández
This article explores Lyda Caldas’ landscape design for Universidad del Valle to enquire about the position of women in Colombian architectural education and practice. It questions modern architecture, which emerged as a masculine discourse that, following ideals from the Enlightenment, assumed the superiority of western culture; after the Second World War, it became a vehicle for socio-economic and technical control in the Global South. As such, it established frameworks of practice that have excluded women and various minorities. Based on archival material and a series of formal and informal interviews, this article argues that the success of a few women architects in Colombia has been appropriated by the dominant discourse in academia to obscure discriminatory practices and the impact of socio-economic inequality on the career of less affluent women and ethno-racial minorities. The article promulgates the creation of a critical feminist discourse in order to challenge existing patriarchal and colonial structures that prevent women (and ethno-racial minorities) from having a greater impact on the country’s architectural history. A critical feminist discourse in Colombian architecture must go beyond the duality between men (male) and women (female), or the celebratory account of successful female architects by addressing the many female positions and subjecthoods found in the country.
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2205427
Andrew P. Steen
The literary-philosophical practice of deconstruction has suffered abuse in architectural discourse for decades. Popularised interpretations of metaphor-heavy and art-referencing iconic architecture have undermined the potential of an exercise that holds potential for much insight. This paper looks to recover some of that potential burnt out in flagrant forms and beaten down in opaque missives of discursive deliria. Deconstruction is not, however, the object under consideration, but rather the device through which it operates. The object of this paper is Architecture built onto and into existing Heritage fabric. The Architecture — Captain Kelly’s Cottage (2018) by John Wardle Architects; Bozen’s Cottage (2019) by Taylor and Hinds; and Install House (2019) by Partners Hill — is all found on the small island of Tasmania. These powerful works are celebrated for their object status and their adroit condensations of peoples and contexts, as well as the historical and the contemporary. They are given gravity by a weight of facts and accounts of history, highlighted by age-value remnants and exquisitely crafted interventions. Captain Kelly’s Cottage, Bozen’s Cottage, and Install House are positioned in this paper as manifesting deconstruction. This paper does not claim that their architects designed with deconstruction in mind, rather that the intrinsic parameters of their architectural complexes implicate aporia, and that the interventions can be read to develop the potentials these aporia offer. Further, this paper suggests the practice of Heritage-related Architecture as translation and conversions that inherently affords potential for deconstruction in design and interpretation. This paper, thus, reframes deconstruction in Architecture, establishing a more appropriate and pertinent location in discourse on Heritage-related work. At the same time, it offers its readers a translation of deconstruction into Architecture theory-criticism as material construction.
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2197923
H. Steiner
This article discusses a specific architectural type: single-family homes designed by and for heterosexual couples who were both architects and collaborators, and who dedicated a particular space in their home to architectural work. My examples are a handful of modest houses built in the suburbs of Copenhagen with state-supported mortgages during the post-war period by Inger and Johannes Exner, Karen and Ebbe Clemmensen, and Rut Speyer and Eigil Hartvig Rasmussen. Taking the woman architect’s perspective as a starting point, my architectural readings reveal the wider implications of the intermingling of professional and private lives in these houses’ economic, cultural, and suburban contexts. The article, thus, contributes feminist architectural readings as well as a theoretical framework that highlights women architects’ conditions of creative work in the post-war period. In doing so, following sociologist Eva Illouz, the article takes seriously the post-war period’s institutional, spatial, architectural, cultural, and economic conditions for love, life, and work. This article builds on research carried out in the project Women in Danish Architecture 1925–1975 (www.womenindanisharchitecture.dk).
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2199310
Svava Riesto
Today, while there is a pressing need to rethink architectural practices in the face of societal, climatic, and ecological crises, a better understanding of how architects in the past have rethought their role and contribution seem increasingly relevant. This article examines projects from the 1960s and 70s by two Danish women architects, Susanne Ussing and Anne Marie Rubin, and the people with whom they worked. These architects actively wanted to create living environments to stimulate a better society and they did so by practicing architecture differently. Starting from the significant contributions that Ussing and Rubin made for the exhibition ‘Alternative Architecture’ at the Louisiana Museum of Modern Art in 1977, I discuss what strategies they used and what alternative architecture meant for them. Ussing and Rubin’s works have only been scarcely discussed by architectural historians, yet they contributed to developing participatory approaches to architecture, shifting epistemologies in design and planning, foregrounding women’s experiences, and, in one project, addressing anti-racist agendas. Methodologically, I propose ways of working in the face of scant material in official architectural archives and ways of storying architecture as collaboration rather than as individual creation. This article builds on research carried out in the project Women in Danish Architecture 1925–1975 (www.womenindanisharchitecture.dk).
今天，面对社会、气候和生态危机，迫切需要重新思考建筑实践，更好地理解过去建筑师如何重新思考他们的角色和贡献似乎越来越重要。本文考察了两位丹麦女建筑师Susanne Ussing和Anne Marie Rubin在20世纪60年代和70年代的项目，以及与她们一起工作的人。这些建筑师积极地想要创造生活环境，以促进更好的社会，他们通过不同的建筑实践来实现这一目标。从Ussing和Rubin为1977年路易斯安那现代艺术博物馆的“另类建筑”展览做出的重要贡献开始，我讨论了他们使用的策略以及另类建筑对他们意味着什么。乌辛和鲁宾的作品很少被建筑历史学家讨论，但他们为发展建筑的参与式方法、改变设计和规划的认识论、突出女性的经验，以及在一个项目中解决反种族主义议程做出了贡献。在方法上，我提出了面对官方建筑档案中缺乏材料的工作方式，以及将建筑作为合作而不是个人创作的方式。本文基于“1925-1975年丹麦建筑中的女性”项目(www.womenindanisharchitecture.dk)所进行的研究。
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Pub Date : 2023-04-03DOI: 10.1080/13602365.2023.2229640
Doreen Bernath, Deljana Iossifova
A number of articles gathered in this issue share, quite prominently, their position to address the issue of under-representation of women architects in architecture, which connect with other articles that explore strategies of reinterpretation and revision to counter the tendency of lack of recognition in architectural history and building study. Altogether they have decidedly moved away from the remedial effort to restore and account for missing figures on the pedestals; instead, they believe in the importance to reconsider approaches and frameworks, and to draw from and construct unexpected relations between situations, subjects, and spaces. To understand buildings and projects past and present, there remains a need for diversification of evidence, embracing what is nuanced, inhibited, contested, ephemeral, or dormant, as well as frameworks of analysis and reconceptualisation. This is to shift from the dominance of certain ‘facts’ to what may be a more unstable realisation of ‘truths’, the architectures that are hidden in plain sight, repressed and contingent. Beyond adjusting visibility and articulation of previously neglected protagonists and contributions, it becomes our urgent task, prompted by the endeavours demonstrated in this issue, to rethink processes in the field at large as that which is shared and contingent; architecture is as much a matter of her buildings as our buildings. The two opening contributions from Henriette Steiner and Svava Riesto, ‘taking the women’s perspectives as my starting point’ as they declare, recognise the difference between what we see as facts, namely these objects of knowledge that the still largely patriarchal field assume to produce and command, and what may be truths traced through relations in shared lives conditioned and marked by desires and obstacles. These are the ‘drawbacks’ of gendered structures, as Virginia Woolf would say, which are manifested as gaps in architectural history where women protagonists often find themselves. The two articles are closely tied in their focus on the portrayal of Danish women architects— Inger Exner, Karen Clemmensen, Rut Speyer, Susanne Ussing, and Anne Marie Rubin — in the post-war period and their work through the complexity of life relations, from love to work, families to practices, dependence and autonomy, projects for oneself, to projects for and with others. Steiner remarks, ’Images of women’s liberation — the passionate, creative, and successful woman architect who possesses a house, a career, and a studio in partnership with a man she loves—weave in and out of other, more difficult motifs where work itself can possess you, where moral judgements reify women and turn them into possessions, where conflicts destroy partnerships, and where financial hardships reveal the downside of private property ownership.’ These Doreen Bernath
这期杂志上的许多文章都非常突出地讨论了女性建筑师在建筑领域代表性不足的问题，这些文章与其他文章联系在一起，探讨了重新解释和修订的策略，以对抗建筑史和建筑研究中缺乏认可的趋势。总的来说，他们已经明确地放弃了修复和解释基座上缺失的人物的努力;相反，他们相信重新考虑方法和框架的重要性，并从情境、主题和空间之间汲取和构建意想不到的关系。为了理解过去和现在的建筑和项目，仍然需要多样化的证据，包括微妙的、受抑制的、有争议的、短暂的或休眠的，以及分析和重新概念化的框架。这是从某些“事实”的主导地位转向可能是更不稳定的“真理”的实现，这些架构隐藏在普通的视线中，被压抑和偶然。除了调整以前被忽视的主角和贡献的可见度和表达之外，在本期所表现出的努力的推动下，我们的紧迫任务是将整个领域的进程重新考虑为共同和偶然的进程;建筑既是我们的建筑，也是她的建筑。Henriette Steiner和Svava Riesto的两篇开篇文章，“以女性的视角作为我的出发点”，正如他们所宣称的那样，认识到我们所看到的事实之间的区别，即这些知识对象，仍然很大程度上是父权领域假定生产和控制的，以及可能通过共同生活中的关系追溯的真理，这些关系受到欲望和障碍的制约和标记。正如弗吉尼亚·伍尔夫所说，这些都是性别结构的“缺点”，表现为建筑史上的空白，女性主角经常在这些空白中找到自己。这两篇文章紧密地联系在一起，它们关注的是战后时期丹麦女性建筑师的形象——Inger Exner、Karen Clemmensen、Rut Speyer、Susanne Ussing和Anne Marie Rubin，以及她们通过复杂的生活关系进行的工作，从爱情到工作，从家庭到实践，从依赖到自主，从为自己设计的项目到为他人设计的项目。斯坦纳评论说:“女性解放的形象——充满激情、富有创造力、成功的女建筑师，拥有一所房子、一份事业，以及与她所爱的男人合作的工作室——在其他更困难的主题中交织在一起，在这些主题中，工作本身可以占有你，道德判断具体化了女性，把她们变成了财产，冲突摧毁了伙伴关系，经济困难揭示了私有财产所有权的缺点。”“这是多琳·伯纳斯
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