Pub Date : 2022-11-17DOI: 10.1080/13602365.2022.2156911
Yun Gao, A. Pitts, Wenwei Jiang
The process of absorbing villages into urban areas in China is of major significance and can follow several paths. Specifically, the dual urban and rural characteristics of villages located close to cities provide new opportunities and constraints for active community engagement. This paper examines two related options through case studies in Kunming, Southwest China, and the interface between the urban and the rural in peri-urban studies. One village was transformed from a collective landholding system into a village shareholding company. In this case, villagers’ self-construction and redevelopment activities significantly changed the built environment in the settlement. The second village was transformed into a new urban residential community by property developers. In this process, villagers also had their hukou [household registration] status altered from ‘rural’ to ‘urban’. The study illustrates the variable transition processes between rural and urban in this particular region and highlights the relationship between villagers and their surrounding environment. It is argued that peri-urban spaces in Southwest China retained their distinctiveness and certain rural characteristics despite the integration through the urbanisation process, and that the relationships between villagers and their surrounding built environment are constantly being re-appropriated and reinvented.
{"title":"Peri-urban villages in Kunming, Southwest China: history of change with dual urban–rural characteristics","authors":"Yun Gao, A. Pitts, Wenwei Jiang","doi":"10.1080/13602365.2022.2156911","DOIUrl":"https://doi.org/10.1080/13602365.2022.2156911","url":null,"abstract":"The process of absorbing villages into urban areas in China is of major significance and can follow several paths. Specifically, the dual urban and rural characteristics of villages located close to cities provide new opportunities and constraints for active community engagement. This paper examines two related options through case studies in Kunming, Southwest China, and the interface between the urban and the rural in peri-urban studies. One village was transformed from a collective landholding system into a village shareholding company. In this case, villagers’ self-construction and redevelopment activities significantly changed the built environment in the settlement. The second village was transformed into a new urban residential community by property developers. In this process, villagers also had their hukou [household registration] status altered from ‘rural’ to ‘urban’. The study illustrates the variable transition processes between rural and urban in this particular region and highlights the relationship between villagers and their surrounding environment. It is argued that peri-urban spaces in Southwest China retained their distinctiveness and certain rural characteristics despite the integration through the urbanisation process, and that the relationships between villagers and their surrounding built environment are constantly being re-appropriated and reinvented.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87006971","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 : 2022-11-17DOI: 10.1080/13602365.2022.2155684
Mengbi Li
In pre-modern China, craftspeople and literati played the role of today’s architects, and literati were crucial in setting a direction for craft culture. Today, in many fast-developing regions, there is great pressure to act with speed and to pursue growth and originality. This mindset may effectively boost the economy and hasten development, but it can generate dilemmas as well. This paper traces a thread of discourses in pre-modern China that contribute ancient insights and address challenges about craft culture and morality. It shows how certain values were established and consolidated, how codes of conduct, building standards, and legislation carried pertinent ethical values, and how the paradox of human nature and the seduction of technology were observed and handled. These discourses suggest that several underlying but significant themes prevailed in pre-modern Chinese craft culture, such as valuing thrift and controls, being wary of flamboyance and the seduction of technological novelty, as well as seeking out what might ultimately contribute to lasting contentment. Though they may not provide an instant remedy to these dilemmas, they enable certain crucial reconsideration of the quiddity of good life and architecture.
{"title":"Craft culture and morality: architectonic imperatives in pre-modern China","authors":"Mengbi Li","doi":"10.1080/13602365.2022.2155684","DOIUrl":"https://doi.org/10.1080/13602365.2022.2155684","url":null,"abstract":"In pre-modern China, craftspeople and literati played the role of today’s architects, and literati were crucial in setting a direction for craft culture. Today, in many fast-developing regions, there is great pressure to act with speed and to pursue growth and originality. This mindset may effectively boost the economy and hasten development, but it can generate dilemmas as well. This paper traces a thread of discourses in pre-modern China that contribute ancient insights and address challenges about craft culture and morality. It shows how certain values were established and consolidated, how codes of conduct, building standards, and legislation carried pertinent ethical values, and how the paradox of human nature and the seduction of technology were observed and handled. These discourses suggest that several underlying but significant themes prevailed in pre-modern Chinese craft culture, such as valuing thrift and controls, being wary of flamboyance and the seduction of technological novelty, as well as seeking out what might ultimately contribute to lasting contentment. Though they may not provide an instant remedy to these dilemmas, they enable certain crucial reconsideration of the quiddity of good life and architecture.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74827652","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 : 2022-11-17DOI: 10.1080/13602365.2022.2178132
Deljana Iossifova, Doreen Bernath
Over the last year, we have sought to reframe what The Journal of Architecture could be about, drawing attention to the important roles that architecture and research about architecture, in many forms and guises, could play in the face of pressing global challenges. We look back at efforts to expand, include, destabilise, and decolonise in calling for more diverse, more engaged, and more relevant scholarship. Now, we look forward to exploring and engaging in new ways with our authors and our readership. In the new year, we will be launching our annual event On the Edge with a talk by and discussion with Tatjana Schneider on ‘Architecture in the Climate Emergency’. We are also excited to launch The Journal of Architecture’s brand-new website (www.thejournalofarchitecture.com), an accessible online platform providing information about the journal, summaries of recently published articles, open-access editorials and commentaries, building reviews, tips and tricks, and much, much more. We are closing this transformative year with a double issue that explores current, multifaceted research in/on/with China. What does architecture mean in China and what does Chinese architecture mean to architecture at large were historically, not so long ago, part of polemical debates tied to questions of modernisation, which triggered a series of experimental studies and practices to both prove and disprove certain assumptions imposed by the dominant Western culture. In the midst of China’s war-torn period from the 1920s to the 40s, the Society for Research in Chinese Architecture (SRCA) published an article titled ‘Why Study Chinese Architecture?’ by one of its founding member Liang Sicheng. He poignantly described the rapid loss of historical buildings due to the blind drive of progress to adopt ‘Western buildings’ while remain adamant that Chinese architecture must find its own path towards modernisation, which he believed required both modern scholarship of physical remnants of the past, from physical construction, artistic legacy, to cultural consciousness, and modern sciences to understand old and new materials and methods of buildings. A century has passed, and what may be the inevitable dichotomous framework between West, represented by the architectural discipline arisen in the European and American context, and East, represented by a much wider realm of the ‘other’ and the ‘beyond’ from the middle, south, to the far east of Asia, in that period of the early twentieth century had definitely waned. The conundrum of Liang’s time to search for a form of architecture that may
在过去的一年里，我们一直在寻求重新定义《建筑杂志》的内容，引起人们对建筑和建筑研究在面对紧迫的全球挑战时所扮演的重要角色的关注，这些角色以多种形式和形式出现。我们回顾了扩大、包容、破坏稳定和去殖民化的努力，呼吁更多样化、更参与、更相关的学术研究。现在，我们期待着与我们的作者和读者一起探索和参与新的方式。在新的一年里，我们将启动我们的年度活动On the Edge，由Tatjana Schneider就“气候紧急情况下的建筑”进行演讲和讨论。我们也很高兴推出《建筑杂志》的全新网站(www.thejournalofarchitecture.com)，这是一个可访问的在线平台，提供有关该杂志的信息、最近发表的文章摘要、开放获取的社论和评论、建筑评论、技巧和技巧等等。在这个具有变革意义的一年结束之际，我们发表了一期双刊，探讨当前在中国/关于中国/与中国有关的多方面研究。建筑在中国意味着什么，以及中国建筑对整个建筑意味着什么，在历史上，不久之前，这是与现代化问题相关的争论的一部分，这引发了一系列的实验研究和实践，以证明和反驳西方主导文化强加的某些假设。在20世纪20年代到40年代饱受战争蹂躏的中国，中国建筑研究学会(SRCA)发表了一篇名为《为什么要研究中国建筑?》创始人之一梁思成说。他尖锐地描述了由于盲目地采用“西方建筑”而导致的历史建筑的迅速流失，同时坚持认为中国建筑必须找到自己的现代化之路，他认为这既需要对过去的物理遗迹的现代学术研究，从物理建筑、艺术遗产到文化意识，也需要现代科学来理解新旧建筑材料和方法。一个世纪过去了，在20世纪早期，以欧洲和美国的建筑学科为代表的西方和以亚洲中部、南部到远东的更广泛的“他者”和“超越”领域为代表的东方之间可能不可避免的二分框架已经明显减弱。梁的难题是寻找一种可能的建筑形式
{"title":"A kaleidoscope of trajectories: research in/on/with China","authors":"Deljana Iossifova, Doreen Bernath","doi":"10.1080/13602365.2022.2178132","DOIUrl":"https://doi.org/10.1080/13602365.2022.2178132","url":null,"abstract":"Over the last year, we have sought to reframe what The Journal of Architecture could be about, drawing attention to the important roles that architecture and research about architecture, in many forms and guises, could play in the face of pressing global challenges. We look back at efforts to expand, include, destabilise, and decolonise in calling for more diverse, more engaged, and more relevant scholarship. Now, we look forward to exploring and engaging in new ways with our authors and our readership. In the new year, we will be launching our annual event On the Edge with a talk by and discussion with Tatjana Schneider on ‘Architecture in the Climate Emergency’. We are also excited to launch The Journal of Architecture’s brand-new website (www.thejournalofarchitecture.com), an accessible online platform providing information about the journal, summaries of recently published articles, open-access editorials and commentaries, building reviews, tips and tricks, and much, much more. We are closing this transformative year with a double issue that explores current, multifaceted research in/on/with China. What does architecture mean in China and what does Chinese architecture mean to architecture at large were historically, not so long ago, part of polemical debates tied to questions of modernisation, which triggered a series of experimental studies and practices to both prove and disprove certain assumptions imposed by the dominant Western culture. In the midst of China’s war-torn period from the 1920s to the 40s, the Society for Research in Chinese Architecture (SRCA) published an article titled ‘Why Study Chinese Architecture?’ by one of its founding member Liang Sicheng. He poignantly described the rapid loss of historical buildings due to the blind drive of progress to adopt ‘Western buildings’ while remain adamant that Chinese architecture must find its own path towards modernisation, which he believed required both modern scholarship of physical remnants of the past, from physical construction, artistic legacy, to cultural consciousness, and modern sciences to understand old and new materials and methods of buildings. A century has passed, and what may be the inevitable dichotomous framework between West, represented by the architectural discipline arisen in the European and American context, and East, represented by a much wider realm of the ‘other’ and the ‘beyond’ from the middle, south, to the far east of Asia, in that period of the early twentieth century had definitely waned. The conundrum of Liang’s time to search for a form of architecture that may","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83014637","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 : 2022-11-17DOI: 10.1080/13602365.2022.2154821
Yizhuo Gao, C. Xue, Gangyi Tan, Yingting Chen
In the early 1960s, Architectural Journal [建筑学报], one of China’s most respected architectural periodicals, shifted its focus from Soviet and Western architecture to tropical architecture in the Global South. Based on their similar encounters in history, China and other countries in the Global South have formed mutually supportive relationships. Taking the above-mentioned shift in Chinese architectural research as a starting point, this article uses publications from Architectural Journal and related books between the 1960s and the 80s as a clue to illustrate the trajectory of China’s early tropical technoscientific network during the Cold War. By analysing relevant projects in China’s southern regions and the Global South countries, the authors depict the production and exchange of tropical knowledge between domestic and international architectural development. The authors argue that, in the process of the country’s engagement with tropical countries via architecture during Mao’s era, China has exported its indigenous low-tech, low-cost, and rapid construction methods to the tropical regions while absorbed knowledge related to tropical architecture to promote climate-responsive design and domestic architectural development.
{"title":"From South China to the Global South: tropical architecture in China during the Cold War","authors":"Yizhuo Gao, C. Xue, Gangyi Tan, Yingting Chen","doi":"10.1080/13602365.2022.2154821","DOIUrl":"https://doi.org/10.1080/13602365.2022.2154821","url":null,"abstract":"In the early 1960s, Architectural Journal [建筑学报], one of China’s most respected architectural periodicals, shifted its focus from Soviet and Western architecture to tropical architecture in the Global South. Based on their similar encounters in history, China and other countries in the Global South have formed mutually supportive relationships. Taking the above-mentioned shift in Chinese architectural research as a starting point, this article uses publications from Architectural Journal and related books between the 1960s and the 80s as a clue to illustrate the trajectory of China’s early tropical technoscientific network during the Cold War. By analysing relevant projects in China’s southern regions and the Global South countries, the authors depict the production and exchange of tropical knowledge between domestic and international architectural development. The authors argue that, in the process of the country’s engagement with tropical countries via architecture during Mao’s era, China has exported its indigenous low-tech, low-cost, and rapid construction methods to the tropical regions while absorbed knowledge related to tropical architecture to promote climate-responsive design and domestic architectural development.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72768280","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 : 2022-11-17DOI: 10.1080/13602365.2022.2153377
Xin Jin, J. Hale
Architectural writing norms have been a subject of constant debate in recent decades. Architectural poststructuralists have often conceptualised writing as a form of virtual construction in the medium of words. Recent scholarship relating to innovative architectural writing questions the power relations inherent in the canonical forms of academic architectural writing. This article examines Pritzker prize-winning Chinese architect Wang Shu’s [王澍] doctoral thesis, ‘Fictionalising Cities’ [‘虚构城市’] (2000), and other related writings, focusing on their experimental forms, the critical intentions behind them, and the multiple resonances between Wang’s written and built works. This article begins by foregrounding the intentions behind Wang’s experimental writing approach, namely his rejection of the dualistic opposition between writing and building, as well as his critique of instrumentalism in architectural representation. Through a close reading of ‘Fictionalising Cities’, this article explicates the central influence of Roland Barthes’s understanding of text as a ‘tissue of quotations’ and Claude Lévi-Strauss’s concept of bricolage in shaping Wang’s writing approaches and his design thinking. By comparing Wang’s written and built works, specifically the Ningbo History Museum [宁波美术馆] (2003–2008) and the Xiangshan Campus of the China Academy of Art, Phase II [杭州中国美术学院象山校区二期] (2003–2007), the article identifies Wang’s consistent critical sensitivity towards the power relations and implied linear temporality that pre-structure modes of architectural creation. By highlighting Wang’s case, this article also suggests how the critical concerns that drive innovative architectural writing can be expanded into creative design practice.
{"title":"Unbinding architectural imagination: Wang Shu’s textual bricolage in theoretical writing and design","authors":"Xin Jin, J. Hale","doi":"10.1080/13602365.2022.2153377","DOIUrl":"https://doi.org/10.1080/13602365.2022.2153377","url":null,"abstract":"Architectural writing norms have been a subject of constant debate in recent decades. Architectural poststructuralists have often conceptualised writing as a form of virtual construction in the medium of words. Recent scholarship relating to innovative architectural writing questions the power relations inherent in the canonical forms of academic architectural writing. This article examines Pritzker prize-winning Chinese architect Wang Shu’s [王澍] doctoral thesis, ‘Fictionalising Cities’ [‘虚构城市’] (2000), and other related writings, focusing on their experimental forms, the critical intentions behind them, and the multiple resonances between Wang’s written and built works. This article begins by foregrounding the intentions behind Wang’s experimental writing approach, namely his rejection of the dualistic opposition between writing and building, as well as his critique of instrumentalism in architectural representation. Through a close reading of ‘Fictionalising Cities’, this article explicates the central influence of Roland Barthes’s understanding of text as a ‘tissue of quotations’ and Claude Lévi-Strauss’s concept of bricolage in shaping Wang’s writing approaches and his design thinking. By comparing Wang’s written and built works, specifically the Ningbo History Museum [宁波美术馆] (2003–2008) and the Xiangshan Campus of the China Academy of Art, Phase II [杭州中国美术学院象山校区二期] (2003–2007), the article identifies Wang’s consistent critical sensitivity towards the power relations and implied linear temporality that pre-structure modes of architectural creation. By highlighting Wang’s case, this article also suggests how the critical concerns that drive innovative architectural writing can be expanded into creative design practice.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78686173","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 : 2022-11-17DOI: 10.1080/13602365.2022.2158207
Jing Cheng
The people's commune [人民公社], an all-encompassing socio-political, economic, and spatial model of collectivisation in China during the 1950s and the 80s, played a fundamental role in the country's pursuit of modernity. Through the correlation between political forces and spatial production, the commune architecture articulated and enforced the construct of collective subjectivities. The coupling of collective canteens with the abolishment of family kitchens formalised a practice of everyday life that aimed to collectivise the socio-economic functions of dwelling and destabilise social ties formed in the extended family and the patriarchal clan system. The tensions between the modern state and family tradition led to the inherent paradox of the commune architecture: it spatially resembled and renewed the old structures it set out to destruct. The negotiation between the two regimes of power finds its embodiment in materialised details through implementation: the adapted ancestral temple as collective canteen and the renewed traditional three-jian [三开间, three-bay] principle in commune housing. Fieldwork spanning several years in the realised commune settlement of the then Shigushan Production Brigade in Wuhan [石骨山大队] reveals embodied conflicts, resistance, and readjustments of the people's commune as well as how it has become a constitutive part of China's rural society today. An essential addition to the non-canonical architectural histories outside the Western traditions and epistemologies, the architecture of people's commune in China opens up new ways to think about the socio-spatial organisation of networks of care and intergenerational living beyond the nuclear family.
{"title":"Collectivisation, paradox and resistance: the architecture of people’s commune in China","authors":"Jing Cheng","doi":"10.1080/13602365.2022.2158207","DOIUrl":"https://doi.org/10.1080/13602365.2022.2158207","url":null,"abstract":"The people's commune [人民公社], an all-encompassing socio-political, economic, and spatial model of collectivisation in China during the 1950s and the 80s, played a fundamental role in the country's pursuit of modernity. Through the correlation between political forces and spatial production, the commune architecture articulated and enforced the construct of collective subjectivities. The coupling of collective canteens with the abolishment of family kitchens formalised a practice of everyday life that aimed to collectivise the socio-economic functions of dwelling and destabilise social ties formed in the extended family and the patriarchal clan system. The tensions between the modern state and family tradition led to the inherent paradox of the commune architecture: it spatially resembled and renewed the old structures it set out to destruct. The negotiation between the two regimes of power finds its embodiment in materialised details through implementation: the adapted ancestral temple as collective canteen and the renewed traditional three-jian [三开间, three-bay] principle in commune housing. Fieldwork spanning several years in the realised commune settlement of the then Shigushan Production Brigade in Wuhan [石骨山大队] reveals embodied conflicts, resistance, and readjustments of the people's commune as well as how it has become a constitutive part of China's rural society today. An essential addition to the non-canonical architectural histories outside the Western traditions and epistemologies, the architecture of people's commune in China opens up new ways to think about the socio-spatial organisation of networks of care and intergenerational living beyond the nuclear family.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87862627","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 : 2022-11-17DOI: 10.1080/13602365.2022.2129730
Jing Cheng
The paper proposes ‘rippling' as a practice of untamed domesticity that contests the hegemony of the essentialised model of modern nuclear family and its associated domesticity. The conceptualisation of ‘rippling' derives from a context of the dissolved household in contemporary rural China — they are families of China's 285 million floating population who have seen the absence of a middle generation. At the intersection of architecture and anthropology, and with Shigushan village in Wuhan as the primary site of fieldwork since 2015, the point of entry is spatial and ethnographic observations and documentations of everyday practice in and around ordinary self-built family houses. The material traces and empirical evidence manifest a constantly diffused distinction between the domestic and the public, enacted by the rural dissolved household. In this way, the practice of ‘rippling' defies the confinement and codification of domesticity. Importantly, ‘rippling' and ‘dissolving' are a temporary, transient state that has become part of a broader structure rather than an exception. Through inhabiting and altering a multiplicity of spatial, social, and political thresholds, an elastic form of association is enacted, through which the act of mediating between genders, generations, households, neighbours, and the village community is constantly framed, and even spreads to the city through ‘floating’. Spatially stretched from house to territory and temporally coordinated from daily to multi-year cycles, domesticity as such is untamed.
{"title":"Rippling: towards untamed domesticity","authors":"Jing Cheng","doi":"10.1080/13602365.2022.2129730","DOIUrl":"https://doi.org/10.1080/13602365.2022.2129730","url":null,"abstract":"The paper proposes ‘rippling' as a practice of untamed domesticity that contests the hegemony of the essentialised model of modern nuclear family and its associated domesticity. The conceptualisation of ‘rippling' derives from a context of the dissolved household in contemporary rural China — they are families of China's 285 million floating population who have seen the absence of a middle generation. At the intersection of architecture and anthropology, and with Shigushan village in Wuhan as the primary site of fieldwork since 2015, the point of entry is spatial and ethnographic observations and documentations of everyday practice in and around ordinary self-built family houses. The material traces and empirical evidence manifest a constantly diffused distinction between the domestic and the public, enacted by the rural dissolved household. In this way, the practice of ‘rippling' defies the confinement and codification of domesticity. Importantly, ‘rippling' and ‘dissolving' are a temporary, transient state that has become part of a broader structure rather than an exception. Through inhabiting and altering a multiplicity of spatial, social, and political thresholds, an elastic form of association is enacted, through which the act of mediating between genders, generations, households, neighbours, and the village community is constantly framed, and even spreads to the city through ‘floating’. Spatially stretched from house to territory and temporally coordinated from daily to multi-year cycles, domesticity as such is untamed.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80157532","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 : 2022-11-17DOI: 10.1080/13602365.2022.2154246
Peng Liu
This article engages with the weather as medium, and focuses on lived experience in the affective, embodied, and, most importantly, weathered space of the Forbidden City, Beijing. The term ‘weather as medium’ focuses on the interrelationship between the weather, physical body, and process of translation, whereby the (in)capacity of the body reflects its overall experience towards the cultural and weathered space. Specifically, the article aims to explore how ethnographic attention to the differently abled body can intervene in normative and dominant narrations of heritage spaces. Bringing qualities of weather and light to the foreground in narrations of heritage space, this article sheds new light on tactility in architectural phenomenology by situating the significance of the non-normative insight of the differently abled body as a form of affective engagement. The study creates a new critical framework based on multiplicity, bringing together embodiment, (dis)ability, and the mediation of weather. Under this framework, there is a correlation between awareness of the cultural identities of the body and its positioning in the weathered heritage environment. The co-produced atmosphere, which characterises the built space, is (dis)ability specific in terms of haptic experience involving differently abled bodies realising and experiencing themselves in multiplicity.
{"title":"Weather as medium: exploring bodily experience in the heritage space under light, air and temperature conditions","authors":"Peng Liu","doi":"10.1080/13602365.2022.2154246","DOIUrl":"https://doi.org/10.1080/13602365.2022.2154246","url":null,"abstract":"This article engages with the weather as medium, and focuses on lived experience in the affective, embodied, and, most importantly, weathered space of the Forbidden City, Beijing. The term ‘weather as medium’ focuses on the interrelationship between the weather, physical body, and process of translation, whereby the (in)capacity of the body reflects its overall experience towards the cultural and weathered space. Specifically, the article aims to explore how ethnographic attention to the differently abled body can intervene in normative and dominant narrations of heritage spaces. Bringing qualities of weather and light to the foreground in narrations of heritage space, this article sheds new light on tactility in architectural phenomenology by situating the significance of the non-normative insight of the differently abled body as a form of affective engagement. The study creates a new critical framework based on multiplicity, bringing together embodiment, (dis)ability, and the mediation of weather. Under this framework, there is a correlation between awareness of the cultural identities of the body and its positioning in the weathered heritage environment. The co-produced atmosphere, which characterises the built space, is (dis)ability specific in terms of haptic experience involving differently abled bodies realising and experiencing themselves in multiplicity.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79549255","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 : 2022-08-18DOI: 10.1080/13602365.2022.2146153
Elizabeth Musgrave, P. Goad
The Paspaley House (1959) in Darwin designed by Harry Seidler, Australia’s best-known modernist architect, illustrates the global exchange of information that links Europe, North America, and Brazil to what was then one of the least developed but most strategically significant cities in Australia. Darwin’s remoteness from major population centres in Australia has meant that very little is known about the Paspaley House. Whilst the Commonwealth Environmental Building Station (CEBS) established solar principles, these efforts suppressed local climate difference and failed to account for tropical cyclones, leading to omissions and generalisations in the reception and recording of Australia’s tropical modernist architecture. This paper contextualises the Paspaley House by comparing it to ‘tropical house’ designs by the Commonwealth Department of Works and the only other known contemporaneous modernist house in Darwin, the ES&A Bank Manager’s Residence (1957) designed by Stuart McIntosh. It reveals Seidler's response to designing and building in equatorial Darwin against a backdrop of global discourse around modern tropical architecture and the escalation in scientific research in Australia to establish performance standards for housing in tropical zones. It uncovers the extent of Seidler's climate awareness at the moment when the significance of climate to his broader practice was first fully realised.
{"title":"Tropical modernism in Australia’s Top End: climate, generic models and Harry Seidler’s Paspaley House, Darwin","authors":"Elizabeth Musgrave, P. Goad","doi":"10.1080/13602365.2022.2146153","DOIUrl":"https://doi.org/10.1080/13602365.2022.2146153","url":null,"abstract":"The Paspaley House (1959) in Darwin designed by Harry Seidler, Australia’s best-known modernist architect, illustrates the global exchange of information that links Europe, North America, and Brazil to what was then one of the least developed but most strategically significant cities in Australia. Darwin’s remoteness from major population centres in Australia has meant that very little is known about the Paspaley House. Whilst the Commonwealth Environmental Building Station (CEBS) established solar principles, these efforts suppressed local climate difference and failed to account for tropical cyclones, leading to omissions and generalisations in the reception and recording of Australia’s tropical modernist architecture. This paper contextualises the Paspaley House by comparing it to ‘tropical house’ designs by the Commonwealth Department of Works and the only other known contemporaneous modernist house in Darwin, the ES&A Bank Manager’s Residence (1957) designed by Stuart McIntosh. It reveals Seidler's response to designing and building in equatorial Darwin against a backdrop of global discourse around modern tropical architecture and the escalation in scientific research in Australia to establish performance standards for housing in tropical zones. It uncovers the extent of Seidler's climate awareness at the moment when the significance of climate to his broader practice was first fully realised.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73253436","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 : 2022-08-18DOI: 10.1080/13602365.2022.2143395
David Roberts, J. Rendell, Yael Padan, A. Markowitz, E. Osuteye
Practising Ethics Guides are part of an open-access educational tool for emerging and established built environment practitioners to teach themselves and others how to identify ethical dilemmas that may arise in research and practice, negotiate their ethical responsibilities, and rehearse strategies to navigate unpredictable ethical issues with care and creativity. The guides are the result of an interdisciplinary collaboration between two long-term projects that explore ethical protocols for built environment practitioners and strengthen pathways to urban equality, paying particular attention to the western-centric bias of ethical values which privilege the individual over the communal or collective. Together, this research explores the relationship between universals and specifics through a framework that encourages a situated mode of ethical practice, which situates the relation between universal principles and particular processes in specific contexts. The guides help navigate this relationship by using generative questions as prompts for practitioners to reflect on potential ethical considerations and by setting out guidelines that contextualise concerns and suggest potential actions. Practising Ethics Guides are designed as an accessible point of reference at all stages of a project – from planning research and conducting activities in the field to producing and communicating outputs. Rather than a regulatory hurdle, they consider ethics as an opportunity to enrich architectural practice through reflexive curiosity and critical investigation.
{"title":"Practising ethics: guides for built environment research","authors":"David Roberts, J. Rendell, Yael Padan, A. Markowitz, E. Osuteye","doi":"10.1080/13602365.2022.2143395","DOIUrl":"https://doi.org/10.1080/13602365.2022.2143395","url":null,"abstract":"Practising Ethics Guides are part of an open-access educational tool for emerging and established built environment practitioners to teach themselves and others how to identify ethical dilemmas that may arise in research and practice, negotiate their ethical responsibilities, and rehearse strategies to navigate unpredictable ethical issues with care and creativity. The guides are the result of an interdisciplinary collaboration between two long-term projects that explore ethical protocols for built environment practitioners and strengthen pathways to urban equality, paying particular attention to the western-centric bias of ethical values which privilege the individual over the communal or collective. Together, this research explores the relationship between universals and specifics through a framework that encourages a situated mode of ethical practice, which situates the relation between universal principles and particular processes in specific contexts. The guides help navigate this relationship by using generative questions as prompts for practitioners to reflect on potential ethical considerations and by setting out guidelines that contextualise concerns and suggest potential actions. Practising Ethics Guides are designed as an accessible point of reference at all stages of a project – from planning research and conducting activities in the field to producing and communicating outputs. Rather than a regulatory hurdle, they consider ethics as an opportunity to enrich architectural practice through reflexive curiosity and critical investigation.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76012855","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：