Pub Date : 2022-04-11DOI: 10.4305/metu.jfa.2022.1.7
Evren Aysev
{"title":"Urbanization Processes of Northern Istanbul in the 2000’s: Yavuz Sultan Selim Bridge and the Northern Marmara Highway","authors":"Evren Aysev","doi":"10.4305/metu.jfa.2022.1.7","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.7","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77962043","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 : 2022-04-03DOI: 10.1080/13602365.2022.2126158
Marcus Colla
Geography, 46.1 (2022), 21–43. 6. See the panel ‘Imagining NewMaterial Histories of Architecture’ organised by Kim Förster and Sarah Nichols at the 74th Conference of the Society of Architectural Historians in 2021. 7. See, for example, Neri Oxman’s exhibition ‘Material Ecology’, MoMA, 14May – 18 October 2020; or Rachel Armstrong, Vibrant Architecture: Matter as a CoDesigner of Living Structures (Warsaw: De Gruyter, 2015). ‘Dematerialised and material processes seem to be two sides of the same coin’, according to Jon Goodbun and Karin Jaschke, ‘Architecture and Relational Resources: Towards a New Materialist Practice’, Architectural Design, 82.4 (2012), 28–33 (p. 31). 8. See Susanne Lettow, ‘Turning the Turn: New Materialism, Historical Materialism and Critical Theory’, Thesis Eleven, 140.1 (2017), 106–21; and Bram Büscher, ‘The Nonhuman Turn: Critical Reflections on Alienation, Entanglement and Nature Under Capitalism’, Dialogues in Human Geography, 12.1 (2022), 54–73. 9. Gandy, ‘Urban Political Ecology’, p. 13. 10. Zeynep Çelik Alexander, ‘Neo-Naturalism’, Log, 31 (2014), 23–30 (p. 28). 11. Harpreet Sareen, Jiefu Zheng, and Pattie Maes, ‘Cyborg Botany: Augmented Plants as Sensors, Displays and Actuators’, in Extended Abstracts of the 2019 CHI Conference on Human Factors in Computing Systems (New York, NY: Association for Computing Machinery, 2019), p. VS13/1; and on ‘oysters’ see Ross Exo Adams, ‘Notes from the Resilient City’, Log, 32 (2014), 126–39. 12. See Jesse Goldstein and Elizabeth Johnson, ‘Biomimicry: New Natures, New Enclosures’, Theory, Culture and Society, 32.1 (2015), 61–81; Alyssa Battistoni, ‘Bringing in the Work of Nature: From Natural Capital to Hybrid Labor’, Political Theory, 45.1 (2017), 5–31; and Maan Barua, ‘Nonhuman Life as Infrastructure’, Society and Space blog, 30 November 2020 [accessed 6 September 2022].
{"title":"Postmodern Architecture in Socialist Poland: Transformation, Symbolic Form and National Identity","authors":"Marcus Colla","doi":"10.1080/13602365.2022.2126158","DOIUrl":"https://doi.org/10.1080/13602365.2022.2126158","url":null,"abstract":"Geography, 46.1 (2022), 21–43. 6. See the panel ‘Imagining NewMaterial Histories of Architecture’ organised by Kim Förster and Sarah Nichols at the 74th Conference of the Society of Architectural Historians in 2021. 7. See, for example, Neri Oxman’s exhibition ‘Material Ecology’, MoMA, 14May – 18 October 2020; or Rachel Armstrong, Vibrant Architecture: Matter as a CoDesigner of Living Structures (Warsaw: De Gruyter, 2015). ‘Dematerialised and material processes seem to be two sides of the same coin’, according to Jon Goodbun and Karin Jaschke, ‘Architecture and Relational Resources: Towards a New Materialist Practice’, Architectural Design, 82.4 (2012), 28–33 (p. 31). 8. See Susanne Lettow, ‘Turning the Turn: New Materialism, Historical Materialism and Critical Theory’, Thesis Eleven, 140.1 (2017), 106–21; and Bram Büscher, ‘The Nonhuman Turn: Critical Reflections on Alienation, Entanglement and Nature Under Capitalism’, Dialogues in Human Geography, 12.1 (2022), 54–73. 9. Gandy, ‘Urban Political Ecology’, p. 13. 10. Zeynep Çelik Alexander, ‘Neo-Naturalism’, Log, 31 (2014), 23–30 (p. 28). 11. Harpreet Sareen, Jiefu Zheng, and Pattie Maes, ‘Cyborg Botany: Augmented Plants as Sensors, Displays and Actuators’, in Extended Abstracts of the 2019 CHI Conference on Human Factors in Computing Systems (New York, NY: Association for Computing Machinery, 2019), p. VS13/1; and on ‘oysters’ see Ross Exo Adams, ‘Notes from the Resilient City’, Log, 32 (2014), 126–39. 12. See Jesse Goldstein and Elizabeth Johnson, ‘Biomimicry: New Natures, New Enclosures’, Theory, Culture and Society, 32.1 (2015), 61–81; Alyssa Battistoni, ‘Bringing in the Work of Nature: From Natural Capital to Hybrid Labor’, Political Theory, 45.1 (2017), 5–31; and Maan Barua, ‘Nonhuman Life as Infrastructure’, Society and Space blog, 30 November 2020 <https://www.societyandspace.org/articles/nonhuman-life-asinfrastructure> [accessed 6 September 2022].","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77358193","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 : 2022-04-03DOI: 10.1080/13602365.2022.2104911
Álvaro Velasco Pérez
The post-colonial project of historical revision has recently precipitated — not without polemic — in the defacement of statues during the Black Lives Matter protests. Yet, despite the monumentality of the iconoclastic event, the discipline of architecture has only started to weigh up its own historical figures against the colonial background. This article proposes a revisit of Le Corbusier’s journeys in French Algeria to critically unravel different forms of embedded colonialism. While acknowledging the claims by other authors of Le Corbusier’s colonialist mindset as revealed in his journeys, the article uses the archival material and the texts published after the journeys to propose a different form of colonialism that has escaped post-colonial critiques. Le Corbusier was not predominantly projecting an orientalist view over the African country; rather, he was paradoxically learning from desert architecture in order to trace a project for the aggrandisement of France. Disillusioned by the colonial government that spurned his projects, Le Corbusier operated a shift in colonialism away from politics into poetics, and condensed it in Poésie sur Alger (1950). This form of colonialism does not operate through power-struggle and imposition, but rather through a subtler appropriation of a lyrical other.
{"title":"The Algerian Sphinx: Le Corbusier’s other colonialism in the M’Zab","authors":"Álvaro Velasco Pérez","doi":"10.1080/13602365.2022.2104911","DOIUrl":"https://doi.org/10.1080/13602365.2022.2104911","url":null,"abstract":"The post-colonial project of historical revision has recently precipitated — not without polemic — in the defacement of statues during the Black Lives Matter protests. Yet, despite the monumentality of the iconoclastic event, the discipline of architecture has only started to weigh up its own historical figures against the colonial background. This article proposes a revisit of Le Corbusier’s journeys in French Algeria to critically unravel different forms of embedded colonialism. While acknowledging the claims by other authors of Le Corbusier’s colonialist mindset as revealed in his journeys, the article uses the archival material and the texts published after the journeys to propose a different form of colonialism that has escaped post-colonial critiques. Le Corbusier was not predominantly projecting an orientalist view over the African country; rather, he was paradoxically learning from desert architecture in order to trace a project for the aggrandisement of France. Disillusioned by the colonial government that spurned his projects, Le Corbusier operated a shift in colonialism away from politics into poetics, and condensed it in Poésie sur Alger (1950). This form of colonialism does not operate through power-struggle and imposition, but rather through a subtler appropriation of a lyrical other.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87217461","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 : 2022-04-03DOI: 10.1080/13602365.2021.2018479
R. Fabbri
Museums that have recently been completed in the Gulf present a recurrent strategy. The emphasis is often on the container rather than the content. In this framework, architecture is the language that, through visual metaphors alluding to local traditions, generates a contextual linkage and a sense of place. Therefore, none of these latest museums is designed as a building. Instead, it is a desert rose, a falcon’s feather, a sail, or any other reference to Gulf iconography. The present text analyses the meaning of symbolic language in architecture by comparing a series of case studies in the Gulf Cooperation Council (GCC), culminating with Jean Nouvel’s antipodal proposals for the National Museum in Qatar and the Louvre Abu Dhabi. The paper argues that the validation of buildings through visual allusions to locality is a recurrent feature of recent Gulf museums, as a response to a fluid context in constant adjustment on the tradition-modernity axis.
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2112261
S. Borree
Recent scholarship on architectural photography has highlighted the tension and ambiguity in architecture’s relationship with photography and the discrepancy between architecture’s reliance on photography and its common disregard of photographic images as objects in their own right. Further expanding on this re-evaluation, this article examines references and comments on photography from the 1920s and early 30s that appeared in the German architectural magazine Der Baumeister, that suggest their authors were highly attentive towards the photographs they worked with. Their remarks on the expressive qualities of specific photographs included in their articles and photographic depiction of architecture more generally acknowledge the photographs as objects in their own constructive right. Through a close reading of these remarks in conjunction with each other, this article develops the proposition that they reveal a process of negotiating the adequacy of photographs to represent a building and its three-dimensional experience, while signalling a shift in what is understood as an authentic perception and experience of a building. Thus, the article argues for the emergence of a new site of experience that sits in-between of and in tension with both architecture and photography.
{"title":"Interrogating photography as the site of architectural experience: reflections on photography in Der Baumeister","authors":"S. Borree","doi":"10.1080/13602365.2022.2112261","DOIUrl":"https://doi.org/10.1080/13602365.2022.2112261","url":null,"abstract":"Recent scholarship on architectural photography has highlighted the tension and ambiguity in architecture’s relationship with photography and the discrepancy between architecture’s reliance on photography and its common disregard of photographic images as objects in their own right. Further expanding on this re-evaluation, this article examines references and comments on photography from the 1920s and early 30s that appeared in the German architectural magazine Der Baumeister, that suggest their authors were highly attentive towards the photographs they worked with. Their remarks on the expressive qualities of specific photographs included in their articles and photographic depiction of architecture more generally acknowledge the photographs as objects in their own constructive right. Through a close reading of these remarks in conjunction with each other, this article develops the proposition that they reveal a process of negotiating the adequacy of photographs to represent a building and its three-dimensional experience, while signalling a shift in what is understood as an authentic perception and experience of a building. Thus, the article argues for the emergence of a new site of experience that sits in-between of and in tension with both architecture and photography.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83426892","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 : 2022-04-03DOI: 10.1080/13602365.2022.2088599
Mariana de Oliveira Couto Muszyński
This paper affords a closer look at a building located in Lisbon’s historical city centre, the Primary School and Public Bathhouse near São Jorge’s Castle, designed by Bartolomeu Costa Cabral. The project was initiated in October 1959 and approved in 1963; having been a target of criticisms from official authorities, as we shall recount, it was finally inaugurated in 1972. Representing, at the time, an innovative pedagogical approach, it was intended to be perceived by children as an extension of their homes. It turns inwards to its patios to encourage students to be closer to nature and learn from it while promoting play and forming relations. Furthermore, six properly equipped and adaptable classrooms allow for multiple activities. For the maximum use of the plot area and to promote integration with its surroundings, the disposition of classrooms is fragmented and arranged along a north-south axis, freeing the surrounding streets and preserving sunlight conditions of neighbouring buildings. Rejecting any imitation, the external façades draw a clear limit between inside and outside. At a time when gatherings of more than three people were forbidden, and ‘heavy’ and ‘outdated’ official constructions were still being built, the architect sought to incorporate principles related to modern architecture, particularly those espoused by Alfred Roth, to create a school capable of responding to evolving teaching methods and resisting the passing of time, as well as promoting the ‘phenomenon of encounter’ that fosters a sense of community and belonging amongst children and residents. This paper focuses on Costa Cabral’s formative years to explore the context in which the architect developed his thinking and from which this project emerged. We then proceed to address the design process for this school based on an analysis of the documents in his archive. Finally, the importance of the influence on this project of works by Alfred Roth — whose studies centred particularly on English post-war schools — is revealed.
本文详细介绍了位于里斯本历史悠久的市中心的一座建筑，位于s o Jorge城堡附近的小学和公共澡堂，由Bartolomeu Costa Cabral设计。1959年10月立项，1963年立项;正如我们将叙述的那样，它一直是官方当局批评的对象，最终于1972年落成。在当时，它代表了一种创新的教学方法，目的是让孩子们把它看作是他们家的延伸。它转向其庭院，鼓励学生更接近自然并向自然学习，同时促进游戏和形成关系。此外，六间设备齐全、适应性强的教室可以进行多种活动。为了最大限度地利用地块面积，促进与周围环境的融合，教室的布置是分散的，沿着南北轴线排列，解放了周围的街道，并保留了邻近建筑的阳光条件。拒绝任何模仿，外部立面在内部和外部之间划出明确的界限。在一个禁止三人以上聚会的时代，“笨重”和“过时”的官方建筑仍在建造，建筑师试图结合与现代建筑相关的原则，特别是阿尔弗雷德·罗斯所支持的原则，来创建一个能够应对不断发展的教学方法和抵制时间流逝的学校。以及促进“相遇现象”，在儿童和居民之间培养社区意识和归属感。本文聚焦于Costa Cabral的形成时期，探索建筑师发展他的思想和这个项目产生的背景。然后，我们根据对他档案中的文件的分析，着手解决这所学校的设计过程。最后，揭示了阿尔弗雷德·罗斯(Alfred Roth)对这个项目的影响的重要性，他的研究主要集中在英国战后学校。
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2086151
Ecem Sarıçayır
This paper traces the history of two community centres, De Meerpaal (1965–1967) and Het Karregat (1973), designed by the Dutch architect Frank van Klingeren. After situating his work within the historical context of the 1960s and 1970s architectural developments in the Netherlands, Van Klingeren’s architectural practice as demonstrated through his community centres is analysed through the conceptual framework of ‘open architecture’ proposed by Esra Akcan. Although they received praise from national and international commentators alike, Van Klingeren’s open community centres also met resistance from government officials and journalists, as well as users of the buildings. The focus of investigation is on Van Klingeren’s struggle against the planned renovation of De Meerpaal and his decision to file an injunction claiming his right of authorship over the building in a final attempt to safeguard the building’s openness. This paper draws attention to the contradictions of Van Klingeren’s open architecture and argues that his attempt to protect De Meerpaal through court action is indicative of the limitations of his open architectural practice. In doing so, this paper explores the question of architectural authorship in discussions on open architecture.
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2105381
F. Lanz, J. Pendlebury
Buildings have always been reused for both pragmatic and symbolic reasons. However, out of the turbulence of the mid-twentieth century, stimulated by reactions against modern ‘clean-sweep’ planning, a new field of policy and practice emerged in the 1970s to respond to the burgeoning conservation movement and growing environmental awareness, which came to be termed ‘adaptive reuse’. The last decade in particular has seen a flourishing of interest in adaptive reuse both on the ground and in scholarship. Today, the practice is witnessed across the architectural spectrum, from starchitects to the most modest community-generated projects. Adaptive reuse is ideologically supported through heritage and carbon reduction campaigning, and is evident in policy and education. In this paper, we critically review the rise of adaptive reuse scholarship and the emergent epistemology it represents, with a focus on the past twenty years and more recent monographs in the field. What we discern in these texts is a recent shift in the debate toward a more theoretical approach to the subject. While the debate on adaptive reuse has been continuously developing since the 1970s, it did so mostly with a focus on mapping and depicting an architectural phenomenon, and identifying tools and strategies to instruct practitioners and designers. However, more recent works on adaptive reuse are increasingly seeking to go beyond a pragmatic and practice-focused approach, and to investigate adaptive reuse in a more conceptual way. In doing so, they might open up the debate to new disciplinary contributions beyond the domain of architecture and design. This paper aims to outline and contribute to this shift.
{"title":"Adaptive reuse: a critical review","authors":"F. Lanz, J. Pendlebury","doi":"10.1080/13602365.2022.2105381","DOIUrl":"https://doi.org/10.1080/13602365.2022.2105381","url":null,"abstract":"Buildings have always been reused for both pragmatic and symbolic reasons. However, out of the turbulence of the mid-twentieth century, stimulated by reactions against modern ‘clean-sweep’ planning, a new field of policy and practice emerged in the 1970s to respond to the burgeoning conservation movement and growing environmental awareness, which came to be termed ‘adaptive reuse’. The last decade in particular has seen a flourishing of interest in adaptive reuse both on the ground and in scholarship. Today, the practice is witnessed across the architectural spectrum, from starchitects to the most modest community-generated projects. Adaptive reuse is ideologically supported through heritage and carbon reduction campaigning, and is evident in policy and education. In this paper, we critically review the rise of adaptive reuse scholarship and the emergent epistemology it represents, with a focus on the past twenty years and more recent monographs in the field. What we discern in these texts is a recent shift in the debate toward a more theoretical approach to the subject. While the debate on adaptive reuse has been continuously developing since the 1970s, it did so mostly with a focus on mapping and depicting an architectural phenomenon, and identifying tools and strategies to instruct practitioners and designers. However, more recent works on adaptive reuse are increasingly seeking to go beyond a pragmatic and practice-focused approach, and to investigate adaptive reuse in a more conceptual way. In doing so, they might open up the debate to new disciplinary contributions beyond the domain of architecture and design. This paper aims to outline and contribute to this shift.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90484805","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 : 2022-04-03DOI: 10.1080/13602365.2022.2072933
K. Jordan
Church architecture is an overlooked barometer of urban life. It holds up a unique mirror to economic models, demographics, cultural and ritual practices, and aesthetic movements in late modernity. In turn, the changing complexion of secular society has had a marked influence on the type and style of Christian architecture in the twenty-first century. This article explores the dialectical relationship between church architecture and secular society within recent critical frameworks, examining, in particular, the value of infrasecular geographies as an alternative to the post-secular lens. The infrasecular model is used to frame a reading of three recently completed schemes within the Anglican Diocese of London, which have been selected to offer a snapshot of new church architecture. These comprise a purpose-built church, a refurbished Grade II* listed church, and a ‘church’ which operates within a custom-made boat. All three have been promoted by the Diocese of London as successful initiatives within the Church’s growth strategy and all three were sufficiently high profile to be covered in the national and architectural press. In reading these churches as markers of wider shifts in the urban landscape, the article agrees with David Goodhew that, ‘the many studies of modern London that airbrushed out churches (and often faith in general) present a seriously incomplete picture’.
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2086152
M. Sternberg
The works of post-war reconstruction in Munich by the German architect Hans Döllgast (1891–1974) have become a reference point for interpretative modern architectural responses to damaged heritage. In the context of Berlin’s museum restorations of the past fifteen years, leading designers from David Chipperfield to Roger Diener have paid tribute to Döllgast’s inspirational restitution of the Alte Pinakothek art museum in Munich in the 1950s. This article revisits Döllgast’s contribution to reconstruction by drawing on a wider corpus of his writings. Döllgast’s critical attitude to Modernism is examined not as a quirk, but rather as a key to his distinct achievements in reconstruction. Unlike existing accounts that assess his work by case studies, the article focuses on cross-cutting themes in Döllgast’s approach. It challenges the tendency to over-privilege the iconography of ruination in Döllgast and draws attention to his underlying interest in continuity in modern architecture.
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