Global ETD Search

11	Emphasize the Gap! Towards a Žižekian Definition of Critical-Emancipatory Architecture Novakovic, Uros 13 August 2013 (has links) Confronted with issues, whose (socioeconomic) causes cannot be resolved through the modification of the built environment, architectural interventions may often inadvertently aid the reproduction of the problems they seek to resolve. In eliminating symptoms of social inequality, alienation and marginalization, architecture can legitimize the social order out of which they arise. In such situations, architects’ attempts to concern themselves with narrowly practical concerns are insufficient even to their own aims, and in order to properly address the issues facing it, architecture must simultaneously operate as a vehicle for social critique and political emancipation. In the work of philosopher Slavoj Žižek, a critical-emancipatory intervention corresponds to an emphasis of a constitutive tension and discord (“the gap”) within what is commonly perceived as a stable, neutral background. Critique strives not to explicitly reveal existing problems. Instead, it reveals an inherent inconsistency within an implicit, ideological fantasy of order and harmony that allows us to naturalize these problems. Consequently, the critical-emancipatory potential of architecture resides not in its programmatic content nor in its representational image, but in its capacity to disrupt the reassuring affective texture of ideology. Critique resides in a formally subtle (concerning architecture in its narrowest definition as an affective structure), yet politically radical shift in how problems of everyday life are interpreted and processed; re-introducing a minimal sense of disquietude that is both critical and emancipatory. The disquietude, that marks an absence of a fantasy of order and harmony, can, paradoxically, only be sustained as a product of a formally (representationally) ordered and harmonious appearance. The critical-emancipatory disquietude is not a compromise of the order and harmony, but rather a reflection of its uncompromisingly egalitarian nature. Architecture Critical Architecture Slavoj Žižek Adolf Loos Peter Zumthor Ai Wei Wei Rem Koolhaas Brutalism Communism Emancipatory Politics Aesthetics
12	Společensko-kulturní centrum s radnicí v Kohoutovicích / Socio-cultural centre with townhall for the district Brno-Kohoutovice Křivánek, Martin January 2016 (has links) Kohoutovíce is my interpretation of urban district moving on the edge of village and cold war urban development. Duality who are giving into context grew old buildings and cold war development as a place with exception identity. Identity based on mutual disharmony forming a function unit when one part complements other. Action causes a reaction. Culture Social center with the Town Hall as the main bearer of the idea of mutual penetration between coexistence looking for its history and future. Instead of overlap, which aims to reflect both the present and future needs and significantly cities and boroughs, necessary for quality of living and use. The project implements existing hall located on the border of the original buildings, but also in direct contact with another typical feature of the whole territory, and panel buildings. Duality, otherness, diversity as incompatible interaction forming a single center of gravity in one place. Persona grata.
13	[en] EMPTY FORMS IN ARCHITECTURE: EXISTENCE PRECEDES ESSENCE / [pt] FORMAS VAZIAS NA ARQUITETURA: A EXISTÊNCIA PRECEDE A ESSÊNCIA SILVANA CASTRO NICOLLI 12 June 2015 (has links) [pt] No final dos anos 1960, os projetos arquitetônicos em grandes escalas foram desacreditados no Ocidente por estarem associados à presença dos Poderes vigentes. Influenciados pelos ideais de Maio de 1968, os arquitetos ocidentais passaram a procurar modelos alternativos, baseados na linguagem histórica. Eles buscavam com isso alcançar a autonomia da forma arquitetônica, esvaziando-a do suposto conteúdo ideológico, que estaria aderido às formas abstratas modernas. No entanto, o enfoque pós-moderno nos elementos formais do objeto arquitetônico e do espaço urbano implicava no abandono da questão urbanística na escala metropolitana. Esta escala espacial seria marcada pela perda das referências às estruturas formais orgânicas. No Japão, a pesquisa moderna em grandes escalas não foi interrompida, oferecendo um amplo instrumental para a questão urbanística contemporânea. Esta dissertação verifica como os arquitetos Fumihiko Maki e Rem Koolhaas propõem a retomada e a revisão do urbanismo moderno metropolitano. Eles partem do pressuposto de que a Forma arquitetônica seria vazia de significados intrínsecos. A apropriação por parte dos Poderes e, também, por parte das pessoas imprimiria à arquitetura significados, retirando dos arquitetos a responsabilidade sobre a totalidade do projeto e devolvendo-lhes a legitimidade da disciplina. Esta pesquisa percorre os caminhos seguidos por esses arquitetos a partir de suas referências orientais e ocidentais, mostrando como, em diversos momentos, os conceitos arquitetônicos dos dois mundos convergem, apontando a persistência do pensamento moderno. / [en] By the end of the 1960s, large-scale architectural projects were discredited in West because they were associated with the established Power. Influenced by the ideals of May 1968, architects began searching alternative models based on the Historical language. They wanted to reach the autonomy of the architectural form by releasing it from their supposed ideological content, which was adhered to the abstract modern forms. Nevertheless, the post-modern approach, which was based on formal elements of the architectonical object and of the urban space, implied in the relinquishment of the metropolitan-scale. This urban-scale would be characterized by the references loss of organic formal structures. In Japan, modern research on large-scales was not interrupted, offering an important arsenal to the questions of contemporary urbanism. This dissertation verifies how the architects Fumihiko Maki and Rem Koolhaas propose the retaking and revision of modern metropolitan urbanism. They presuppose that architectonical Form is devoid of intrinsic meaning. Its appropriation by Power and also by people gives it meaning, removing architects responsibility on the totality of the project and giving them back the legitimacy of the discipline. This research follows the paths opened by these two architects through their Eastern and Western references, revealing the many instances in which architectonical concepts of both worlds converge, aiming to the persistence of modern thought. [pt] METROPOLE [en] METROPOLIS [pt] FUMIHIKO MAKI [en] FUMIHIKO MAKI [pt] REM KOOLHAAS [en] REM KOOLHAAS [pt] FORMA VAZIA [en] EMPTY FORM [pt] URBANISMO POS-CIAM [en] POST-CIAM URBANPLANNING [pt] ESPACO-MOVIMENTO [en] MOVEMENT SPACE [pt] LINKAGEM [en] LINKAGEM [pt] INTERIORIDADE - OKU [en] INNER SPACES - OKU [pt] BIGNESS [en] BIGNESS
14	The Politics of Friends in Modern Architecture : 1949-1987 Troiani, Igea Santina January 2005 (has links) This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into "how" dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida's writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships. In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas. Crucial to the undermining of their respective enemies is the friends' collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. It also appears that through the making of these projects, the unrecognised architects are able to convert themselves to being recognised as new figureheads. This thesis contends that as a consequence of the power within each of the three friendship partnerships, the architects are enabled to collaborate against the dominant ideology of their respective enemies and gain status. It also contends that a cycle of friendship and warring is the political system by which the institution of modern architecture has historically reengineered itself to suit the times. 1949-1987; Architects - Alison Smithson Peter Smithson Denise Scott Brown Robert Venturi Elia Zenghelis Rem Koolhaas Philosophy - Jacques Derrida
15	Transparency and learning spaces Finau, Emily 08 April 2011 (has links) This thesis explores the various meanings and implications of transparency in architecture and in learning environments in particular. Architectural transparency, achieved through choice of materials and principles of formal composition, creates a diversity of relationships and can facilitate visual, conceptual, and functional clarity as well as offering simultaneous perception of different spaces. It offers a range of phenomenological qualities and so provides an opportunity to explore and complicate such dichotomies as translucency and opacity, openness and closure, and public space and private space. While celebrated throughout modern and contemporary architecture, transparency raises issues of privacy and safety even as it breaks down hierarchies and social boundaries. The research-based design of transparency in a school building necessitates careful planning to achieve a balance between the access to views, natural light, fresh air, and social interaction that transparency may bring and the continuing obligation to provide a safe, secure environment for schoolchildren. Design Expanded meshes Metal fabrics Netherlands Embassy in Berlin Polycarbonate Multi-cinema Rotterdam Koen van Velsen School size Phoenix Union Bioscience High School Oslo International School Betty H. Fairfax High School Blythewood High School Diaphanous metals Fabric Aerogel Schematic Spatial projection Classroom design Patterned carpet Carpet floor plan Rem Koolhaas OMA Plastic Glass Transparent materials School program School design Security Transparent security Two-way One-way Health Safety Activity levels Hormone patterns Attendance Visual Surface Phenomenal Learning environment Classroom Daylighting Ventilation School High school Small school Small school initiative Small learning community High school transformation Therrell High School Atlanta Public Schools Teen depression Blood pressure Transparency in architecture School facilities

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