Architecture and Public Spaces

The Seagram Building in Manhattan (1954-58), by Ludwig Mies van der
Rohe and Philip Johnson, is one of those rare pieces of architecture
which has come to define an era. For Mies van der Rohe the achievement of the Seagram Building was the resolution of years of theoretical and exacting architectural investigation.
The influence of the Seagram Building stretches beyond that of a single work of a modernist master, however. Its significance is also felt in the way it changed planning legislation and became associated with the fragmentation of the urban realm, through the spread of the generic modernist combination of tower, plaza and artwork.

This article contains information about the importance of preserving the historical objects as a vital condition of a normal development of historical cities. The main legislative and regulatory documents in the fields of protecting of cultural heritage, preserving the traditional character and reconstructing of the lost objects are mentioned.
The analysis of the legislation of preserving the objects of cultural heritage, the current regulations and practices of their implementation in Ukraine give grounds for considering importance of improving the regulations with the consideration of numerous violations of conditions and restrictions of urban planning of the cities with the status of historical sites.
One of the important topics of the formation of traditional historical character is the re-creation of the lost objects of cultural heritage with the consideration of their role in the city-forming, using as an example the reconstructed in 1999-2010 the Transfiguration Cathedral in Odessa.

"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading
of the photographic series Fortunes of War, Life Day by artist Eric Lesdema,
Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral
spaces at the edge of violence which impose an ethic of spatial responsibility on the
viewer in the act of turning away and looking elsewhere. While no acts of explicit
violence are shown in the images, we are left with no doubt that violence is ubiquitous
along the spatio-temporal continuum. This continuum of violence between
bodies raises questions of complicity and responsibility. Do we submit to a state
of affairs in which space is saturated with the everyday and immobilised violence
of the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from
the atmosphere, through ruptures and folds within the continuum? Such a notion
raises the ethical possibility of the ‘emergence of spatial justice’." Chris Butler and Edward Mussawir (eds)

The goal of this unit is to build into the mindset of the students a sociocultural and anthropological understanding of space and place. The key method that this unit aims to provide the students with centers around the notion of empathy in understanding the needs of users, which, in this case, is not just the immediate clients or users of the space proposed for them but also the communities and polity surrounding it. The emphasis of this unit is on the “urban solutions.” In order to achieve this empathy, students will engage in qualitative research methods such as participant observation, open-ended interviews, and analogous and inquisitive participation. In this unit, we will be looking at a real project that is in the centre of public and media attention. Students will think about how this complex community of people are living, selling, maneuvering kinship and business practices through space and time. It is crucial to understand the context, the people and the culture; as there is a real need for design that integrates all of the above. This unit will give the students the training in the methods by which they can systematically collect ‘thick social data’ to
integrate into this urban design lab.

In un film dell'inizio degli anni novanta, Giuseppe Tornatore racconta il viaggio di un padre che dalla Sicilia si sposta verso le grandi città italiane per visitare i suoi cinque figli ormai adulti. Nonostante venga a conoscenza di condizioni famigliari assai problematiche, al suo ritorno si ostina a mentire agli altri e a se stesso affermando che " Stanno tutti bene ". Un viaggio nelle città e nei territori italiani contemporanei osservati con la lente dello " stare bene " , inteso come welfare e wellbeing, ci porterebbe oggi a sostenere un'analoga menzogna. Infatti, le condizioni di salubrità, comfort e sicurezza che le nostre città sono oggi in grado di garantire ai propri abitanti non sempre raggiungono livelli che possiamo considerare ragionevoli e anzi, sovente, sono da considerare pericolosi, dannosi e forieri di situazioni di ingiustizia. Per affrontare il rapporto tra malessere urbano e ingiustizia spaziale, il testo che segue dopo una riflessione generale sui paradossi della salubrità in città, articolerà una riflessione su alcuni temi dei quali il progetto urbanistico, con l'obiettivo di garantire maggiore welfare e wellbeing, dovrebbe farsi carico: accessibilità, mobilità, sicurezza e comfort saranno le principali categorie indagate.

This thesis is a study of Tottenham High Road, and how the urban blocks which comprise its depth are composed. Depth has a number of components: architecture, space and time; depth is the armature in which people live their social lives, and the place where local cultures emerge. The conception of depth offers a way of capturing urban life in its richness and its reciprocities. The literature about high streets offers few detailed analyses of their spatial and psycho-social ordering and this thesis seeks to fill that gap. The approach is a hermeneutics of praxis, using ethnographic methods, in-depth interviews, and situating the information spatially using architectural drawing techniques. It offers a novel method of investigating and understanding the structures and processes which make up the high streets and which, in aggregate, make the whole city. Tottenham High Road is used here as a case study, a vehicle through which to interpret evidence about the existence and nature of depth, with its manifold structures. Understanding depth is vital to understanding high streets, so this thesis allows a deeper and richer interpretation of high streets than has previously been possible.
There is a problem in planning orthodoxy around high streets, typified in Tottenham: the richness of depth is flattened and codified, in order to frame swathes of city as sites from which to reap economic reward. In fact, depth contains all of human life, and understanding it, therefore, is an ethical responsibility for planning. Depth has a number of characteristics, ordered by different processes and forces. Firstly, physical order, shaped by both economic and social forces. For example, the most public uses are found in the 'shallowest' parts of depth, and these are the most valuable sites because they command the greatest passing trade. Secondly, depth has a social order, through playing out of place ballet by people as they live their lives. The social order operates interdependently and reciprocally with the physical order of depth. Commitment between people and places (citizenship) results in special place cultures, which are hosted in depth. Depth has variation in the scope of decorum from the outer edge of the block to the centre: more things are possible inside the block than at its edge. 
The insights about depth in this thesis are relevant to many areas of life: to planning, to politics and to existing theory, because depth provides an account for the ethical order in which other areas of human life take place. With an understanding of depth it is possible to evaluate planning proposals, efforts at ensuring political participation, to shed light on existing theories such as Cosmopolitanism, and to add a valuable layer of information about the real structures of London to the existing literature.

The extensive use of smartphones in our everyday lives has created new modes of appropriation and behavior in public spaces. Recognition of these are essential for urban design and planning practices which help us to improve the relationship between humans, technologies, and urban environment. This study aims to research smartphone users in public space by observing their altering visual attention and walking behavior, and, in this way, to reveal the emergent "new figures". For this purpose, Korenmarkt square in Ghent, Belgium, was observed for seven days in 10-min time intervals. The gaze and walking behavior of smartphone users were encoded as geo-located and temporal data, analyzed and mapped using statistical and spatial analysis methods. Developing and implementing new methods for identifying the characteristics of smartphone users, this study resulted in a nuanced characterization of novel spatial appropriations. The findings led to a better understanding and knowledge of the different behavior patterns of emergent figures such as "post-flâneurs" and "smartphone zombies" while uncovering their altering visual interactions with and movements in the public space. The results evoked questions on how researchers and designers can make use of spatial analysis methods and rethink the public space of the future as a hybrid construct integrating the virtual and the physical.

This article contains information about the importance of preserving the historical objects
as a vital condition of a normal development of historical cities. The main legislative and regulatory
documents in the fields of protecting of cultural heritage, preserving the traditional character and
reconstructing of the lost objects are mentioned.
The analysis of the legislation of preserving the objects of cultural heritage, the current regulations
and practices of their implementation in Ukraine give grounds for considering importance of improving the
regulations with the consideration of numerous violations of conditions and restrictions of urban planning of
the cities with the status of historical sites.
One of the important topics of the formation of traditional historical character is the re-creation of the
70
lost objects of cultural heritage with the consideration o f their role in the city-forming, using as an example the
reconstructed in 1999-2010 the Transfiguration Cathedral in Odessa.
Key words: legislation and regulations o f preserving the objects of cultural heritage, historical
environment, the reconstruction of the lost objects

Examines convict life when Singapore was a penal colony between 1825 and 1873 and the unusual convict system where prisoners were their own warders. The magnificent buildings and construction that still stand today are a legacy of their enduring contributions.

Cette communication a eu lieu le 31 mars 2017, dans le cadre du séminaire doctoral d'Alexandre Gady. Elle fut l'occasion de révéler une documentation inédite permettant de porter un nouveau regard sur le projet de place Louis XVI destiné à la cité du Ponant en 1786.

This thesis investigates urban soundscapes through videogame media experimentation. The main concern is to understand the procedures, logic and operational methods within game design processes, as a means of finding novel forms for expressing and comprehending urban sonic environments.
Our main objective, thus, is to enhance the urban soundscape representation process, considering that videogame simulations can fulfill gaps currently found in other media, such as noise maps. We assume, throughout the thesis, that the procedural, interactive and symbolic nature of games contribute to this enhancement, by engendering new ways of operating sound environments and handling its qualitative aspects.
The research is conducted through the development of a prototype, built within a game engine environment, and is part of an ongoing research in LAURD – PROURB, that exploits digital tools applied to urban studies, focusing, currently, on the area of Largo de São Francisco, in Rio de Janeiro.
Aside from creating a virtual sonic environment of the study case area, based on the research demands, the major contribution of this thesis is the design of a system – with variables, simulation behaviors, components and rules – that represents urban soundscapes and allows different kinds of simulations. Throughout the development of the prototype and as result of a “gamified” filter, new forms of engagement with Rio de Janeiro´s soundscape emerged, contributing to the rise of a specific approach that emphasizes the referential importance of sound in urban studies.
The prototype can be accessed in:
PC: goo.gl/E1chyr
MAC: goo.gl/KCXVFa

Résumé. Paris-Plages s’affirme comme une organisation socio-spatiale des corps, par des aménagements matériels et symboliques, d’une part, et par un règlement (avec des personnels affectés au maintien de son respect), d’autre part. L’événement est un dispositif prescripteur de pratiques corporelles singulières. Il organise la coprésence des corps dénudés selon un principe de stimulation des comportements conformes à une scénographie normative et balnéaire des lieux. Mais cet encadrement institutionnel s’articule avec une
autodiscipline collective des corps des ”plageurs” dont la coprésence et les interactions contribuent à l’organisation
sociale et mimétique du lieu.

Abstract. The Paris-Plages scheme (Paris Beaches) asserts itself as a socio-spatial organisation of bodies through physical and symbolic amenities, as well as through rules of procedure monitored by dedicated staff. The event brings about singular bodily practices. It stages the co-presence of revealed bodies through encouraging behaviours that are consistent with the normative, seaside scenography of the premises. However, this instutional framing interacts with the collective self-discipline of the beachgoers’ bodies whose co-presence and interactions are
instrumental in the social, mimetic organisation of the venue.

Può la densità essere lo strumento analitico di interpretazione dei fenomeni urbani e contemporaneamente un parametro progettuale di prefigurazione dello spazio architettonico? La densità nelle sue diverse accezioni e unità di misura, costituisce un nodo di grande rilevanza per l'interpretazione dei fenomeni urbani e degli spazi architettonici. Incoraggia una riconciliazione dello sguardo quantitativo con quello mirato alla lettura qualitativa, riavvicina discipline disgraziatamente disgiunte nell'attuale pratica, suggerisce mezzi e stili di vita che sono alla base del nostro habitat. Ciò che infatti ha da sempre caratterizzato la città non è solo la sua dimensione ed il numero degli abitanti, ma un secondo fattore fondamentale: la densità appunto, o meglio un valore di densità minimo in grado di produrre divisione del lavoro, varietà di funzioni e attività, complessità della struttura sociale. L'architettura progetta distanze oltrechè volumi, la densità ne è quindi un parametro centrale; l'urbanistica e la progettazione urbana, utilizzando il calcolo della densità come livello minimo di pianificazione, dovranno tendere a configurare in futuro le città, influenzandone gli aspetti non solo numerici, ma anche tipologici, morfologici e spaziali. Riscattato dalla computistica, il fattore densità, si trasforma allora in una variabile urbana in grado di definire la forma attuale della città, divenendone strumento di misurazione e di progetto.

Surabaya is one of the cities in Indonesia that preserves the traditional kampungs all around the city. New
town CitraLand for example, maintains relation by making access to kampung surroundings. It is not walled
entirely. This high-class new town provides gates and streets and some public areas which is accessible for
kampung inhabitants. The relation of CitraLand and kampungs forms a unique neighborhood. But the
question of class segregation is still there. Who gets benefit of open-access streets: the kampungs or
CitraLand? How CitraLand maintains its privacy while at the same time allows public to go through of it?
Why can’t we find a place where both kampung and CitraLand communities share public space together at
the same time? We use map, take pictures, and interview kampung inhabitants on street and public
spaces, to analyze how they perceive and use spaces in CitraLand. We find that gates and streets in
CitraLand are used for short cut through only not as a destination. Some kampung inhabitants prefer to
use kampung streets and avoid going through CitraLand streets due to “not belonging feelings”. The only
public space where kampung inhabitants spend their weekend morning is waterpark which is not fully used
by CitraLand inhabitants. We argue there is (still) segregation and that the new shape of neighborhood
between kampung and CitraLand actually never exists. Both communities share gates, streets and public
space but never for real have connection. They share spaces spatially NOT socially.

Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.

800 years later in 2020 we have Schumann Resonators which are little boxes you plug into the wall that produce electromagnetic radiation tuned to 7.83 Hz.
This is the frequency that the earth/atmosphere system “rings” at when the Earth is struck by lightning. It is also a common frequency your brain “ticks” at.
If we are out of sync with Earth's Frequency (Schumann Resonance) we begin to exhibit signs of discomfort that can range from anxiety, insomnia, illness, suppressed immune etc… Conversely we have discovered that when we humans are in sync with 7.83hz the body is able to heal and increase its vitality. I use PEMF (pulsed electro magnetic field) therapy devices by Swiss Bionics with Schumann resonators. 

It seems the ancients knew about this too.

The cathedral is known as "the high point of French Gothic art" and a "masterpiece" and is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century.
The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.


At least five cathedrals have stood on this site, each replacing an earlier building damaged by war or fire. The first church dated from no later than the 4th century and was located at the base of a Gallo-Roman wall; this was put to the torch in 743 on the orders of the Duke of Aquitaine. The second church on the site was set on fire by Danish pirates in 858. This was then reconstructed and enlarged by Bishop Gislebert, but was itself destroyed by fire in 1020. A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral.
It took its name from Lubinus, the mid-6th-century Bishop of Chartres. It is lower than the rest of the crypt and may have been the shrine of a local saint, prior to the church's rededication to the Virgin Mary.

In 962 the church was damaged by another fire and was reconstructed yet again. A more serious fire broke out on 7 September 1020, after which Bishop Fulbert (bishop from 1006 to 1028) decided to build a new cathedral. He appealed to the royal houses of Europe, and received generous donations for the rebuilding, including a gift from Cnut the Great, King of Norway, Denmark and much of England. The new cathedral was constructed atop and around the remains of the 9th-century church. It consisted of an ambulatory around the earlier chapel, surrounded by three large chapels with Romanesque barrel vault and groin vault ceilings, which still exist. On top of this structure he built the upper church, 108 meters long and 34 meters wide.
The rebuilding proceeded in phases over the next century, culminating in 1145 in a display of public enthusiasm dubbed the "Cult of the Carts" – one of several such incidents recorded during the period. It was claimed that during this religious outburst, a crowd of more than a thousand penitents dragged carts filled with building supplies and provisions including stones, wood, grain, etc. to the site.

In 1134, another fire in the town damaged the facade and the bell tower of the cathedral.
Construction was begun immediately on a new tower, the north tower, which was finished in about 1150. It was just two stories high and had a lead roof. The south tower, begun in 1144, was much more ambitious; it had a spire atop the tower, and, when finished in about 1160, it reached a height of 105 metres or 345 feet, one of the highest in Europe. The two towers were joined on the first level by a chapel devoted to Saint Michael. Traces of the vaults and the shafts which supported them are still visible in the western two bays.
The stained glass in the three lancet windows over the portals dates from some time between 1145 and 1155, while the south spire, some 103 metres high, was also completed by 1155 or later. The Royal Portal on the west facade, between the towers, the primary entrance to the cathedral, was probably finished between 1145 and 1245.

ÖZET
Kentlerin ortaya çıkması uygun coğrafyalarda üretilecek nesnelere yakınlıkla ve özellikle su kaynaklarının varlığıyla gerçekleşir ve kentler siyasi-dini erk ve tebaadan oluşan bir yapı tarafından kullanılırdı. Modernleşme, nedenleri ve sonuçlarıyla bu yapıları katmanlaştırdı ve kentsel planlama artık bir dizi işleme ve ölçüte dayalı hale geldi. 1933 yılında gerçekleşen IV. Uluslararası Modern Mimarlık Kongresinde (CIAM-Congrès International d'Architecture Moderne)  ana tema, kentleşme ve kentsel gelişme planlamaları üzerinden işlevsel kent kavramına odaklandı. Kaleme alınan bildirge, mimari miras ile yeni kentsel donanımların birliğinin nasıl sağlanacağını işaret eden bilgilerin yanı sıra, mimari mirasın ruhsal, duygusal, kültürel ve ekonomik değerini de vurgulamıştı. Ayrıca kent içinde sıkışıp kalmış imarsız yerleşmelerin de temizlenip yeşil alanlara dönüştürülmesinden söz ettiği gibi, eski tarihi alanlarda pastiş gibi eklerin yapılmasını da reddetmişti.
1943 yılında J. Tyrwitt tarafından Fransızcadan İngilizceye çevrilen bu metin (Atina Şartı-La Charte d'Athenes Paris, 1943) zamanla tüm dünyada planlı gelişmenin koşulu oldu. Rykwert (1976) modern kentsel ilkeleri kast ederek “kenti zonlara ayırmak kentlerin ölümü anlamına gelir” demişti. Bu doğrudur ama bu gün Amerikalı bir grup kentbilimci tarafından öne sürülen “kentleri bir enerji ilmeğine almak” gibi teknolojik bir ütopya da onları boğmak demek olur.
Rasyonalist ve iyi niyetli modern kent şiarları ile modern kent akılcı bir biçimde, eksikleri de olsa,  gerçekleşirken, 1980’ler civarında kabul gören neo-liberal politikalar, kentsel mekânı her türlü ticari işlemlerle, metalaşan kültürle ve yeni teknolojik devasa binalarla işgal ederek halkın alanını daraltıp kentlerin kamusal-sosyal alanlarını yok etti. Kentlere insan akını da önlenemez hale gelince mutsuz kent ve kentli nüfusu ortaya çıktı. Doğaldır, çünkü uzmanlar araştırmalara dayalı olarak, başarılı kentin yayıldığı alan ile barındırdığı nüfusu arasında bir orantı olması gerektiğini savunuyorlar.
Diğer yandan, anarşist görüşe göre kentsel gelişim teorisi mekânın kapitalist bir tanımıdır; şehri kimliksizleştirir ve ticari bir meta haline getirir. Kapitalist şehre hizmet eden mimari üretimlerin insanların yararı için üretildiği vurgulanır, ancak yarar vurgusu bir hedef şaşırtmadan ibaret olup bu gibi mekânlar insanlar olmadan, insanlara karşı ve yönetenlerin çıkarlarını korumak amaçlı bir araç olarak geliştirilirler.
Oysa insanlık kentler yapmaya hep devam edecek. Biz, bu kişisel anılarımız, arzu ve isteklerimizle şekillenmiş kentsel mekânlar içinde iş görüyor, yaşıyor olacağız. Karar vericiler ne buyurursa buyursun biz ahali olarak içinde rahatlayıp dinlenebileceğimiz, selam verip selam alabileceğimiz, oynayacağımız ve düş kurabileceğimiz mekânları istiyoruz. Korkutularak bunlardan asla vaz geçmeyeceğiz. Güney Amerika’da bazı bölgeler ve Ljubljana, Atina, Guimaeres ve Bordeaux gibi kentlerde yaşanan bazı müdahaleler ve muhteşem sonuçlarından başka, sosyal sınıflar arasındaki ayrımların daha kesin olduğu Londra, New York gibi kentlerde yaşanan deneyimler kentlerden umudumuzu kesmek yerine, geleceğin insanlığına dair umutlarımızı arttırıyor. Mimarlık, peyzaj, anahtarsız strüktürler, renovasyon ve genişleme, kamusal alan, sosyalleşme ve toplanma mekânları umudumuzdur. Bu konularda önermeler yapmalı, yapana destek olmalıyız. Hiçbir yöntemi bulunamıyorsa; yani, yıkıp kendimize yer açamıyorsak, São Paula’daki gibi «Arabasız Pazar» da mı yapamayız? Ya da…
Anahtar Kelimeler: Kent, Kamusal alan, sosyal mekân, boşluk, insanlar arası ilişki
ABSTRACT
Early settlements evolved in suitable geographies of benediction and felicity, especially near water resources, rich with blessed natural commodities, and were utilized by the ruling power reinforced by the duties and the appurtenant. Modernization, through its causes and ends aided in the stratification of these three on the one hand and systematized urban planning in congruence with a series of operations and standards, on the other. In 1933 during the IV.th International Congress of Modern Architecture (CIAM-Congrès International d'Architecture Moderne), participating architects focused on the concept of functional city in the context of urbanization and urban development. The declaration, along with the question of integration of the architectural heritage and the new urban equipage, underlined the spiritual, emotional, cultural and economic worth of the heritage. Also, the non-planned plots cramped in towns were proposed for clearance so as to remain as green areas and the declaration also prohibited postiche supplement in historical districts.
The text (Athens Charter-La Charte d'Athenes Paris, 1943) that pervaded the entire world as the dictum of planned urban development. Referring to the main idea of the programmatic development, Rykwert (1976) had said ‘zoning is the death of cities’. This is true but a technological utopia such as ‘planning cities as a series of energy loops’ is to suffocate them.
While modern towns were being realized with the rationalist and well-intentioned modern urban principles, with some deficis may be, around 1980s the most welcomed neo-liberal policies opened up urban space to every kind of trade business, commoditized culture, produced colossal sky-scrapers and occupied public space, diminished the freedom of people who once used such places for socialization and enjoyment. Nevertheless, dazzling sights and work possibilities drew mass populations to such cities. Hence the outcome was hectic towns and unhappy populations.  This is a very natural corollary, because based on research experts declare that the ratio of the land occupied by the cities to its population should be in the accurate range to create amiable towns.
On the other hand, according to the anarchist view, the theory of urban development is already a capitalistic determination of space; it is de-identification and commoditization of towns. It advertises the value of architectural productions as if it were to the benefit of people but the emphasis on human interest is a twist because this urban architecture without people is produced to promote the expedience and profit of the enterprisers and the ruling power.
Whereas, humanity will keep on producing settlements. We will keep on operating and living in urban spaces configured to house our wishes and desires. Whatever the decision-makers command, as humans we want spaces where we can rest and relax, greet each other, play and dream. We will never give up due to oppression and fear. Apart from the interventions and extraordinary results in several locations in South America, and in cities such as Ljubljana, Athens, Guimaeres and Bordeaux, recent experiences in cities such as London and New York where discrimination between social classes are severely marked, enhance our expectations for the future of humanity rather than disheartening us,. Architecture, landscape, “structures without keys” renovation and enlargement, public space, and socializing are our prospect. We should conjecture and make suggestions on these issues and support those who step forward. If there can be found no way-out, that is, if we cannot tear down towns and make a space for ourselves, cannot we at least set a day like “car-less Sunday” as in São Paula? Or else…

Keywords: City, public area, social space, void, human interactions

This article examines the conception of the everyday city as presented in the work of architect Christopher Alexander and architectural theorist Bill Hillier: Both thinkers suggest that, in the past, lively urban places arose unself-consciousty through the routine daily behaviors of many individual users coming together in supportive space and place. In different ways. both thinkers ask whether, today, a similar manner of vital urban district can be made to happen self-conscioustv through explicit understanding transformed into design and policy principles. The aim for both Alexander and Hillier is place-based urban communities marked by lively streets, serendipitous public encounters, and informal sociability. The article begins by examining commonalities and differences in Alexander and Hillier's conceptions of environmental wholeness and urban place. Next. the article considers implications for urban design and, last, indicates the considerable value that the two thinkers' ideas offer environmental philosophy, particularly for understanding environmental wholes.

Despite advancements, changes, transformations, and the gains; the presence of female figures in Turkey is still arguable today due to the state, society and family relations, legal, cultural and individual sense stuck in the autocratic and masculine suppression. Yet, these constraints constitute the main problematic of this paper, with a strong determination of where we are in the change and bringing up the will to map the breakpoints in order to provide the feminist memory of events, actors and milieus in Turkey.

As it is known, women movements and the women's struggle for existence in the public sphere in Turkey have been a long and gradual process initiated with the late Ottoman period, especially with II. Constitutional Monarchy until today. We witness different stages in the process, with accelerations and withdrawals, synchronized with global movements, sometimes being delayed, but frequently being interrupted and suppressed, or tried to be kept under control (Tekeli, 2004) (Sancar, 2017) (Berber, 2017a, 2017b).

In this respect, this paper examines the -historicity of- the woman figure in Turkey and its presence in the public realm in four successive periods, while dismantling four different roles that have emerged or being assigned in the process. In this context; the struggling and militant female figure in the late Ottoman and Early Republican Era (1870s-1935), the female figure serving the modernization and development as a soldier of the revolutions and enlightenment in the Republican Period (1935-70s), a militant feminist female figure after the 80s (1970-2000s) and then seeking the rights of women, and then the pursuit of women's identity, and finally the re-domesticated female figure in the post-2000 period, are discussed.


Türkiye’de toplumsal cinsiyet ve kadın figürüne ilişkin tartışmaların, yeniden yoğunlaştığı günümüzde, kamusal alanda kadın figürünün var olma süreci ve değişimi, kadına biçilen roller ve kadın kimliğini bulması yönünde ortaya koyduğu mücadele; kuşkusuz bu toplumun bir kadın bireyi olarak bizleri de içine almakta, gerek gözlemcisi (tanığı), gerekse bir aktörü (etki veren bir bileşeni) olarak, olaylar ve politikalar üzerine söz söylemek, katkı koymak ve biçimlendirmek yönünde bizleri de tetiklemektedir. Öte yandan, tüm gelişim, değişim ve dönüşümler ile, kazanımlara karşın, hâlâ devlet, toplum ve aile ilişkisinde, hukuksal, kültürel ve bireysel anlamda otokratik ve eril baskılama içerisinde sıkış(tırıl)an Türkiye’deki kadın figürünün tartışmaya açık günümüzdeki mevcudiyeti; bu yazının da temel sorunsalını oluşturan değişimin neresindeyizin tespiti kaygısını ve kırılma noktalarının haritalanmasına yönelik eylemselliği de beraberinde getirmiştir.

Temelde, aile arşivindeki fotografların tasnifi ve Istanbul’daki kamusal alanın değişimine ilişkin minör ve tekil dokümantasyonların avcılığıyla başlayan yolculukta, beni bu yazıyı yazmaya iten ve kendi tanıklığımın önemini kavratan; temelde 1933’teki Sultanahmet Kadınlar Mitingi’ni belgeleyen -yine- aile arşivindeki bir fotograf karesi olmuştur (Resim 1). Bir fotograf karesiyle başlayan bu tanıklık ve bilinçlenme sürecinin olgunlaşması yolculuğunda, bu yazı kapsamında bireysel anlamda bizlerin de birer parçası olduğumuz ailemizdeki tüm kadınların, büyük büyük annemizden bizlere ve bizlerden sonraki nesillere gelene kadar geçmiş ve geçecek olan süreçte, ülkemizdeki kadın figürünün değişimin irdelenmesi, süreklilik ve süreksizliklerin basitçe haritalanması, yol ayrımlarının değerlendirilmesi, yerel-evrensel etkileşiminde ülkemizdeki kadın figürünün zaman zaman değişen konumu ve geleceğine ilişkin dolaylı çıkarımların oluşturulması amaçlanmıştır.

Kendi evini inşa etmek, büyülü ve çekici bir çağrı.

Peki gerçekten mümkün mü? Çok yakın bir tarihe kadar, hepimiz yaşayacağımız evi kendi ellerimizle ve köy imecesi ile yapıyorduk; Çölde, kutuplarda, dağ başları, nehir kenarlarında ya da çok uzak adalarda. Bütün insanlığın coğrafyalarına özel tasarımları ve nesilden nesile aktardıkları bir bilgelikleri vardı. Taş seçimiden, ağaçların kesileceği mevsim hatta ay döngüsüne kadar, şimdi bakıldığında insanı hayrete düşüren bir teknik ve tasarımla. Üstelik bu yapılar binlerce yıla meydan okuyor. Betonun altmış yıllık ömrü, bunları sadece güldürüyor.

İster kendi elleriniz ve belirli bir dayanışma ağı içinde evinizi yapmaya karar verdiniz, isterseniz bir usta ile anlaşıp işe koyuldunuz. Gözünüz kör, kulağınız sağır ve elleriniz bağlı olmasın. Artık kendi evini, seçtiği malzemeden, iç tasarıma kadar profesyonellerin insafına bırakmaya razı olmayan bir bakış açısı egemen oluyor. Bunun Türkiye’deki örnekleri azımsanmayacak kadar arttı.  Hem de ortaya çıkan yapılar, parmak ısırtıyor. Malzeme ile iklim arasındaki denge, araziye oturuş, deneysel çalışmalara verilen değer ve en önemlisi insanı içinde iyi hissettiren evler, hepsi mümkün.

Melih Aşanlı geleneksel sanatlar bilgilerinin üzerine, uzun yıllar çalıştığı restorasyon ve heykel tekniklerini de ekleyerek, kendisi gibi kırsala yerleşen veya yerleşmeye niyetli gönüllüler için muhteşem bir rehber kitap hazırladı. Arazi, toprak ve arazinin neresine evinizi oturtacağınızdan başlayarak, malzemeleri sınıflandırarak, temelden çatıya kadar evinizi inşa etmenizi yahut ustaları yönlendirmenizi sağlayacak kitabıyla hayranlık uyandırıyor. Melih Aşanlı belki de anlatmak istediklerinin özünü şöyle özetliyor;

“Suyun, toprağın, taşın, ağacın doğasını idrak etmek, algılamak en gerekli ilkeler. Malzemelere hükmetmeye çalışmadan da, sadece uyum sağlayarak ihtiyaçlarımızı karşılayabileceğimiz aslında eski olan güncel bir önerme ile ne isterseniz yapmakta özgürsünüz.”

Aslında bütün mesele de özgür olmak değil mi ?

Maintenant,  dieses französische Wort werden wir nicht übersetzen. Warum? Aus einer ganzen Reihe von Gründen, die vielleicht unterwegs sichtbar werden, oder aber am Ende des Weges. Ich werde mich hier nämlich auf einen Weg einlassen, eher gesagt einen Kurs unter anderen möglichen und konkurrierenden: Eine Reihe von kursiven Notationen quer durch die Folies von Bernard Tschumi, Punkt für Punkt, riskant, sprunghaft, dem Zufall geschuldet. Warum maintenant? Ich lege den Grund beiseite oder halte ihn in Reserve, ich setze ihn an den Rand, um das Siegel oder den Stempel dieser Sprache zu erhalten: Das wird an den Parc de la Villette in Frankreich erinnern-und ein Vorwand sein, dort den Ort für diese Tollheiten zu finden.2 Zweifellos nur ein Vorwand für unterwegs, eine Station, eine Phase, eine Pause im Lauf, aber der Vorwand wurde in Frankreich angeboten. Auf Französisch sagt man, daß sich eine Chance bietet, aber auch, nicht zu vergessen, ›einen Widerstand anbieten‹. 2 Maintenant, das Wort flattert nicht wie die Flagge der Aktualität, es führt nicht in brennende Fragen ein: Wie steht es mit der Architektur heute? Was denken wir über die architektonische Aktualität? Was gibt es Neues auf diesem Gebiet? Denn die Architektur definiert nicht mehr ein Gebiet. Im Fadenkreuz der Tollheit: maintenant die Architektur 1 1 Derrida, Jacques. "POINT DE FOLIE-MAINTENANT L'ARCHITECTURE. Bernard Tschumi: La Case Vide-La Villette, 1985." AA Files, no. 12 (1986): 65-75. Accessed October 14, 2020. http:// www.jstor.org/stable/29543519. 2 Der Parc de la Villette ist der größte Freizeitpark in Paris, von Tschumi entworfen und 1983 eröffnet.

Owen Hatherley’s 'A New Kind of Bleak – Journeys Through Urban Britain', is an animated narration of Hatherley’s travels through the UK, away from world heritage sites and conservation areas into what is arguably the day-to-day reality of how cities present themselves to their inhabitants.
The message of Hatherley’s materialist critique of the UK's urban and exurban landscapes is that it is deeply regrettable that both the socialist
and modernist projects have been abandoned in favour of the neo-liberal
myth of unfettered wealth creation through free trade, deregulation and
speculation.

The revolutionary Spangen social-housing complex (1919-1921) in Rotterdam, by Michiel Brinkman, has recently been immaculately restored (2012). The project pioneered “street in the sky” deck access, an idea that famously inspired Alison and Peter Smithson’s design of the 1950s Golden Lane housing project in London. The Spangen estate, or Justus van Effen complex, is a rectangular four-story brick urban block, centered around two large courts. Concrete balconies give access to the duplex apartments on the top floors. In its heyday, the project offered many shared amenities, like a public bathhouse located between the two courtyards. A communal spirit was further promoted by making the decks publicly accessible; large cargo lifts allowed tradesmen to reach tenants’ front doors.

Goodbye Roosevelt. Vita e morte di una statua È ormai certo: il memoriale equestre del Presidente americano Theodore Roosevelt (1858-1919) verrà rimosso dallo scalone antistante lʼAmerican Museum of Natural History (AMNH) di New York, visitato da quasi cinque milioni di persone ogni anno. La notizia non giunge inattesa

It is noticeable that Square Victoria is a vivid public space with special characteristics that make it different from the other athenian squares. The characteristics that I focus on are; the fragmentation of square, meaning the creation of different and isolated social spaces, and the powerless approach of female visitors. Their absence from square’s public sphere leads to the weakness of their voice, as murmurings and small groups -like in the diagrams, and their short-term presence.
Based on these observations and conclusions, I worked with the medium of sound installation and actions [sound acts] as interventional practice in space. An audible representation of women directed by me, was inserted into existing conversations at the square. The intention of recorded voices’ interference was to create contact points between the separated (by gender, race and social status) public spheres of the square, causing new encounters, interactions and discussions. The designed sound acts were developed in two phases; the first concerns the correlation actions, that I did and recorded, with women coming to the square and the collection of the archived audible material derived from them. The second phase is about the interactive sound installation and the broadcasting of the audio in the space of the square, during the sound installation and action designed and implemented by me. The broadcast action is part of the new correlations and confrontations occured in the chosen social spaces.

Shopping is a socially interactive consumer activity that involves preference, selection and leisure. As historical city centres are still cores of traditional shopping and an asset improving social attraction, attractive routes and spaces for pedestrian movement provided by articulation in the setting are worth examining. Buildings on small sized plots located in a bounded environment usually encourage pedestrian flow, presenting more options of interest on a unit street scale; whereas spatial layout of the urban form, compactness of the circulation routes or visual scope of the users should also be examined. This paper focuses on the comparison of consumer shopping behaviour in such a historical city centre, Walled City of Nicosia, the capital of Cyprus Republic and TRNC. Regarding the lost centrality due to the UN buffer zone, divided city has gone through different physical and social development patterns in terms of land uses and functional changes. Assuming that physical acces...

Cities are artificial places where people can find good opportunities even from conflicts if they are driven in appropriate solutions for a sustainable urban development. Public spaces, as a collective platforms to increase knowledges and open dialogues between citizens and governements, are the best places to finding resources to the challenges of a better future.

This is a review of the monograph on the work of the Austrian architects Riegler Riewe, situating the work in the local history and architectural context. Eva Guttmann replaces the currently predominating and simplistic account, in which Riegler Riewe’s work is mainly understood in opposition to the Graz School, for a more complex view in which the work is explained as the result of differing circumstances and a variety of ideas. After the introduction by Guttmann, the book starts off with an interview by Otto Kapfinger with Riegler and Riewe. The focus is on the early influences and impressions in their work, such as the post-war modernists surrounding Ferdinand Schuster, relatively unknown local architects such as Josef Klose, and the highly tectonic work of Heinz Bienefeld.

A joint design project for the 2006 MIT-Tsinghua University Beijing Urban Design Studio by Non Arkaraprasertkul, Alex H.C. Lee, Liang Sisi, Jue Wang, and Ai Yamamoto. The Beijing Studio is a Joint Program of the MIT School of Architecture and Planning, with participants from both architecture and planning, and the Tsinghua University School of Architecture. Funding is provided by the Paul Sun Fund with additional contributions from the Asian Cultural Council of New York/Geoffrey Yeh Foundation, the MIT China Program, the MIT departments of architecture and planning and Tsinghua University.