Role of Culture in Architecture

"This study gathers and interprets the earliest extant references to architects in ancient Greek philosophy, as found in select works of Plato and Aristotle.  Throughout this review, Plato and Aristotle [are] shown to consistently present architectonic agents as exemplary civic and intellectual leaders, acting in awareness of their own (and others’) limits, with knowledge of the most appropriate archē, and with a view to the most comprehensive aims—the common good. This discloses an alternative and more accurate etymology of architects: not as master-builders but as leaders and makers of beginnings (archai). The aim of this essay has been not only to rediscover the discursive beginnings for a renewed philosophy of architecture, but to suggest how these philosophical 'archai' might help present-day architects reimagine the full relevance of their still contested role."

This paper considers the nature of the speculative architectural project, its distinction from building,  its relationship to a particular aspect of mimetic inquiry, and the implications of  the rise of technique -- in particular, its influence on the mimetic capacity of a speculative architectural project. Architectural speculation is considered through the relationship of "making" and "place," evidenced in the admittedly unlikely conjunction of Gothic Scholasticism, surrealist theater, and the Cinquecento conceptual model of disegno. This paper explicates their interrelationship through reconstructing a program that invites participation in the collective mimesis of a speculative architectural project.

In designing a cultural centre the Architect faces the challenge of how to best express the key cultural and traditional features of a society. This paper studied how tangible and intangible cultural and traditional features were identified, adapted, conceptualized and ultimately expressed by Architect’s in the design of cultural centres. Case study based qualitative research is used to analyze cultural centres, based on four variables; namely, the cultural and traditional specific features used by the designer, design concept, choice of location, and the building materials and construction technology used. The results revealed the various techniques used to express cultural identity; which include the use of abstract or direct mimicry of tangible and/or intangible cultural and traditional features in form, spatial patterns, surface ornamentation, building materials and techniques, and the location of buildings in areas that reinforce the cultural and historical identity of the society. The paper concludes that a combination of various techniques is the most commonly used and effective way to express cultural identity. The outcome of this research will hopefully provide architects and other designers with an understanding of the techniques used in expressing cultural identity, and possibly serve as a tool for criticizing and analyzing future works.

This article shows how the media of film can be
integrated, explored and can add value to architectural design studios
and practice. It elucidates how film may offer an alternative position
in architecture, where landscapes and cities are thought, planned
and developed in closer relation to their spatial and sensory effects
on humans. It underscores that the film camera can work as a kind
of amplifier of how we, with our bodies, perceive space and project
space. In the Landscape Film studio at the University of Copenhagen
the film medium was tested as a combined registration and design
tool for a new nature park south of Copenhagen. The final studio
films and designs show how resonating recordings of sound, time
and a bodily presence may simulate an Einfühling that inspires an
alternative architecture of relations: the ambient, the changeable
and the volatile. They also emphasize that an ability to work with
bodily experience in both physical space and abstract design
space is strengthened through the exploration of the film medium.
Film becomes a “resonance tool” or “membrane” for the perceiver
and conceiver, and contributes to a greater awareness of a bodily
preconsciousness in architecture.

This article explores the architectural history of the Soviet workers’ club by analysing one of its emblematic examples, the Zil workers’ club by the Vesnin brothers. The aim is to understand how clubs attempted to forge the new Soviet citizen and his relation to Soviet culture and politics.

Cesare Brandi dedicated great part of his theoretical reflections to identifying the essence of art. His concern was fuelled by the fact that the precious treasury of Italian art was at risk of disappearance after the World War II. As founder of the Istituto Centrale del Restauro, he was responsible for the protection of the architectural heritage. Therefore, the preoccupation in finding the most authoritative theory was more than justified and consequently his philosophical journey is one of the most consistent in the Italian art theory scene.

His theoretical corpus overcame the Crocean idealism that preceded him and incorporated new approaches to study art, and architecture as art, such as phenomenology and semiotic studies. Since his philosophical journey seemed devoted to a theoretical understanding of art, this paper offers a mapping of how, by considering architecture as a work of art, Brandi approached, at least in his Restoration Theory, its conservation as the rest of the fine arts.

We argue, he did not consider the qualities of architecture’s inhabitation within his theory, influencing for a long period the way in which Italian conservation culture considered the built environment. Architecture, by this influence, lingered in the middle for a long time, between the role of the dynamic and changing place of human dwelling and the one of support of the intemporal work of art.

(English) Architecture is one of many cultural products made by humans. There is a process of signification (semiotics) between architects, architectural objects and community within the process of the making of a cultural products. Signification that occurs tend to be visual. Architects convey their ideas through the elements which are arranged in particular architectural objects, and the public can understand an architectural object through its existing physical form and details. This study aims to identify how the semiotic process occur in people in seeing an architectural object. This case study uses a historical building as an object, as a form of a cultural product from the past that still continues to exist until today. So how the influence of architecture, culture, and history, can be seen through semiotic processes that occur.

(Indonesian) Arsitektur merupakan salah satu dari sekian banyak produk budaya yang dihasilkan oleh manusia. Dalam menghasilkan produk budaya, terdapat proses pemaknaan (semiotika) antara perancang, objek arsitektural dan masyarakat. Pemaknaan yang terjadi cenderung secara visual. Perancang menyampaikan ide yang dimilikinya melalui elemen-elemen yang menyusun suatu objek arsitektural, dan masyarakat dapat mengerti suatu objek arsitektural melalui bentuk fisik dan detail yang hadir. Skripsi ini ingin mencoba melihat bagaimana proses semiotika yang terjadi di masyarakat dalam melihat suatu objek arsitektural. Studi kasus yang diambil merupakan bangunan peninggalan sejarah, sebagai bentuk produk budaya dari masa lampau yang masih terus ada hingga sekarang. Sehingga dapat dilihat bagaimana pengaruh antara arsitektur, budaya, dan sejarah melalui proses semiotika yang terjadi.

The pattern of social interactions and performing main activities is two aspects of lifestyle. Therefore they are
considered as cultural features. The aim of this research is to clarify the role of Pattern of activities to make
meaning of spaces in traditional houses. This research is based on Rapoport’s theory about the meaning of the
build environment. Hence, the pattern of the main activities is studied a selection of traditional houses of Arak
(a central city in Iran), and is evaluated by different indicators of social meaning: stranger/familiar,
individual/collective, male/female, and daily/nightly. Each of these indicators is equivalent to these following
socio-spatial meanings of the spaces: formal/intimate, public/private, male/female territory, and daily/nightly
domain. Then, socio-spatial meaning of spaces is compared with physical features of the spaces. Finally,
research indicates that this following factors: space dimensions; space position in regard to the yard; entrance,
ground; the internal and external decorations are caused the various activities to be performed in special spaces,
and consequently be created different socio-spatial meaning of spaces.
KEY WORDS: traditional houses of Arak, pattern of activities, lifestyle, social-spatial meaning, Iranian
traditional architecture, environment.

Salama, A. M. (2011). Anti-Vitruvian Architects and Contemporary Society. Architects for Peace, September, Melbourne, Australia.

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Certain issues keep presenting themselves on the map of discussions about architecture and its role as a profession in contemporary societies. Recently, I came across two web interventions that highlight some of these issues. The first is a video clip on You Tube, titled “is the architect obsolete?” and the second is an article on the website of DesignIntelligence by Helena Jubany, titled “The Social Responsibility of Architects” These were a trigger for this editorial in which I re-iterate some of the issues I presented in my earlier writings.

While practicing architecture works very well for some professionals, many are suffering from norms, traditions, and customs adopted by the profession itself. This is due to the fact that the profession still clings to the antiquated notion of an architect or designer waiting in an office for a client to come in with a project. It is also due to the fact that architects do not know how to convince others of their value. The question here is why? Is it the ineffectiveness of professional organizations, is it the notion of ‘starchitects’ that dictates the architectural scene in many parts of the world? Well, it might not be so difficult to offer a validated answer!

More can be found here or download the complete article
http://archpeace2.blogspot.com/2011/09/anti-vitruvian-architects-and.html

ABSTRAK Studi ini dilakukan untuk mengetahui persepsi masyarakat menganai citra kawasan atau identitas kawasan cagar budaya Trowulan, kualitas dan kepentingan untuk menentukan upaya atau arahan pengembangan yang dapat ditetapkan kedepannya. Upaya yang dilakukan untuk menciptakan citra kawasan yang memiliki sense, sehingga dapat menjadi identitas dan karakter kawasan cagar budaya Trowulan. Desa Trowulan dan Desa Sentonorejo menjadi objek studi didasarkan karena kedua desa merupakan desa yang memiliki kandungan situs yang banyak dan memiliki tingkat kepadatan linggan atau arca yang tinggi. Sementara Kecamatan Trowulan merupakan wilayah yang dapat menggambarkan dan mengingatkan kembali dengan kebesaran Kerajaan Majapahit. Peninggalan Kerajaan Majapahit yang banyak ditemukan pada Kecamatan Trowulan perlu dilestarikan sehingga setiap generasi dapat mengetahuinya. Keberadaan situs dapat memberikan karakter dan identitas bagi Kecamatan Trowulan. Masyarakat yang menjadi pengguna kawasan perlu untuk diketahui pandangan atau persepsinya mengenai kawasan tersebut sehingga akan mempengaruhi partisipasi masyarakat dalam melestarikan warisan budaya. Studi ini menggunakan empat analisis, yaitu pemetaan kognitif, penilaian makna kultural, pemaknaan kawasan, dan Importance Peformance Analysis (IPA). Hasil studi menunjukkan bahwa kawasan cagar budaya Trowulan memiliki citra positif sebagai kawasan yang mempunyai nilai sejarah. Dengan memiliki 6 elemen bangunan dan lingkungan pembentuk identitas di kawasan cagar budaya Trowulan, yaitu Kolam Segaran, Museum Trowulan, Pendopo Agung Trowulan, Situs Kedaton, Lantai segienam, dan Kompleks Makam Troloyo. Kata kunci: citra kawasan, kawasan bersejarah, persepsi masyarakat. ABSTRACT This study is done to know public perception about the image and identity of a region, which is Trowulan Cultural Heritage, quality and quantity to know the way for developing the region. Effort will be done to create a sense of this place so could be an identity and character Trowulan Cultural Heritage. Trowulan Village and Sentonorejo Village can be object of study because both villages have so much historical sites. While Trowulan district is a district than can describes and reminds about Majapahit Kingdom. Relics of the Majapahit Kingdom that found at Trowulan District need to be preserved so everyone can know about it. The existence about those sites can provide character and identity Trowulan District. The user community area need to know about perception of the area so could affect community participation in preserving the cultural heritage. This research use four analyzes, they are cognitive mapping, assessment of cultural meaning, the meaning of region, and Importance Performance Analysis (IPA). The result of this study is the historical district has positive image as district that has a historical value. Those six building and environmental elements which built identity in Historical District Trowulan are Kolam Segaran, Museum Trowulan, Pendopo Agung Trowulan, Situs Kedaton, Lantai Segienam, and Kompleks Makam Troloyo. Keywords: image of place, historical district, public perception.

Esta propuesta parte de las premisas bosquejadas en el VIII Coloquio de la AIER, para reflexionar con más detalle sobre la llamada “arquitectura de poder”, sus fuentes y emisores, su razón de ser y su difusión por el Imperio, prestando especial atención a la "serliana". Indagaremos sobre el viaje de las formas –ligadas o no a contenidos concretos– y sobre sus canales de transmisión, que proyectaron imágenes cuya carga simbólica y de prestigio tuvo gran trascendencia durante siglos. Destacaremos el papel del espectador y su cultura visual a la hora de enfrentarse a estas producciones, bajo los conceptos que nos hablan de la “elocuencia” de los implicados en su uso: presentación y representación, emisión y transmisión, visión y revisión, imagen e imaginación.

That research paper is explained to place identity and cultural expectation of cities and introduced two field studies in Cyprus. The aim of purposes of the research is that to understand relation of the culture of cities and urban spaces. The structure of the research is based on five chapters. First chapter is introduction, second chapter is relation of place and culture of city, third chapter is field study in Cyprus. Fourth chapter is conclusion and fifth chapter is references

This study draws on the findings of a cultural analysis of the state architecture built in the mid-twentieth century in Colombia and promoted by the former dictatorship of Gustavo Rojas Pinilla. It questions the rationale underlying the infrastructure developed in Bogotá by situating it within the international politics of Latin America during the Cold War. I find that the massive transformation of the built environment during the Rojas regime remains a shadowy and elusive subject, but this does not mean that the regime did not have an agenda for the built environment. Architectural objects were material embodiments of the paradigms of the Modern Movement under the discourse of the welfare state, yet they conveyed the purpose of warfare. Most of these buildings have been largely neglected by canonical studies and communities, despite that they shaped the urban development of the country, and most remain in regular use.

Abstract It is tempting to construct theory about the Other using binary oppositions. Lacanian psychoanalysis avoids this by stressing the geometry of the Borromeo knot, whose three rings embody both sequentiality and self-intersection. This essay organizes Lacan’s topological options around a “secondary virtuality” by (1) considering Mladen Dolar’s expanded account of anamorphosis, (2) connecting the architectural void to the problem of non-enclosure of the standard figures of projective geometry immersion – the Möbius band, cross-cap, and Klein bottle - and (3) taking Pappus’s theorem, the origin of projective geometry, to the twisted and folded spaces of the uncanny, where unheimlich (“un-homely”) directly implicates architecture as an agency of topological transformation. Two examples, Chesterton’s “The Queer Feet” (1911) and the 1951 science-fiction film, The Day the Earth Stood Still, demonstrate the continued relevance of Pappus’s idea of secondary virtuality to Lacan’s correlation of the Other and ‘extimacy’.

In the mid-1990s, Bill Readings compared universities to business corporations, sounding the alarm for an incipient corporatization of the academy that has provoked commentary since. Under neoliberalism, public universities are run as private corporations striving to survive in the increasingly competitive higher education market. The spatial side of this phenomenon is an architectural portfolio consisting of corporate style reception desks, turnstile-controlled entrances, bookable meeting rooms, and café spaces to learn. This article examines “the slow death” of the university as a space of scholarship focusing on the Sir John Cass Faculty of Architecture and Design (or Cass) in Central House (2012–17), London. As a public university acting like a real estate operator in a large metropolis, the Cass displays both complicity and resistance toward the managerial logics of universities. Its resistance lies in the architectural reconfiguration of Central House, which was eventually def...

Abstract This visual essay is structured as a sequence of imagetexts, which through the bringing together of images and words opens up insights into the Danish landscape Farum Midtpunkt. This we argue, pushes imaging towards new conceptions as a research method embedded in the specificity of place and its change over time. Strung together, the sequence of imagetexts create a thick description bringing together past and present intentions, impressions and reflections in and on the site through a gathering and rendering – or (re)presenting – of Farum’s landscape. This approach is inspired by the picturing of duration, visual-descriptive walks, and projective imagery as a contributor to emergent realities. We thus work towards establishing the imagetext sequence as a methodology of picturing thickness which bridges historical and experiential perceptions providing a new approach to fieldwork in landscape architectural research and practice.