The cognitive, psychological and sociological mechanisms underpinning complex social relationships among small groups are a part of our primate heritage. However, among human groups, relationships persist over much greater temporal and spatial scales, often in the physical absence of one or other of the individuals themselves. This chapter examines how such individual face-to-face social interactions were ‘scaled up’ during human evolution to the regional and global networks characteristic of modern societies. One recent suggestion has been that a radical change in (...) human sociality occurred with the shift to sedentary and agricultural societies in the early Neolithic. The discussion presents the results of a focused study of the long-term development of regional social networks in the Near East, using the distribution of different forms of material culture as a proxy for the social relationships that underpinned processes of trade, exchange and the dissemination of material culture practices. (shrink)

This article examines the prospects for an authentic regional architecture in the light of alternative development paradigms. It is argued that the failure of orthodox development strategies and the domination of western culture, including architecture, over non-Western cultures, is due to fundamental imbalances between northern and southern economic structures. By contrast, ecodevelopment, appropriate technology and regional architecture all represent significant devolutionary movements toward a global “eco-culture.” A cultural typology placing eco-culture in historical perspective is outlined. It is concluded that, to (...) be fully effective, changes in development patterns in the south have to be matched by equivalent cultural changes in the North. (shrink)

For a place that is so familiar, home is peculiarly difficult to define and to research. Based on an extended review of recent literature on home, the article shows that there is no place like `home' because people construct its image in memory and imagination. Home, it is argued, is imaged on many different levels. At a surface level, home is known in terms of its location, fabric, decoration, furnishing and amenity - it is a place that is known intimately. (...) At a deeper level, home is defined in terms of the kinds of relationships people have, or would like to have, with others inside and outside of the home. Deeper still, home is a representation of cultural identity and provides a collective sense of social permanency and security. People rarely think about home at this level, it is argued, unless reappraisal is forced upon them by a significant life event like migration between cultures or because of cultural invasion from without. The article argues for an intensification of research that starts from the domestic sphere is order to explore how home life both shapes and reflects wider social continuities and changes. (shrink)

Van de Vliert embraces a model of human needs, underplaying a model whereby individuals, motivated by psychological needs, develop coping strategies that help them meet their personal goals and collectively exert an influence on social and economic systems. Undesirable climates may inflate the value of financial capital, but they also boost the value of social capital.

This study aims to explain the form of a traditional house made of bamboo in Makassar culture; the components of the traditional houses made of bamboo and their respective functions; and socio-cultural dimensions of the shape and structure traditional house constructed of bamboo in Makassar culture. To discuss these problems, we used the Saussure’s Structural Linguistics approach and Levi Strauss’ Structural Anthropology. Both are elaborated into cultural semiotics. The data collection methods used were field surveys accompanied by technical documentation, interviews, (...) and records. Data were analyzed qualitatively. Results of the research indicate that the traditional house form made of bamboo in Makassar culture is generally divided into three parts, either vertically or horizontally. Vertically, the upper part is called pammakkang ‘attic’; the middle part is called kale ballak ‘house body’; and the bottom is called siring ‘underneath.’ Horizontally, the front is called paddaserang ri dallekang ‘vestibule’; the middle section is called paddaserang ri tangnga ‘living room’; the backside is called paddaserang ri boko ‘back room.’ The components of the upper, middle, and lower houses show opposition to each other. However, these components are logically related and related to one another so as to form a meaningful social and cultural construction. The shape and structure of traditional houses in Makassar culture is influenced by socioeconomic and socio-cultural factors. (shrink)

Every art-work has a different perceptual aspect that is related to some issues such as aesthetic perception and knowledge of users. The important point is how users get that and the difference between architectural perception and users that is a controversial issue in modern architecture and cause disagreement between users and designers. According to the importance of vernacular architecture and the need to adapt to its pattern with modern architecture, this paper aimed to evaluate principles of visual Gestalt and aesthetics (...) between users and designers (non-experts and experts1) in the traditional live district in Dezful city in Iran. The methodology of this research is combined with descriptive-surveying methods and field and library studies. So, a semi-structural interview by using a targeted questionnaire was distributed to the experts and non-experts to quantify the differences, and by describing and analyzing these data by SPSS statistical software, the root of the differences between these groups was identified. Due to the analysis of the data, besides searching, studying, and being in that district, two types of questionnaires between users and designers have been used. The result of this study shows that in the ancient city of Dezful, the opinions of experts and users also differ in terms of aesthetic perception so that for users, shape, and context, and experts, symmetry is the first principle. So unexpectedly, it can be argued that sensible visual Gestalt principles, such as symmetry and closure for experts, are of the highest importance, while these principles are of less importance to the user group. The findings of this study made it possible to compare the views and opinions of people and experts. It makes clear the difference between the perception criteria of those who create the landscape and the people who are confronted with and live in the environment. (shrink)