Industrial heritage as a relatively recent phenomenon is the production of mid-20th century. The industrial heritage represents the culture, historical situation, processes, technologies and outstanding achievements of each region. Based on the value of contemporary architecture, It is necessary to protect them. Nowadays, the protection of industrial heritage has become an international challenge. One of the prerequisites of the protection of industrial heritage is recognizing their value and their position. Proper protection of industrial heritage needs (...) to study and deep understanding it in a large- scale and recognition of the value of the heritage for conservation process, in a regional scale. However, these kind of buildings, due to the large-scale, locating in the proper point of the city, flexible plans (due to the modular structure) etc. have a great ability to transform into various functions, specially public and urban services. One of the most important values that can be imagined for industrial heritage, is architectural identity of the region. Therefore, it is necessary to understand the effect of this types of structures through survey survey. The aim of this paper is to evaluate the effectiveness of the industrial heritage on architectural identity in historic cities. The case study was selected by purpose - Dezful & “The MAKINEH of Flour” of Dezful, which now has become the mainstream of bazaar. The variable which is used in order to define local identity, is using this element in address, which the residents giving to someone else to mention the accurate location of specific place, near the “MAKINEH”. The statistical population are selected from among people who lives in eastern sahrabedar mahallah. The results of the paper shows that the industrial heritage has the value of architectural and urban identity in local level. The results indicate significance of comprehensive approach toward reunderstanding and redevelopment of contemporary buildings and industrial heritage sites. (shrink)

This article studies the architectural design and cultural significance of Villa Namazee, a modernist building designed by Italian architect Gio Ponti in Tehran. The study explores how the building, once a symbol of modernity and progress, has been neglected, delisted from the national heritage, and fallen into disrepair. Focusing primarily on the case of Villa Namazee in Tehran, Iran, as an example of Ponti’s projects in the Middle Eastern context, the second part of this paper aims to reconsider (...) and re-narrate Gio Ponti’s project in Tehran. In this context, the article sheds light on the nationally and internationally prominent concepts, ideas, collaborations, and design elements of Gio Ponti’s project in Tehran. The paper argues for reevaluating our understanding of heritage and recognizing the importance of preserving modern architectural masterpieces such as Villa Namazee. (shrink)

In modern cities, many old or abandoned buildings occupy valuable land without providing a comparably valuable service. In the past they have often met with the fate of being demolished and replaced, but modern day sentiment, be it foolhardy nostalgia or legitimate concern for architectural heritage, often leads to a building’s refurbishment. As a result, buildings save themselves from the wrecking ball by providing a service that satiates modern day demand.

Trees belong to humanity’s heritage, but they are more than that. Their loss, through catastrophic fires or under business-as-usual, is devastating to many forms of life. Moved by this fact, we begin with an assertion that heritage can have an active role in the design of future places. Written from within the field of architecture, this article focuses on structures that house life. Habitat features of trees and artificial replacement habitats for arboreal wildlife serve as concrete examples. Designs (...) of such habitats need to reflect behaviours, traditions and cultures of birds, bats, and other animals. Our narrative highlights the nonhuman aspect of heritage, seeking to understand how nonhuman stakeholders can act as users and consumers of heritage and not only as its constituents. Our working definition states that more-than-human heritage encompasses tangible and intangible outcomes of historical processes that are of value to human as well as nonhuman stakeholders. From this basis, the article asks how the established notions of heritage can extend to include nonhuman concerns, artefacts, behaviours and cultures. As a possible answer to this question, the hypothesis tested here is that digital information can (1) contribute to the preservation of more-than-human heritage; and (2) illuminate its characteristics for future study and use. This article assesses the potential of three imaging technologies and considers the resulting data within the conceptual framework of more-than-human heritage, illuminating some of its concrete aspects and challenges. (shrink)

During the rapid process of deindustrialization in Iran, the term ‘industrial heritage’ has recently emerged as a new subject into public realm. In order to integrate the methodologies for the protection and adaptive reuse strategies, the ‘industrial heritage’ itself needs to be divided into various categories. UNESCO has begun inscribing increasing numbers of local industrial legacies such as railway, mines, factories, assembly plants, agricultural production and manufacturing production in its World Heritage List. However, in the process of (...) their adaptive reuse the question of heritage meanings arises. Over the past century in Iran, powerful corporate and governmental actors have created a broad range of oil imaginaries that changed over time and in line with local cultures. Starting from 1920s and after the nationalization of oil industry in Iran, oil cities such as Abadan and Masjid Suleiman saw massive expansion to house labors and oil-industry specialists who had arrived from the United States, Europe, India, and the Persian Gulf states. This research aims to clarify how the oil industry, in close collaboration with national governments, has materially shaped the oil cities through oil-specific architecture like company headquarters, gas stations, retail and infrastructure buildings. The current legacy of oil industry continues to reshape the industry, society and politics as well. This research uses a critical and analytical problem-based approach to examine the current policies that build a new image and identity through adaptive reuse strategies to promote sustainable local development in Iran’s industrial heritage. (shrink)

Brought to you by: Crop X editors: Jonathan Alexander Perez, Harmony Smith, Corinne Tendorf, David Turturo, and Derek Rahn Williams. Faculty Advisor: David Turturo; Crop X team included: Chaimae Alehyane, Zachary S. Casey, Suzanna Brinez, Jacob Brown, Elizabeth George, Francisco Javier Muniz Ituarte, Brodey Myers. -/- Credits: Huckabee College of Architecture; Graphic Designers: Studio BLDG (Blossom Liu + Danny Gray); English Editor: Luke Studebaker; Spanish Translator: Jessie Forbes; Printer: Die Keure. Cover Photo: Derek Williams. -/- Generously supported by the Graham (...) Foundation for Advanced Studies in the Fine Arts and the Huckabee College of Architecture, Texas Tech University. (shrink)

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. -/- Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed (...) in Minecraft; they propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. -/- The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments. (shrink)

Presence of users as the main actors of each adaptive reuse of a given cultural heritage site heavily depends on the quality of their sensual experience there. This, in turn, seems to stem from how much they trust the integrity and provenance of the heritage attributes and activities pending within such historical sites. This paper aims to define the sincerity and authenticity as influential indicators of the users’ trust in adaptive reuse of cultural heritage sites. To reach (...) the goal, the author hereof has analyzed all the industrial heritage sites in Iran which have been adaptively reused (case studies) and has surveyed 125 visitors. The findings confirm that sincerity and authenticity can largely influence the visitors’ trust and sensitize their experience. (shrink)

Serious games with their educational or skill development purposes besides entertainment, have been used in various fields such as architecture, landscape architecture, urban planning, cultural heritage, and learning of language and culture, easing the data absorption process of the specific topic for the user. The use of serious games in the cultural heritage or cultural landscape, as a subtopic, can have a role in its preservation in addition to the information transition ability. Yedikule Bostans is a serious game (...) designed for cultural heritage, its importance, and maintenance ways. The case study of this article is the İstanbul’s market gardens, existing plenty of them in İstanbul, which have remained since ancient times surviving despite the difficulties of urbanization. This research is focusing on the Yedikule Bostanları with their 1500-year history which are associated with the Theodosian Walls, registered in the list of historic areas of İstanbul in UNESCO. The serious game presented in this research with its immersive text-based time-traveling theme about these gardens aims to attract the public's attention to their perishing danger. Thanks to the abilities of the Twine software used in the game's development, we provide a charming journey to the users throughout the game to increase their awareness of the inherited farming culture and more comprehensively the cultural heritage and cultural landscape, meanwhile. (shrink)

Industrial heritage has become a very matter of debate among experts as the most significant reminder of the industrial era, it also is of great examples of 20th-century heritage. Nowadays, industrial heritage sites are suffering from intense physical conditions and are being intruded by massive economic projects since they are located in favorable places of towns and possess vast spaces. Conservation methods have mostly been limited to the surroundings of industrial heritage sites and have not considered (...) the extended areas connected to the site. The resolutions should be sought throughout these questions: How do outstanding values of an industrial heritage site affect its buffer zone mapping? Or what should a buffer zone map encompass to protect specific values of an industrial heritage site? During this research ample of evidence is seen which firstly depicts the appreciation of industrial heritage and the tendency to conserve them among the host countries. The main result concluded is a guideline based on the similarities and differences between various types of industrial heritage and their impacts on determining boundaries and zones. In case of increasing the number of case studies, the results of this paper can aid in charge organizations to take more effective measure in developing plans to determine boundaries and zones for different types of industrial heritage sites. The data gathered for this paper was collected through library resources about industrial heritage and basically from academic and universal management manuals of buffer zones. The information chiefly is adopted from registration files received by the world heritage committee of UNESCO. The method of this research is case study research and the method for analysis is descriptive-analytical. (shrink)

Through analysing different case studies in the Middle East, this section uses rooted cosmopolitanism as a theoretical lens to explore exported modernism and architecture between socialist and capitalist countries during the Cold War. This research analyses the circulation and local applications of urban development and modernisation paradigms in so-called ‘Third World’ countries. For assessing the socialist and capitalist-inspired modernisation processes in the Middle East, this chapter studies the cosmopolitan and trans-cultural architecture created by global and local influences. Comparing two types (...) of cosmopolitan architecture (socialist and capitalist) during the Cold War period in third-world contexts will help us to analyse and compare their relative rootedness and to learn from the interconnected, multifaceted, and multilayered planning transfers and architectural exportations. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based upon (...) Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

Architectural research forms the basis of design in seeking a solution that considers the site’s sociopolitical and spatial-cultural factors and the built environment surrounding it. In addressing industrial heritage, industrial revolutions, energy transitions, and technological innovation uniquely shape the city. The transformation and new discourse between similar heritage and different sites allow for a combination of ideas with transnational and interdisciplinary depth, bolstering individual designs through a developed perspective on industrial architecture. This studio addresses the socio-political and (...) spatial-cultural challenges of post-industrial cities. This article uses a critical, comparative, and analytical problem-based design research approach to examine collaborative pedagogical practices that can build a new image and identity through adaptive reuse strategies in the post-industrial urbanscape. (shrink)

The pandemic brought new norms and techniques of pedagogical strategies in formal education. The synchronous/ asynchronous video streaming brought an emphasis on virtual and augmented realities, which are rapidly replacing textbooks as the main medium for learning and teaching. This transformation requires more extensive online and interactive content with simpler user interfaces. The aim of this study is to report on the design, implementation, and testing of a game based on low-cost and user-friendly content for digital cultural heritage. In (...) this project, a game aimed at inclusive and equitable education was developed using 360° images of the targeted architectural heritage geographically distributed in a pilot site. We promote lifelong learning opportunities for all, following the SDG4, aiming for quality education with the easy-to-use online platform and easy access to immersive education through mobile platforms. Towards a post-carbon future without the need for travel, computational design methods such as using 360° videos and images in combination with virtual reality (VR) headsets allow a low-cost approach to remotely experiencing cultural heritage. We propose developing and testing a GIS-based educational game using a low-cost 360° virtual tour of architectural heritage, more specifically, caravanserais of Anatolia. (shrink)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

The great railway of Iran was established in the early years of the 20th century connecting Bandar-e-Shapur (Bandare-e-Emam) to Bandar-e-Pahlavi (Bandr-Torkman) in order to speed the trading through Iran and between its two naval borders. This railway possessed stations, track, tunnels and bridges, but the longest bridge for the railway was built over the river Karun in the heart of Ahwaz. As there was another bridge named the white bridge, and for the color of the new bridge, people called it (...) the Black Bridge. The Black Bridge of Ahwaz was built in 1929 and was also named the Victory Bridge by the Allies in world war two as it played an undeniable role in transporting forces and supplies from the south to the north of the country. This bridge is registered on national list of cultural heritages of Iran since February, 2000. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included (...) the proposals for criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

This paper presents the design, development, and potential impact of Echoes of Union Depot, a virtual reality (VR) game aimed at promoting historic preservation and raising public awareness about El Paso's Union Depot, a building listed on the National Register of Historic Places Inventory. The game leverages the immersive capabilities of VR technology and 360° images to engage players in exploring the site's rich history and architectural evolution. Players assume the role of a time-traveling detective, guiding lost spirits to (...) resolve their past and move on. The paper outlines the development process, highlighting the use of 360° panoramic images and 3D Vista Virtual Tour Pro software to create an accessible and user-friendly experience that fosters historic preservation awareness and cultural appreciation. The study also discusses limitations and areas for future research, including expanding the scope to include other heritage sites, working with historians and cultural consultants for accurate representations, and evaluating the game's effectiveness in promoting awareness and fostering a sense of community pride. (shrink)

Collective imagination has traditionally associated architecture with political and economic power. As a result, when quoting Edward Said: «Modern Western culture is, in large part, the work of exiles, émigrés, refugees», the last people we typically consider are exiled architects. But is the heritage left by exiled architects truly insignificant? Can we find expressions of their spiritual quest, new life experiences, nostalgic feelings, and aesthetic shocks in their works? When does Modernism cease to be a universal language and instead (...) becomes an existential language of the exile – and can they both coexist? The international conference Architects in Exile. Stories of New Spatial Experiences" aims to address these questions. (shrink)

Less than fifty years after the Brooklyn Bridge, the piles of the world’s fourth suspension bridge was firmed in Iran. Ahwaz is the most important city of the south and the pioneer city in industrialization of Iran. The White Bridge of Ahwaz is considered the most significant monument of the city, which no visitor would miss.

While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory.

Ruins are evocative structures, and we value them in different ways for the various things they mean to us. Ruins can be aesthetically appreciated, but they are also valued for their historical importance, what they symbolize to different cultures and communities, and as lucrative objects, i.e., for tourism. However, today an increasing number of ancient ruins have been damaged or completely destroyed by acts of war. In 2001 the Taliban struck a major blow to cultural heritage by blasting the (...) Bamiyan Buddhas out of existence. They were not easy to destroy. This direct targeting of cultural property might change our attitudes toward conservation practices. Francesco Bandarin, the UNESCO assistant director-general for culture, states, “Deliberate destruction has created a new context. At the time, Bamiyan was an exceptional case.” Bandarin’s comments notwithstanding, the destruction of cultural property in times of war is not new. Not only is there relatively settled international law prohibiting the looting of cultural property during times of war, we can find examples of intentional destruction of cultural property from thousands of years ago. In this paper I would like to focus on one particular case, that of the Mỹ Sơn Archaeological Sanctuary, in the Socialist Republic of Việt Nam. Mỹ Sơn is the foremost Champa archaeological site and the largest archaeological site in Việt Nam. The largest temple (kalan) at Mỹ Sơn, A1, was destroyed in a US bombing raid in 1969. In this paper I highlight different approaches to architectural cultural heritage preservation in terms of reconstruction, restoration, and ruination -- with an eye to applying these approaches to the remains of the A1 temple in Mỹ Sơn. I briefly discuss the history of Mỹ Sơn before providing some reasons to believe that we should allow A1 to ruinate. (shrink)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. 'I (...) think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

Abstract (German) Dieses Buch faßt meine Forschungen zur Semiotik Giordano Brunos und zu deren Grundlagen in der Kosmologie und in der Gedächtnistheorie zusammen, wobei sowohl die Heterogenität als auch der Universalität des Denkers den Charakter dieses Buches geprägt haben. Es wird kein glattes Bild seiner Person oder seines Werkes angeboten, kein bejahender Jubel über eine epochale Leistung; wichtiger war mir die bis ins Detail gehende, manchmal mühselige Interpretation seiner Systementwürfe, wobei ich versucht habe, auch deren formales und technisches Niveau deutlich (...) zu machen. Nicht seine Weltanschauung soll dargestellt werden, sondern sein Versuch, eine Vielfalt von Detaillösungen in eine wohlproportionierte, wenn auch ins Unendliche reichende Wissensarchitektur zu integrieren. Als Startsignal mag folgende Frage dienen: Inwiefern ist Giordano Bruno Semiotiker? Der Philosoph Bruno wird von Jacobi als Beispiel spinozistischer Tendenzen wieder ins Gespräch gebracht; später wird er für die spekulative Naturphilosophie, die aus Kants Schatten heraustritt, z.B. für Schelling und Hegel, interessant, und schließlich wird er als Märtyrer der Freiheit von den Antiklerikalen im Risorgimento hochgehoben. Der Heroenkult um die „Kopernikanische Wende" weiß mit Bruno nichts anzufangen, er ist kein Naturwissenschaftler, wie man ihn sich im 20 . Jh . wünscht. Von Yates ( 1964 ) wird er als Hermetiker und Ahnherr der Rosenkreuzer entdeckt, und plötzlich soll er auch noch ein Semiotiker sein ? Die Etikette „Semiotiker" ist allerdings weniger riskant als jene früher an Bruno herangetragenen. Bruno ist Philosoph, in einem allgemeinen Sinn , insofern er alle wesentlichen Aspekte: metaphysische, natur philosophische, ethische, semiotische, poetologische zum Entwurf eines möglichst kohärenten Bildes vereint, und er ist ein Renaissance-Philosoph, d .h. das antike Erbe, besonders jenes in den orientalischen Tiefen der Kulturgeschichte (Ägypten und Chaldäer) ist sein Ausgangspunkt. Selbst den Entwurf des Copernicus versteht Bruno in erster Linie als eine Wiederentdeckung antiker Einsichten. Es gibt jedoch in Brunos Schaffen einen roten Faden: die Architektur unseres Wissens, das Gedächtnis der Kultur- und Wissensgemeinschaft und natürlich desjenigen, der wie Bruno dieses Wissen zu einer Synthese vereinigen will . Seine Philosophie versucht, wie jede große Philosophie, alles, was wir wissen und was wir daraus an weiterem impliziten Wissen erschließen können, in einer Einheit zu denken, und diese Einheit ist notwendigerweise nur als Zeichensystem (begrifflich, argumentativ, bildhaft, als imaginierte Welt) zu realisieren. -/- Abstract (English) This book summarizes my research on Giordano Bruno's semiotics and its foundations in cosmology and memory theory, whereby both the heterogeneity and the universality of the thinker have shaped the character of this book. No smooth picture of his person or his work is offered, no affirmative jubilation over an epochal achievement; What was more important to me was the sometimes laborious interpretation of his system designs, which went down to the last detail, and I also tried to make their formal and technical level clear. It is not his worldview that should be presented but his attempt to integrate various detailed solutions into a well-proportioned, albeit infinitely reaching, architecture of knowledge. The following question may serve as a starting signal: To what extent is Giordano Bruno a semiotician? Jacobi brings up the philosopher Bruno again as an example of Spinozist tendencies; later, he becomes important for the speculative natural philosophy emerging from Kant's shadow, e.g., for Schelling and Hegel. He is finally extolled as a martyr of freedom by the anticlericals in the Risorgimento. The hero cult around the "Copernican turn" does not know what to do with Bruno; he is not a natural scientist as one would wish in the 20th century. Yates (1964) discovered him as a hermetic, even an ancestor of the Rosicrucians. The etiquette "semiotic" is certainly less risky than the associations that Bruno used to have. Bruno is a philosopher, in a general sense, in that he combines all the essential aspects: metaphysical, natural philosophical, ethical, semiotic, poetological to project a picture that is as coherent as possible, and he is a Renaissance philosopher, i .e . the ancient heritage, especially that in the oriental depths of cultural history (Egypt and Chaldeans) is his starting point. Bruno sees even the draft of Copernicus primarily as a rediscovery of ancient insights. However, there is a common thread in Bruno's work: the architecture of our knowledge, the memory of the cultural and knowledge community and, of course, of those who, like Bruno, want to unite this knowledge into a synthesis. His philosophy, like every great philosophy, tries to think of everything that we know and what we can deduce from it as further implicit knowledge as a unit, and this unit is necessarily only available as a system of signs (conceptual, argumentative, pictorial, as an imagined world). to realize. 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Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

Our task is the preservation of historic towns. In America as in Europe historic town centers are surrounded by recent additions and suburban sprawl. It is tempting to imagine the task of preservation as protecting our historical heritage from a featureless wave of mediocrity, as the worldwide commercial civilization overwhelms local cultures. This story is familiar from the writings of Kenneth Frampton and others: sprawl, homogenization, loss of distinctive local and regional form. I want to disagree with this story. (...) From what force are we trying to save the historic towns? Might not that force have its own new kinds of order? Might that new order be already at work inside the historic towns? Are its effects only negative? I want to question a presupposition common in many discussion of historic preservation. This is the presupposition that a spatially distinct historic center belongs to a single community that possesses a unified self-consciousness and a unified aesthetic self-image. Local communities less and less correspond to bounded spatial areas, and spatial areas contain less and less homogeneous communities. There is growing a new kind of discontinuous unity, which is the theme of this essay. (shrink)

The first signs of historical settlements in Tirana date back to the year 1614. These settlements and their road system belongs to the Ottoman city structure. Nowadays this historic northeast area of Tirana consists of a conglomeration of buildings that date back to different historical periods. A good part of these dwellings are informal ones, which damage the morphology of the area. This paper is considering a genuine historical basis to create an intervention model in this specific area of Tirana. (...) The total surface of the area which is rigorously analyzed is 2.08 ha. Regulatory plans that will be considered for this analysis are the regulatory plans of 1917, 1921, 1937, 1953, 1980, up to today (the existing situation of the city of Tirana). The whole area will be analyzed including the typical road system; the typical structure of the dwellings, and the typical morphology of the area. All dwellings will be filed, according to historical dating situation and the existing situation. The current local general (PPV) plan provides a radical intervention in this area which seriously damages the historical heritage of the city of Tirana. This article aims and focuses on a territorial development model recovering it and not damaging it, (in contradiction with the current regulatory plan). The new model will be clearly detailed (up-to-level plans). The city of Tirana needs historical heritage and historical identity. How can one damage such treasure which the time took care so much to create and preserve? Such allusions are to be spoken out loudly! (shrink)

The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo′s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design (...) approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. The work of Giancarlo De Carlo and, especially, his design methods in the case of the Nuovo Villaggio Matteotti can help us reveal the myths of participatory design approaches within the framework of their endeavour to replace the representation of designers by a representation of users. The article relates the potentials and limits of De Carlo’s participatory design approach to more contemporary concepts such as “negotiated planning”, “co-production”, and “crossbenching”. The article also intends to explore whether there is consistency between De Carlo’s theory of participation and its application. (shrink)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took (...) place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

In recent years, we have been observing an increasing significance of industrial heritage in international heritage studies. Developed in response to urban development needs, industrial heritage is now considered a valuable part of the city. Such an approach has resulted in the adaptive reuse of industrial heritage in the developing countries. This is, indeed, a practical solution for sustainable development of cities and the subject matter of many academic discussions. In this respect Heritage Impact Assessment (...) (HIA) seems to be a useful tool. This paper aims to study the role of HIA in adaptive reuse practice in industrial heritage sites in Iran. For that purpose, the authors have used a combined research method including historic study, analytical-description techniques and questionnaire-based interviews (with heritage managers and planners). The results indicate that HIA guidelines play a useful role in preserving the significance of historic cultural heritage and should be observed in the adaptive reuse practice in respect of the industrial heritage sites in Iran. Based on the analysed examples of successfully converted sites, this paper advocates using HIA as a useful tool in determining the potential of a given industrial heritage site for a successful reuse. (shrink)

In the heart of southeast Texas, an industrial powerhouse often referred to as the 'Golden Triangle', the oil refineries and petrochemical plants stand as stalwart testaments to the region's economic evolution. Interestingly, before the discovery of oil at Spindletop, the lumber and cattle industries powered this region's economy. A profound shift occurred when the Lucas Gusher, a fountain of oil spurting thousands of feet into the air, struck the lands of Spindletop Hill on January 10, 1901. This remarkable discovery of (...) the Spindletop oilfield on a slat dome formation south of Beaumont, Texas, marked the birth of the modern petroleum industry and fundamentally transformed the region's geopolitical, economic, and cultural landscapes. People from all over the country relocated to Gladys City and Beaumont in search of work and new opportunities, creating a boomtown as the town's population swelled from 10,000 to 50,000. The newfound urbanization brought by the oil industry transformed the town and the surrounding areas, creating a ripple effect across the region that would be felt for generations to come. The surge in oil-driven economic activity transmuted the region into a vibrant nexus of commerce, with the oil industry emerging as a critical architect of growth and advancement. This newfound affluence incited by the petroleum sector ushered in an era of economic diversification, laying the groundwork for industrialization’s further evolution. The Spindletop Oil Fields not only underscored the United States’ ascent as the foremost petroleum-producing nation but also signaled the nation’s initiation into the Petroleum Age. It was Spindletop that solidified its position as America’s first significant oil field, becoming an enduring symbol of its industrial might. By 1985, over 153,000,000 barrels of oil had been produced and extracted from the Spindletop oil fields, underscoring the magnitude of this extraordinary resource. (shrink)

Amongst philosophers and cognitive scientists, modularity remains a popular choice for an architecture of the human mind, primarily because of the supposed explanatory value of this approach. Modular architectures can vary both with respect to the strength of the notion of modularity and the scope of the modularity of mind. We propose a dilemma for modular architectures, no matter how these architectures vary along these two dimensions. First, if a modular architecture commits to the informational encapsulation of modules, as it (...) is the case for modularity theories of perception, then modules are on this account impenetrable. However, we argue that there are genuine cases of the cognitive penetrability of perception and that these cases challenge any strong, encapsulated modular architecture of perception. Second, many recent massive modularity theories weaken the strength of the notion of module, while broadening the scope of modularity. These theories do not require any robust informational encapsulation, and thus avoid the incompatibility with cognitive penetrability. However, the weakened commitment to informational encapsulation greatly weakens the explanatory force of the theory and, ultimately, is conceptually at odds with the core of modularity. (shrink)

This paper argues that while Heidegger showed the importance of architecture in altering people's modes of being to avoid global ecological destruction, the work of Christopher Alexander offered a far more practical orientation to deal with this problem.

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

A discussion of the role of metaphor and reinterpretation in extending architectural vocabularies.

Seeking consensuses from the public is difficult, this also applies to the heritage sector, particularly in heritage preservation. ‘What, why and how to preserve?’ are the core of debates in the field and the differ- ences between points of views are basically due to the difference in valuation. In order to know everyone’s needs, views and expectations better and for sustainability, involving the community for preservation be- comes fundamental. Education, an experience which does not only provide opportunities for (...) enlightenments and widening horizons, but also introduce various concepts in terms of moral, ethical and social through systematic instructions. Having such great impact to community, promoting heritage education can be an effective approach awakening public consciousness on heritage preservation, and thus, enhancing people’s responsibility towards heritage, for both tangible and intangible, and developing a sustainable future for heritage through public engagement. However, it is necessary to understand the structure or the level of engagement prior setting the goal for heritage education. A model for classifying the level of engagement from performance is proposed for clarification and appraisal. This model is part of the research project of Community Engagement with Heritage in Macau which has an intention to examine its level of community engagement and give suggestions. This essay will first discuss community engagement, then classify the levels of engagement with models and lastly argue heritage education can elevate the level of community engagement which ultimately achieves the aim of heritage preservation. (shrink)

This article re-examines the theoretical basis for environmental and heritage interpretation in tourist settings in the light of hermeneutic philosophy. It notes that the pioneering vision of heritage interpretation formulated by Freeman Tilden envisaged a broadly educational, ethically informed and transformative art. By contrast, current cognitive psychological attempts to reduce interpretation to the monological transmission of information, targeting universal but individuated cognitive structures, are found to be wanting. Despite growing signs of diversity, this information processing approach to interpretation (...) remains dominant. The article then presents the alternative paradigm of hermeneutics through the works of Schleiermacher, Dilthey, Heidegger and Gadamer, to provide a broader interpretation of interpretation. This not only captures the essence of Tilden’s definition but construes heritage interpretation as a more inclusive, culturally situated, critically reflexive and dialogical practice. (shrink)

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.

The adaptive reuse of industrial heritage, a critical component in addressing radical climate change-related urban transitions, is increasingly pertinent. This paper distinguishes ‘urban transitions’ from ‘urban transformation,’ emphasizing a more gradual, adaptive approach to urban development under the pressures of climate change. It explores the repurposing of industrial buildings and spaces, maintaining their cultural and historical value while meeting current urban needs. Through a mixed-methods approach, the paper analyses how adaptive reuse contributes to sustainable urban development, examines the scale (...) and impact of such projects from local quarters to city-wide implications, and discusses the potential negative consequences, including gentrif ication. The study spans various global regions, including Europe, the United States, Latin America, Canada, and Australia, using case studies to illustrate the effectiveness of adaptive reuse in promoting sustainability, revitalizing urban areas, and preserving cultural heritage. The paper questions the viability of traditional long-term sustainable urban development strategies in the face of rapid environmental and societal changes, suggesting a potential need for paradigm shifts in urban planning. (shrink)

Expanding his collected essays on architectural theory and criticism, Chris Abel pursues his explorations across disciplinary and regional boundaries in search of a deeper understanding of architecture in the evolution of human culture and identity formation. From his earliest writings predicting the computer-based revolution in customised architectural production, through his novel studies on 'tacit knowing' in design or hybridisation in regional and colonial architecture, to his radical theory of the 'extended self', Abel has been a consistently fresh and (...) provocative thinker, contesting both conventions and intellectual fashions. This revised third edition includes a new introduction and six additional chapters by the author covering a broad range of related topics, up to recent concerns with genetic design methods and virtual selves. Together with the former essays, the book presents a unique global perspective on the changing cultural issues and technologies shaping human identities and the built environment in diverse parts of the world, both East and West (from the book cover). (shrink)

The paper examines the evolution of modernity concepts starting from the Renaissance to the present day, emphasizing the impact on architecture and urbanism. During the period of the Renaissance and the Enlightenment, people framed an evolutionary notion of history and the concept of the modern associated with the contemporary, the new, and the fleeting emerged. This period connected modernity with the idea of relativity of truth as opposed to the absolute truth of the Middle Ages. In the 18th and 19th (...) centuries, modernity clashed with tradition. This led to economic and political modernization. It also influenced artistic movements and cultural trends. The Industrial Revolution epitomized this period. It was driven by scientific and technological advancements. The paper discusses the objective and subjective perspectives of modernity, highlighting its dual nature in socioeconomic processes and personal experiences. Key thinkers like Habermas Weber and Baudelaire provide frameworks for understanding modernity's developments in science, art, and morality. The avant-garde movements influenced by Bauhaus, emphasized functionality. They also focused on rationality in architecture. However, critiques emerged, advocating the concept of unitary urbanism. This vision includes adaptable living spaces. It promotes an ever-changing urban environment, as exemplified by Constant's New Babylon. The Adorno's aesthetic theory criticized the industry's commodification of art and emphasizes art's utopian potential. Adorno's concept of mimesis and his critique of rationality and instrumental reason are explored reflecting the paradoxical nature of modernity. Finally, the paper contrasts the views of architects like Mies van der Rohe, Norberg-Schulz, and Eisenman. It concludes by reflecting on architecture's ongoing interaction with modernity. It emphasizes a balance between innovation tradition and the dynamic nature of human experience and social development. (shrink)

Negli ultimi decenni i sociologi ed economisti hanno sottolineato come il mondo del consumo sia sempre più caratterizzato dalle componenti culturali, sociali ed emotive. La marca cessa di essere semplice depositaria di benefit tangibili e performance oggettive ed estende il dominio all’area dei valori, delle relazioni e dei sentimenti. Adattandosi ai cambiamenti comunicativi il marketing si è arricchito di nuove strategie che la letteratura identifica con il temine “non convenzionali”: il market environment, il market niche, la client relationship, le competences (...) of the customer, il guerrilla marketing e le subjective experiences dei consumatori. E tra queste particolare rilievo ha assunto il “marketing esperienziale” finaliz-zato a coinvolgere la clientela offrendogli un’esperienza memorabile della marca. Il marketing include, certo, le tradizionali campagne pubblicitarie, le promozioni, le sponsorizzazioni, ma anche l’attrazione dei clienti negli ambienti dell’impresa, mettendo in mostra i luoghi, gli attori e i mezzi della produzione. Da questo punto di vista, i musei aziendali sono un medium straordinario che crea o consolida il rapporto tra l’impresa e il pubblico ma anche il legami interni e quelli con il territorio. Ne sono prova i due casi di studio sull'Heritage Marketing presentati nel volume: l’Heineken Experience e il Guinness Storehouse, i celebri musei dei due colossi dell’industria birraria. -/- Introduzione -/- Capitolo primo IL MARKETING NON CONVENZIONALE 1.1. Le leve decisionali del marketing 1.2. Dal Old School marketing al Societing 1.3. I dieci principi del marketing non-convenzionale -/- Capitolo secondo LE PANACEE DEL MARKETING 2.1. Un quadro d’insieme 2.2. Client Relationship 2.3. Market Environment 2.4. Market Niche 2.5. Guerrilla Marketing 2.6. Subjective Experiences -/- Capitolo terzo I MUSEI AZIENDALI 3.1. Una definizione provvisoria e alcune classificazioni 3.2. L’origine e la diffusione dei musei d’impresa 3.3. Il museo come mezzo di promozione aziendale e socio-culturale 3.4. Musei aziendali e comunicazione visuale: note semiotiche -/- Capitolo quarto L’HEINEKEN EXPERIENCE DI AMSTERDAM di Marta Scalzotto 4.1. Breve storia della Heineken 4.2. Le strategie di comunicazione 4.3. La responsabilità sociale e ambientale 4.4. La storia e la sede del museo 4.5. La visita del museo -/- Capitolo quinto LA GUINNESS STOREHOUSE DI DUBLINO di Marta Scalzotto 5.1. Breve storia e i prodotti della Guinness 5.2. Le strategie di comunicazione 5.3. Le sponsorizzazioni e le promozioni 5.4. La storia e la sede del museo 5.5. La visita del museo -/- Conclusioni -/- Riferimenti bibliografici. (shrink)

Η εύληπτη εκπαιδευτική προσέγγιση ότι «κληρονομιά είναι οτιδήποτε θέλεις “εσύ” να διατηρηθεί για τις επόμενες γενιές» κλονίζεται στην ερώτηση «όλα όσα μας παραδίδονται από τους προγόνους μας αποτελούν μια προς διαφύλαξη κληρονομιά, εφόσον “εσύ” το αποφασίσεις;». Εκφάνσεις «βαρβαρότητας» που διασώζονται σε προγενέστερες εθιμικές πρακτικές θα μπορούσαν άραγε να αποτελέσουν στοιχεία ΑΠΚ προς διαφύλαξη; Η παρούσα εργασία επιχειρεί μια πρώτη ανίχνευση του σύνθετου αυτού θέματος. Περιπτώσεις μελέτης από τον ελληνικό και διεθνή χώρο διερευνώνται με κριτήρια αξιολόγησης τα αναφερόμενα στη Σύμβαση για (...) τη Διαφύλαξη της ΑΠΚ (UNESCO, 2003). Βάσει αυτών δεν γίνονται αποδεκτές εθιμικές πρακτικές ΑΠΚ που αναζωπυρώνουν μνήμες βίαιων συγκρούσεων μεταξύ μελών κοινότητας/κοινοτήτων, αποκλείουν με βίαιο ή/και υποτιμητικό τρόπο μέλη εξαιτίας του φύλου, της ηλικίας, της επαγγελματικής ιδιότητας, ή του σεξουαλικού τους προσανατολισμού, καθώς και εθιμικές πρακτικές που περιλαμβάνουν κακομεταχείριση ή/και βασανισμό ζώων. Η εφαρμογή των παραπάνω στην πράξη παραμένει αχαρτογράφητο πεδίο. Απαραίτητες φάσεις μιας συστηματικής μελέτης αποτελούν α) η αναγνώριση και η ευαισθητοποίηση των τοπικών κοινωνιών και του ευρύτερου κοινωνικού συνόλου για τις αξίες της ΑΠΚ, β) η έρευνα, τεκμηρίωση και αξιολόγηση των επιμέρους στοιχείων της, γ) η υποστήριξη των διαδικασιών μεταβίβασής της στις νεότερες γενιές, μέσω της τυπικής και μη εκπαίδευσης, δ) η ανάδειξη της σημασίας της σε τοπική, περιφερειακή, εθνική ή/και παγκόσμια κλίμακα. Η ΑΠΚ μετεξελίσσεται και μεθερμηνεύεται διαρκώς μέσω σύνθετων κοινωνικών και πολιτισμικών διεργασιών. Απόπειρες εξαναγκασμένης «αναβίωσης» κάποιας «αυθεντικής» ή «γνήσιας» μορφής μιας έκφανσής της συχνά αποτυγχάνουν, ενώ παραμένουν μεθοδολογικά μετέωρες. Ο ρόλος της εκπαιδευτικής διαδικασίας στην ανάπτυξη σχετικών ηθικών αρχών και κριτικής σκέψης είναι κρίσιμης σημασίας. Λέξεις κλειδιά: άυλη πολιτιστική κληρονομιά, κοινότητες, αξίες, ηθικές αρχές, εκπαίδευση For educational purposes, we may claim that heritage is whatever each one of us individually or collectively wishes to preserve and pass on to the next generation. However, should violent or other disturbing forms of expression, preserved in customary practices, be safeguarded, if the whole or part of the ‘community’ decides to do so? The present paper attempts a first approach to this complex issue. Case studies from Greece and worldwide are investigated and appraised on the basis of the Convention for the Safeguarding of the ICH (UNESCO, 2003). According to the Convention criteria, customary practices that refresh memories of violent conflicts between members of the community/communities, or exclude members with an aggressive and pejorative way because of their gender, age, professional status or sexual orientation, as well as practices involving the ill-treatment and/or torture of animals do not deserve safeguarding. The implementation of the above criteria in practice, however, remains an uncharted area. A systematic study, therefore, should: (a) include initiation, recognition and awareness on the part of local communities and societies about the values of the ICH; (b) promote research, documentation and evaluation of heritage components; (c) support the transition to the younger generations through formal and non-formal educational events; (d) highlight its importance on the local, regional, national and international context. ICH is evolving and constantly interpreted through complex social and cultural processes. Any forced attempt to revive an ‘authentic’ or ‘genuine’ version of ICH cultural expression, besides appearing fake, is methodologically challenged. The role of education in developing ethical principles and a critical approach to heritage is undoubtedly crucial. Keywords: Intangible cultural heritage, communities, values, ethical principles, education. (shrink)

This article connects value-sensitive design to Gibson’s affordance theory: the view that we perceive in terms of the ease or difficulty with which we can negotiate space. Gibson’s ideas offer a nonsubjectivist way of grasping culturally relative values, out of which we develop a concept of political affordances, here understood as openings or closures for social action, often implicit. Political affordances are equally about environments and capacities to act in them. Capacities and hence the severity of affordances vary with age, (...) health, social status and more. This suggests settings are selectively permeable, or what postphenomenologists call multistable. Multistable settings are such that a single physical location shows up differently – as welcoming or hostile – depending on how individuals can act on it. In egregious cases, authoritarian governments redesign politically imbued spaces to psychologically cordon both them and the ideologies they represent. Selective permeability is also orchestrated according to business interests, which is symptomatic of commercial imperatives increasingly dictating what counts as moral and political goods. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in (...) which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

During the last decades, many cognitive architectures (CAs) have been realized adopting different assumptions about the organization and the representation of their knowledge level. Some of them (e.g. SOAR [35]) adopt a classical symbolic approach, some (e.g. LEABRA[ 48]) are based on a purely connectionist model, while others (e.g. CLARION [59]) adopt a hybrid approach combining connectionist and symbolic representational levels. Additionally, some attempts (e.g. biSOAR) trying to extend the representational capacities of CAs by integrating diagrammatical representations and reasoning are (...) also available [34]. In this paper we propose a reflection on the role that Conceptual Spaces, a framework developed by Peter G¨ardenfors [24] more than fifteen years ago, can play in the current development of the Knowledge Level in Cognitive Systems and Architectures. In particular, we claim that Conceptual Spaces offer a lingua franca that allows to unify and generalize many aspects of the symbolic, sub-symbolic and diagrammatic approaches (by overcoming some of their typical problems) and to integrate them on a common ground. In doing so we extend and detail some of the arguments explored by G¨ardenfors [23] for defending the need of a conceptual, intermediate, representation level between the symbolic and the sub-symbolic one. In particular we focus on the advantages offered by Conceptual Spaces (w.r.t. symbolic and sub-symbolic approaches) in dealing with the problem of compositionality of representations based on typicality traits. Additionally, we argue that Conceptual Spaces could offer a unifying framework for interpreting many kinds of diagrammatic and analogical representations. As a consequence, their adoption could also favor the integration of diagrammatical representation and reasoning in CAs. (shrink)

Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply (...) to architecture the lesson learned from the analysis of the art debate. (shrink)