Journal articles on the topic 'Embodied experience in architecture'
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Voigt, Katharina. "Corporeality of Architecture Experience." Dimensions 1, no. 1 (May 1, 2021): 139–48. http://dx.doi.org/10.14361/dak-2021-0118.
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Editorial Summary In »Corporeality of Architecture Experience« Katharina Voigt examines the embodied knowledge in the perception and the exploration of architectural spaces. She highlights embodiment, experience, and sensation as primary fields of investigation. The interrelation of architecture and the human body is described as dependent on bodily ways of knowing and movement as access to sensory encounters with architecture. Relating to the practice of contemporary dance and particularly the work of Sasha Waltz, she regards the body as an archive, generator, and medium of pre-reflexive knowledge, emphasizing its resonance with the space. She exploits the potential which an investigation of the body-based, sensory experience holds when being explicitly addressed and regarded as an integrated part of both, the perception and the design of architecture. [Uta Graff]
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Tzortzi, Kali. "Museum architectures for embodied experience." Museum Management and Curatorship 32, no. 5 (August 22, 2017): 491–508. http://dx.doi.org/10.1080/09647775.2017.1367258.
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Weisen, Marcus. "Researching Non-Conscious Dimensions of Architectural Experience." Dimensions 1, no. 1 (May 1, 2021): 149–58. http://dx.doi.org/10.14361/dak-2021-0119.
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Editorial Summary Entitled »Researching Non-Conscious Dimensions of Architectural Experience«, Marcus Weisen’s contribution explores the investigation of pre-reflexive ways of knowing, sensory thought, and the embodied mind. He introduces the micro-phenomenological interview as a successful methodology to exploit immanent, non-conscious aspects of architectural experience. He emphasizes the relevance of investigating the individual, subjective perspective in architectural research, proposing the first-person description of experience as a starting point from which to derive insights into overarching, essential principles of lived experiences of, and encounters with, architectural spaces. Tracing the elusive, embodied dimensions of architectural experience, he aims for an »embodied rationalism« in architectural research. [Uta Graff]
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Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (June 1, 2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.
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The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.
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Degen, Monica, Clare Melhuish, and Gillian Rose. "Producing place atmospheres digitally: Architecture, digital visualisation practices and the experience economy." Journal of Consumer Culture 17, no. 1 (July 31, 2016): 3–24. http://dx.doi.org/10.1177/1469540515572238.
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Computer-generated images have become the common means for architects and developers to visualise and market future urban developments. This article examines within the context of the experience economy how these digital images aim to evoke and manipulate specific place atmospheres to emphasise the experiential qualities of new buildings and urban environments. In particular, we argue that computer-generated images are far from ‘just’ glossy representations but are a new form of visualising the urban that captures and markets particular embodied sensations. Drawing on a 2-year qualitative study of architects’ practices that worked on the Msheireb project, a large-scale redevelopment project in Doha (Qatar), we examine how digital visualisation technology enables the virtual engineering of sensory experiences using a wide range of graphic effects. We show how these computer-generated images are laboriously materialised in order to depict and present specific sensory, embodied regimes and affective experiences to appeal to clients and consumers. Such development has two key implications. First, we demonstrate the importance of digital technologies in framing the ‘expressive infrastructure’ of the experience economy. Second, we argue that although the Msheireb computer-generated images open up a field of negotiation between producers and the Qatari client, and work quite hard at being culturally specific, they ultimately draw ‘on a Westnocentric literary and sensory palette’ that highlights the continuing influence of colonial sensibilities in supposedly postcolonial urban processes.
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Tillett, Wade. "Renovating Body and Space." Qualitative Inquiry 23, no. 6 (October 25, 2016): 403–10. http://dx.doi.org/10.1177/1077800416672697.
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In this article, the author has renamed the complicated conglomeration of the lived experience of the body-space as an “embody.” An embody includes a body schema, extensions to that body schema, peripersonal space, space, and more—a sort of working map of self and world. An embody continually changes definition in interaction with culture, (architectural) habitats, clothes, tools, vehicles, others, and so forth. Multiple embodies are often simultaneously deployed. Through vignettes and poetic prose, this project explores how the embody of daily experiences is composed. What is this embody of embodied experience? What forms of bodies and spaces does it take up? How are they constructed? What can they do?
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Yang, Jing, Jonathan Hale, and Toby Blackman. "How do buildings talk? Embodied experience in the Rolex Learning Centre." Architectural Research Quarterly 25, no. 1 (March 2021): 83–92. http://dx.doi.org/10.1017/s1359135521000129.
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The Venice Architecture Biennale in 2010, curated by Japanese architect Kazuyo Sejima, co-founder of Tokyo-based practice SANAA, included a remarkable twenty-four-minute 3D film by the German director Wim Wenders depicting the practice’s Rolex Learning Centre in Switzerland. Entitled If Buildings Could Talk, the film ran in a continuous loop, without a tangible beginning or end, much like the building itself. Invited by SANAA to develop the film, Wenders found himself confronted with a new type of space that he had no prior experience of, and no vocabulary to describe: ‘The Rolex Learning Centre’, said Wenders during a talk given at the Biennale, ‘is more landscape than building.’
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Doktor Olsen Tvedebrink, Tenna, and Andrea Jelić. "Getting under the(ir) skin: Applying personas and scenarios with body-environment research for improved understanding of users’ perspective in architectural design." Persona Studies 4, no. 2 (November 5, 2018): 5–24. http://dx.doi.org/10.21153/psj2018vol4no2art746.
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The aim of this paper is to move established positions in architectural design by discussing a more refined user perspective. The motivation is threefold. Firstly, fields like environmental psychology and cognitive science for architecture have in recent years brought novel insights on the embodied nature of human spatial experience, and the extensive effects of the built environment on people’s psychosomatic health and behaviour that are not well-captured by existing building standardization systems. Secondly, while the fast growing trends of user-centred and research-based design in architecture have showed that users’ experience is a valuable source of design knowledge, the methods for incorporating this wealth of new insights in the architectural design process are still underdeveloped. Finally, the example of the newly built psychiatric department in Aabenraa, Denmark, whose interior, despite an international architectural award in 2016, had to be re-designed one year after construction due to poor understanding of the users, indicates existing discrepancies in the current approaches to translating research information in user-centred design. To address these issues, we discuss the experiences from a new masters’ course in ‘Architecture, Health, and Well-being’ and propose that user-centred methods like ‘personas’ and ‘scenarios’ used in IT, marketing, and product development also have a potential to develop more in-depth research-informed user perspectives. As well as, to help students envision and strengthen the architectural quality of the programming and building design throughout the architectural design process, by supporting a ‘design empathic’ understanding and immersion in user perspectives.
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Lee, Jeehwan, and Myoungju Lee. "EDUCATIONAL EFFECTIVENESS OF A VIRTUAL DESIGN STUDIO ON ZERO-ENERGY BUILDING DESIGNS: THE CASE OF THE U.S. SOLAR DECATHLON DESIGN CHALLENGE." Journal of Green Building 16, no. 4 (September 1, 2021): 249–61. http://dx.doi.org/10.3992/jgb.16.4.249.
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ABSTRACT Ongoing global architectural agendas span climate change, energy, a carbon-neutral society, human comfort, COVID-19, social justice, and sustainability. An architecture studio allows architecture students to learn how to solve complicated environmental issues through integrated thinking and a design process. The U.S. Department of Energy’s Solar Decathlon Design Challenge enables them to broaden their analytic perspectives on numerous subjects and strengthen their integrated thinking of environmental impacts, resilience, sustainability, and well-being. However, the unprecedented impact of the global COVID-19 pandemic transformed the physical studio-based design education system into an online-based learning environment. Mandatory social distancing by the global COVID-19 pandemic restricted interactive discussions and face-to-face collaborations for the integrated zero-energy building design process, which requires features of architecture, engineering, market analysis, durability and resilience, embodied environmental quality, integrated performance, occupant experience, comfort and environmental quality, energy performance, and presentation. This study emphasizes the educational effectiveness of virtual design studios as a part of the discourse on architectural pedagogy of zero-energy building (ZEB) design through integrated designs, technological theories, and analytic skills. The survey results of ten contests show educational achievement with over 90% of the highest positive tendency in the categories of embodied environmental quality and comfort and environmental quality, whereas the positive tendency of educational achievement in the categories of integrated performance, energy performance, and presentation were lower than 70%. The reason for the low percentage of simulation utilization and integrated performance was the lack of a proper understanding of and experience with ZEB simulations and evaluations for undergraduate students. Although VDS is not an ideal pedagogical system for the iterative design critique process, it can support the learning of the value of architectural education, including integrative design thinking, problem-solving skills, numerical simulation techniques, and communicable identities through online discussions and feedback during the COVID-19 pandemic.
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Spencer, Clare. "Designing the Person: Sociological Assumptions Embodied within the Architecture of Charles Rennie Mackintosh and Le Corbusier." Irish Journal of Sociology 14, no. 1 (May 2005): 141–62. http://dx.doi.org/10.1177/079160350501400109.
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This essay presents a comparative study of the sociological assumptions implicit, and to some extent explicit, in the work of two famous architects, Charles Rennie Mackintosh and Le Corbusier. The inhabitant implied through the architectural practice of Le Corbusier resembles Elias's homo clausus (closed person), the mode of self experience viewed by Elias as the dominant one in Western society and one which sees the individual person as a ‘thinking subject’ and the starting point of knowledge. Mackintosh's designs, in contrast, imply individual people closer to Elias‘s homines aperti, social beings who are shaped through social interaction and interdependence. This paper demonstrates how, as well as fulfilling social, cultural and political needs, architecture carries, within in its designs, certain assumptions about how people and how they do, and should, live. The adoption of an Eliasian perspective provides an interesting insight into how these assumptions can shape self-experience and social interaction in the buildings of each architect.
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Peri Bader, Aya. "A model for everyday experience of the built environment: the embodied perception of architecture." Journal of Architecture 20, no. 2 (March 4, 2015): 244–67. http://dx.doi.org/10.1080/13602365.2015.1026835.
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Heylighen, Ann, and Megan Strickfaden. "{Im}materiality." Space and Culture 15, no. 3 (July 23, 2012): 180–85. http://dx.doi.org/10.1177/1206331212445949.
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“{Im}materiality: Designing for More Sense/s” is an edited compilation of articles that explore the complexity of embodied human experience within the built environment. A particular aim of these collected works is to look toward how deepening one’s understandings of the experiences of bodies in space and place can contribute to future built environments. The contributors to this special issue are trained in practice-based disciplines such as architecture, product development, and ergonomics. At the same time, they bring in particular theoretical backgrounds of research experience in anthropology, design history and theory, and sociology. They come together through a focus on heterogeneous experiences of disability to articulate themes and issues that illustrate immaterial connections to the material world.
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Bohn, Claus. "Launching Architecture Through the Image." Artifact 4, no. 1 (October 4, 2017): 1. http://dx.doi.org/10.14434/artifact.v4i1.13126.
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Contemporary architecture seems seduced by the image and has in many ways taken on the casual vanity of fashion and make-up. Yet the image can be a powerful source of imagination and suggestion and holds potentials for adressing aspects of the world, which seems hard to approach through other medias. Through phenomenological education–based research a workshop with architect students in Copenhagen in 2013 investigates these potentials. How can the image – here as the model photograph – become an active and intergrated tool in the architectural process – and in this case as the very launch pad for its creation?This paper describes the course of the workshop and the vivid dialogue the images initiated concerning the perceptual, embodied experience of an architecture to come. A dialogue on aspects of architecture often neglected but surprisingly spurring to the students personal architectural process and courisously accessible for broad and common debate. A personal dialogue made possible by the correlation of the senses and a common dialogue based on the fact, that we share vast common, cultural grounds making it possible to discuss the images and their possibilities – despite their personal and singular being.
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Castán, Marina, and Daniel Suárez. "Choreographed Soft Morphologies: exploring new ways of ideating soft architecture through material elasticity." Temes de Disseny, no. 34 (November 26, 2018): 60–73. http://dx.doi.org/10.46467/tdd34.2018.60-73.
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This research aims to contribute to the current field of architectural design by offering evidence of how a collaborative and embodied approach to soft architecture can inform a new physical-digital design process. Current design technologies (e.g. sensors, 3D scanners, procedural modelling software), together with the use of the body as a source for designing a space, offer new methods and tools for designing architecture (Hirschberg, Sayegh, Frühwirth and Zedlacher 2006). However, the potential for experiencing and digitally capturing a soft and elastic material interaction through the body as a dynamic system capable of informing soft architectural design has not yet been widely explored. By using the felt experience as a tool for design, we allow the material to express its qualities when activated by the body, revealing its form instead of it being imposed from outside (DeLanda 2015). Taking an embodied approach used in interaction design and fashion design (Loke and Robertson 2011; Wilde, Vallgårda, and Tomico 2017), this research proposes a hybrid method to explore a textile-body ontology as an entity that has the potential to design a space, along with the use of motion capture technology in an effort to re-connect the experiential (the body) with the architecture (the space).
Through a custom-made interface, made of soft and hard materials, we explored the dynamic and spatial qualities of material elasticity through choreographed body movements. The interface acts as a deformable space that can be shaped by the body, producing a collection of form expressions, ranging from subtle surface modifications to more prominent deformations. Such form-giving processes were captured in real time by three Kinect sensors, offering a distinct digital raw material that can be conveniently manipulated and translated into architectural simulations, validating the method as a new way to inform soft architectural design processes.
The findings showed that: 1) the direct experience of collaboratively interacting with a soft and elastic interface allows the identification of the dynamic qualities of the material in relation to oneself and others, facilitating an immediate spatial meaning-making process; 2) exploring the design of a soft and elastic space through choreography and motion capture technology contributes to the creation of augmented relational scales across physical and digital realms, proposing a new hybrid design method; 3) the soft and elastic interface becomes a new entity when shaped by the body (textile-body ontology) giving the opportunity for a variety of formal expressions and offering a source of digital raw material for architectural design.
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Pérez-Orrego, Natalia, John Arango-Flórez, Claudia Fernandez-Silva, and Juan David Mira-Duque. "Be provoking. Schooling critical and speculative designers." Interaction Design and Architecture(s), no. 51 (December 20, 2021): 152–71. http://dx.doi.org/10.55612/s-5002-051-007.
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Designing the provocation is a powerful strategy to jump from denouncing to generating actions and behaviors of a critical and speculative nature in design students. This article presents the discursive character of critical design function through three guidelines for provocation design: intellectual risk, generative challenge, and embodied futures, based on the philosophical concept of experience as an act of knowledge. Those are discussed on three classroom experiences in clothing design, architecture, and industrial design in Medellín, Colombia, showing possibilities and challenges for critical and speculative design schooling as well as bringing teachers and students closer to new ways of interacting with social problems in the context of Latin America.
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Sorbello, Rosario, Salvatore Tramonte, Carmelo Calí, Marcello Giardina, Shuichi Nishio, Hiroshi Ishiguro, and Antonio Chella. "Embodied responses to musical experience detected by human bio-feedback brain features in a Geminoid augmented architecture." Biologically Inspired Cognitive Architectures 23 (January 2018): 19–26. http://dx.doi.org/10.1016/j.bica.2018.01.001.
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Pallasmaa, Juhani. "The Existential Image: Lived Space in Cinema and Architecture." Phainomenon 25, no. 1 (October 1, 2012): 157–74. http://dx.doi.org/10.2478/phainomenon-2012-0020.
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Abstract Walter Benjamin pointed out the affinity of cinema and architecture, and argued unexpectedly that tbese art forms are both essentially tactile arts. The tactility of the material art of building is not difficult to grasp, but the idea that a cinematic projection could result in fundamentally tactile experience certainly meets objections. However, the philosophical as well as neurological studies ofthe past few decades in perception, emotion, and thought, as well as in artistic expressions, suggest that these two arts, or poetic images at large, address ali our senses, including our synthesizing existential sense, all at once. The arts communicate through the “fiesh of the world”, to use a notion of Maurice Merleau-Ponty. The acts of perception, feeling, thinking, and memorizing cal! for the reality and sense of embodiment. We identify ourselves unknowingly with constructed architectural spaces as well as projected cinematic situations with our empathetic capacity. So, Benjamin ‘s argument could be re- -formulated: cinema and architecture are embodied atis in which the externa! and the internal are fully intertwined and fused. “The world is wholly inside, and 1 aro wholly outside myself’, as Merleau-Ponty enigmatically argues.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Westermann, Claudia. "Poiesis, ecology and embodied cognition." Technoetic Arts 18, no. 1 (March 1, 2020): 19–29. http://dx.doi.org/10.1386/tear_00023_1.
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Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is ‘embodied’ and depends on the aforementioned concepts’ interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article links Asian aesthetics to a discourse on ecologies in the post-Anthropocene, in dialogue with contemporary conceptions of time. It outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than ‘smart’ efficiency.
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Dalia, Peña, and Mesquida Peri. "Sustainability and diversity in the architecture of intercultural universities in Mexico." International Journal of Environmental Science & Sustainable Development 7, no. 1 (June 30, 2022): 14. http://dx.doi.org/10.21625/essd.v7i1.864.
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Intercultural universities in Mexico have been created since 2001, currently there are 12, the last one to be created is the Intercultural University of Baja California in San Quintin. These universities are governed by an intercultural model that states that they must incorporate linguistic expressions and manifestations and knowledge of indigenous peoples in their substantive functions as well as in their scientific activity, but some of them have also incorporated cultural and sustainable expressions in their architecture. In this sense, there are experiences of these universities that incorporate different cultural and sustainable elements in their architecture. Based on the above, this study presents some experiences of Intercultural Universities in Mexico that recover cultural and sustainable elements in their architecture. Methodologically, we resorted to reflexive ethnography by conducting several interviews with the architect of the UICEH. Some of the results obtained in the research show the importance of how, through the architectural spaces, elements of interculturality and sustainability are embodied, including some related to local cultures where the Universities have an impact.
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Mohamed, Essam Metwally. "The Relationship Between Interior Architecture and Music." Modern Applied Science 12, no. 10 (September 27, 2018): 86. http://dx.doi.org/10.5539/mas.v12n10p86.
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There is no doubt that there is a calculated relationship between architecture and music. If music is the translation of emotion, this emotion has been reflected in the architectural character and the arts of building and shaping its style. And the music of primitive tribes and barbaric peoples represented by the drums of homogeneous repetitions reflected on their buildings and primitive character or their huts identical and compact without compatibility or homogeneity. The rural music of each country, which is characterized by simple melodies and monotonous tones belonging to the living nature and sprouts from its land, we find a reflection of the buildings that are characterized by simplicity and calm and building materials derived from the surrounding nature.
The Harmonized melodies and the continuous repetition of original tones and their background can easily be read or heard on the facades of the Islamic style buildings in the continuous surface repetition of contracts and decorations
The change of the personality of Arab architecture from one country to another and the change of the form of contracts and domes, has found a similarity in the changing personality of contemporary music.
Every modern development in architecture and its character is recorded by the music and its character. The more the cultures of the peoples are merged, the more modern the modern architecture, which occupies its place in the different countries, resonates with contemporary world music and converges with the civil affinity and culture of the peoples.
"Architecture is music embodied in the place," says Hassan Fathi. "Music is an architecture embodied in time"
Studying the relationship between interior architecture and music enables us to "enjoy" it by using our senses to "see what we listen to" and "hear what we see" achieve greater levels of experience. I think this is what the "normal" people do, and they use their senses to live life differently than they did before.
Through practical experiments for students of Design 2, the music has been transformed into an interior design through the sensation, sensation and impression of the music in the same designer to translate these feelings into design forms and stereoscopic elements with materials, colors and reflections that express these feelings and the emotional state raised by this music.
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Marda, Nelly, Christos Kakalis, and Olga Ioannou. "Pedagogical approaches to embodied topography: a workshop that unravels the hidden and imaginary landscapes of Elaionas." ZARCH, no. 8 (October 2, 2017): 288. http://dx.doi.org/10.26754/ojs_zarch/zarch.201782164.
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A workshop aiming to activate the sensory experience of individuals within the urban landscape was introduced to the students of a postgraduate course of architecture. The course seeks to explorecity complexity by mapping the urban phenomena. These readings provide the base for the creation of integral strategic interventions. In the two years it has run, students have shown a preference for analytical tools. This time however, they were asked to perform a series of exercises that sought to increase their body awareness, to help them navigate and read the landscape through their sensory perceptions. The authors of this paper contemplate on the use of mapping methodologies, embodied topography and its relation to the more hidden and imaginary landscapes of the city. They present the reader with a description of the workshop articulation, segments of the student projects and its pedagogical outcomes.KEYWORDS: Mapping methodologies, embodied topography, urban landscape, sensory perception.
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Bourguin, Grégory, Arnaud Lewandowski, and Myriam Lewkowicz. "Sharing Experience Around Component Compositions." International Journal of Distributed Systems and Technologies 4, no. 4 (October 2013): 15–28. http://dx.doi.org/10.4018/ijdst.2013100102.
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Society currently lives in a world of tailorable systems in which end-users are able to transform their working environment while achieving their tasks, day to day and over the time. Tailorability is most of the time achieved through dynamic component integration thanks to a huge number of components available over the Internet. In this context, the main problem for users is not anymore the integration of new components, but how to find the most interesting set of components that will fulfill their needs. Facing this issue, the authors' assumption is that it would be helpful for users to take benefit of the experience of other users and our work aims at enhancing current software ecosystems to support this sharing of experience. The authors have applied this approach in the context of software development while considering Eclipse as one of the most advanced and used software ecosystem. The authors then offer ShareXP, an Eclipse feature that allows members of a group to share their expertise, this expertise being embodied in the “compositions” each of them has built. ShareXP was already presented in (Bourguin et al., 2012). The current paper is an extension where the authors deeper show that ShareXP is only a first step in their global approach trying to enhance not only the Eclipse ecosystem, but software ecosystems in general.
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Laidler, Peter. "Measuring carbon – a small practice perspective." Structural Engineer 99, no. 9 (September 1, 2021): 14–18. http://dx.doi.org/10.56330/irfx7299.
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In this article, Peter Laidler describes his small practice’s experience of responding to the climate emergency by seeking to minimise upfront carbon and maximise material utilisation in its structural designs, as well as encouraging retrofit and reuse. The practice has developed a simple carbon calculator in order to integrate embodied carbon calculations into standard design procedures.
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Kjærboe, Rasmus. "Embodied discourse in the bourgeois museum: performative spaces at the Ordrupgaard collection." Museum and Society 12, no. 2 (April 20, 2015): 65–87. http://dx.doi.org/10.29311/mas.v12i2.2784.
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In a suburb just north of Copenhagen is Ordrupgaard. At the inauguration in 1918, it was arguably the best collection of impressionism open to the public outside France and the USA. This paper has two goals: First, to reconstruct and analyze the important yet little known original exhibition ensemble at Ordrupgaard, and second, to develop a view of the bourgeois art exhibition as a performative ritual. Building on ideas of exhibition narratives and visitor involvement derived from diverse work done within museology and museum studies, the paper proposes a close examination of how collective memory and performative embodiment drive exhibition experience. From this, Ordrupgaard emerges as an early example of a museum that offers its audience the possibility of a pleasurable enactment of middle class identity within a setting encompassing nature, art and architecture. The case of a small collection museum therefore reveals important mechanics at work within a potentially much larger field of institutions.
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Volkov, Alexey. "NATURE OF COGNITIVE EXPERIENCE: UNITY OF PERCEPTION, THINKING, BODY AND LANGUAGE." Studia Humanitatis 20, no. 3 (November 2021): 4–14. http://dx.doi.org/10.15393/j12.art.2021.3761.
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The article analyzes the nature of cognitive experience in the context of non-classical epistemology and critically interprets the dogmatic concept of cognitive process as a special form of reality reflection. Borrowing his arguments from neurobiology, cognitive science and cross-cultural studies, the author makes the following conclusions: the modular architecture of perceptual systems and embodied cognition impose certain restrictions on the way of presenting perceptual data, determining what stimulus diversity should be reduced to in order for it to be perceived and comprehended. At the same time, perception involves cooperation with other cognitive abilities – attention, memory, and thinking. In this regard, the perception of sensory stimuli depends on the subject’s set of categories, anticipatory schemes, and linguistic frameworks. All these means provide procedures for the selection and categorization of information. As a result, sensory data receive objective meanings, and perception turns out to be irreducible to the passive «copying» of reality.
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Stephens, Andreas, Trond A. Tjøstheim, Maximilian K. Roszko, and Erik J. Olsson. "A Dynamical Perspective on the Generality Problem." Acta Analytica 36, no. 3 (January 12, 2021): 409–22. http://dx.doi.org/10.1007/s12136-020-00458-6.
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AbstractThe generality problem is commonly considered to be a critical difficulty for reliabilism. In this paper, we present a dynamical perspective on the problem in the spirit of naturalized epistemology. According to this outlook, it is worth investigating how token belief-forming processes instantiate specific types in the biological agent’s cognitive architecture (including other relevant embodied features) and background experience, consisting in the process of attractor-guided neural activation. While our discussion of the generality problem assigns “scientific types” to token processes, it represents a unified account in the sense that it incorporates contextual and common sense features emphasized by other authors.
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Erarslan, Alev. "A Contemporary Interpretation of Vernacular Architecture. The Architecture of Nail Çakirhan, Turkey." YBL Journal of Built Environment 7, no. 1 (February 1, 2019): 5–25. http://dx.doi.org/10.2478/jbe-2019-0001.
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Abstract As a product of native masters of the vernacular and the accumulation of thousands of years of tradition, local architecture embodies the physical and sociocultural characteristics of the environment of which it is a part. This is an indigenous architecture that displays the character of multiple and unknown local contributors and openly reflects the traditions, culture, experience and customs of the people it serves. Vernacular architecture differs according to the physical conditions of each region, becoming an expression of the culture of that area. Underlying it is the ancient wisdom, experience, skills and mastery that is transferred from generation to generation. The vernacular in architecture is the direct and unconscious translation of a society’s culture into physical substance within the framework of specified needs. It draws from tradition and with time, provides a social and cultural documentation that is passed on from one generation to the next. The aim of the study is to examine the residential works of the self-taught architect Nail Çakırhan, one of the most adamant defenders of vernacular architecture in Turkey and a recipient of the Aga Khan award in 1983, in the context of the house he built for himself using the local architectural materials of the region of Ula, where he was born, and the residential buildings he created in Akyaka, in an attempt to analyze Çakırhan’s contemporary interpretation of local architecture.
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Nasser, Nevine. "Beyond the Veil of Form: Developing a Transformative Approach toward Islamic Sacred Architecture through Designing a Contemporary Sufi Centre." Religions 13, no. 3 (February 23, 2022): 190. http://dx.doi.org/10.3390/rel13030190.
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By examining the relationship between sacred space and spiritual experience through practice-as-research, a methodology for reclaiming the wisdom embodied by transformative examples of classic Islamic sacred architecture in the design of a contemporary Sufi Centre in London, UK, is developed. The metaphysical and ontological roots of universal design principles and practices are explored in order to transcend mimetic processes and notions of typology, location, time, style and scale in the creation of context-sensitive meanings and manifestations. An ontological hermeneutic approach was followed that utilises mixed methods underpinned by direct engagement, collaboration and a willingness to examine personal transcendent experiences and spiritual practices. By conducting practice, the effects of prioritising unseen dimensions (bātin), which enfold visible dimensions (zāhir), on understanding and designing Islamic sacred space are examined. The role of the imaginal realm, the imagination (khayāl), the spiritual heart (qalb) and spiritual inter-pretation (ta’wīl) are explored. Through a contemplative process, forms are perceived as conduits between the physical and spiritual realms and space as a symbol of presence (wujūd). Seen and unseen (zāhir wa bātin) converge into one continuum, potentiating an experience of Oneness (Tawhīd). A transformative approach to practice emerges that integrates a designers’ creative and spiritual practices, cultivates the capacity for transformation and helps to mitigate some of the challenges faced when designing sacred spaces in conventional settings today.
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Ropo, Arja, and Ritva Höykinpuro. "Narrating organizational spaces." Journal of Organizational Change Management 30, no. 3 (May 8, 2017): 357–66. http://dx.doi.org/10.1108/jocm-10-2016-0208.
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Purpose The purpose of this paper is to explore the narrative nature of organizational spaces and how these narratives influence human action. The study introduces a notion of “narrating space” that emphasizes a narrative construction of space that is dynamic and performative. The study joins the recent material and spatial turn in organization studies where spaces are not considered merely as a container or a context to organizational action, but as a dynamic and active force. Design/methodology/approach The study draws on the triadic conception of space of Henry Lefebvre (1991). Lefebvre developed three interconnected dimensions of space: conceived, perceived and lived space. Space can be conceived as an abstract architectural plan or perceived through the practice of space. The dimension that integrates these two is the lived space. Spaces are experienced through emotions, imagination and embodied sensations. Instead of being a passive object, spaces become active and performative through the human engagement. They carry narratives that change their form as time passes by. The study embraces aesthetic, embodied epistemology where sensuous perceptions are considered as valid knowledge. Findings The study applies an aesthetic and dynamic approach to space and illustrates how spaces carry performative and processual narratives. These narratives are based on lived experience through personal, embodied experience, memories and sensuous perceptions. The illustrations also show that narratives change over time. Research limitations/implications A narrating space concept is characterized by being subjective, dynamic and temporal. Furthermore, it is pointed out that space is constructed through sense-based experiences. A metaphor of an amoeba is offered to depict the nature of the phenomenon. The amoeba metaphor points out that space narratives are dynamic and changing. The study adds to a better awareness of space as a sensuous narrative. Beyond being an isolated personal experience, the study and the illustrations enhance a material view to organizational narratives. Practical implications The study suggests that managers, architects and designers should take notice of spaces as narratives that involve temporal and sensuous experiences when planning and (re)designing work environments. Due to the subjective and temporal nature of organizational spaces they are manageable only to a limited extent. Therefore, to appreciate an active narrating nature of organizational spaces, employee involvement in planning and (re)designing spaces is encouraged. Originality/value First, the paper enhances the awareness of organizational spaces as sensuous narratives. Second, it adds a material aspect to narratives. Third, it advances an aesthetic and embodied approach to narrative organization research.
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Wooff, Andrew, and Layla Skinns. "The role of emotion, space and place in police custody in England: Towards a geography of police custody." Punishment & Society 20, no. 5 (August 11, 2017): 562–79. http://dx.doi.org/10.1177/1462474517722176.
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Police custody is a complex environment, where police officers, detainees and other staff interact in a number of different emotional, spatial and transformative ways. Utilising ethnographic and interview data collected as part of a five-year study which aims to rigorously examine ‘good’ police custody, this paper analyses the ways that liminality and temporality impact on emotion in police custody. Architecture has previously been noted as an important consideration in relation to social control, with literature linking the built environment with people’s emotional ‘readings’ of space. No work, however, has examined the links between temporality, liminality and emotional performativity in a police custody context. In this environment, power dynamics are linked to past experiences of the police, with emotions being intrinsically embodied, relational, liminal and temporal. Emotion management is therefore an important way of conceptualising the dynamic relationships in custody. The paper concludes by arguing that emotional aftershocks symbolise the liminal experience of detainees’ understanding of the police custody process once released, noting that it is important to understand the microscale, lived experience of police custody in order to develop broader understanding of broader social and policing policy in a police custody context.
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Zhuravlov, Y. "The dual form of education is an embodied reality." New Collegium 4, no. 102 (December 25, 2020): 71–75. http://dx.doi.org/10.30837/nc.2020.4.71.
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The organizational principles and results of the implementation of the pilot project of dual form of education for applicants for the second (master's) level of higher education in the specialty 151 "Automation and computer-integrated technologies" are considered. A brief retrospective look at the history of dual education is given. A comparative analysis of the institutional, individual and dual forms of education according to the most popular professional competencies in the modern labor market is given.
Recommendations of the Working Group of the Ministry of Education and Science of Ukraine on the organization of dual education, the procedure for enrollment of students in dual education, the peculiarities of the implementation of this form of education. The enterprises that took part in the pilot project on the basis of the memorandum of cooperation are identified. The results of a pilot project on the organization and implementation of the dual form of education at the Kharkiv National University of Construction and Architecture are presented.
For the practical implementation of the dual form of education, an integrated model was chosen – a model of a divided week, which provides for training two days a week in an educational institution, three days – in the workplace at the enterprise.
The step-by-step algorithm of introduction of dual education is offered, practically worked out during realization of the pilot project, components of efficiency of such form of receiving education are defined.
The connection of the pilot project with the Licensing conditions for the educational activities of educational institutions in terms of recognition of the qualifications of research and teaching staff in the relevant specialty is shown. It is proposed to use the experience of the pilot project for other technical specialties.
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Žukas, Jonas, Kostas Gaitanži, and Darius Zabulionis. "Prospects of Intuitive Interaction Modeling in Automated Shape Generation." Architecture and Urban Planning 18, no. 1 (January 1, 2022): 10–16. http://dx.doi.org/10.2478/aup-2022-0002.
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Abstract In this article, authors discuss new possibilities for the spatial design universal aesthetic development. Creative artistic means are conditioned by the human ability to comprehend and interpret objects in a particular context. Ideas of arts and science coexistence have been relevant since antiquity. The 20th century, especially the Bauhaus movement, gave a rational basis for conjoining artistic inspiration with the parametric constraints. Contemporary digital technologies provide new possibilities to enhance human creative potential by employing scientific methods. In search of material environment evaluation reference points, it is important to establish a robust connection of human mind and physical world. Subjectivity and intersubjectivity of experiences raise issues in human perception studies, involving both phenomenal and material processes. Embodied cognition reveals itself as an intuitive experience or discovery which provides a new perspective for the creative application. The authors aim to investigate the creative opportunities of automated shape generation systems. The main issue is to find a universal application of creative process analysis. Parametric constraints offer the opportunity to use statistical tools in art practice. These constraints are based on embodied cognition capabilities. Combined methods of qualitative and quantitative evaluation help to assess the contextual relevance of the object and to determine the cultural and pragmatic effectiveness of automated design solutions. The study offers theoretical and applied cross-disciplinary research direction to discover new creative means in material environment design, including architecture and urban planning.
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Tavi, Leila. "Postwar Heuristic Strategies of Exclusion and Inclusion in Moscow Architecture." Journal of Frontier Studies 5, no. 1 (March 22, 2020): 54–82. http://dx.doi.org/10.46539/jfs.2020.1.5482.
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Moscow is a city of a thousand faces, constantly changing over the centuries and its high-rise buildings has been forming the shape of the city for centuries. From the «Third Rome», without stratified urbanization, unlike the Rome it would have liked to emulate at the end of the XIV century, Moscow went through a long period in history in which the innovations and changes made to its urban landscape overlapped the existing structure, erasing the architectural features and, thus, the historical memory. This article focuses on the transformation of Moscow from a Soviet capital to a capitalist mega-city, corroborating the thesis that the «immortalization of memory», through the monumental architecture of the Stalinist era, gave a sense of stability and was meant to be remembered by posterity. After the archetypal Soviet city, which embodied the Soviet Union’s radiant future in the Thirties and Forties of the Twentieth Century, the city was characterized by a new urban appearance, made up of monumental buildings, privilege of apparatchiki (аппара́тчики), who lived in stalinki (сталинки), examples of socialist classicism, characterized by an original layout. Influenced by this Soviet legacy and its nostalgic impulses, Moscow’s contemporary urban governance framework for planning reveals a strong nostalgia for the splendours of the past. The post-Soviet Muscovite experience resembles however more like a hybrid city than a palimpsestic one.
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Oehlmann, Nandini. "Embodied Knowledge, Tool, and Sketch: Intuitive Production of Knowledge in Architectural Design." Dimensions 1, no. 1 (May 1, 2021): 37–46. http://dx.doi.org/10.14361/dak-2021-0105.
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Editorial Summay Entitled »Embodied Knowledge, Tool, and Sketch«, Nandini Oehlmann’s contribution directs the focus to the »intuitive production of knowledge in architectural design«, also the subtitle of the text, and aims to trace the tacit, pre-reflective knowledge that plays a guiding role in the design process. As she defines design as having »an idea in mind as a vague notion«, her investigation is driven by the search for a profound understanding of the knowledge transfer of cognitive and manual knowing. She places an emphasis on the evolution of knowledge in the design process, from indistinct premonition to a specific concretization of the design. Tacit knowledge forms the core of this research, aiming to decipher this preconscious experience- based manual or bodily knowledge. [Katharina Voigt]
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He, Yan, George Chernyshov, Jiawen Han, Dingding Zheng, Ragnar Thomsen, Danny Hynds, Muyu Liu, et al. "Frisson Waves." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 6, no. 3 (September 6, 2022): 1–23. http://dx.doi.org/10.1145/3550324.
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Frisson is the feeling and experience of physical reactions such as shivers, tingling skin, and goosebumps. Using entrainment through facilitating interpersonal transmissions of embodied sensations, we present "Frisson Waves" with the aim to enhance live music performance experiences. "Frisson Waves" is an exploratory real-time system to detect, trigger and share frisson in a wave-like pattern over audience members during music performances. The system consists of a physiological sensing wristband for detecting frisson and a thermo-haptic neckband for inducing frisson. In a controlled environment, we evaluate detection (n=19) and triggering of frisson (n=15). Based on our findings, we conducted an in-the-wild music concert with 48 audience members using our system to share frisson. This paper summarizes a framework for accessing, triggering and sharing frisson. We report our research insights, lessons learned, and limitations of "Frisson Waves".
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Maxwell, Ágústa Edwald, and Jeff Oliver. "On decentring ethnicity in buildings research: The settler homestead as assemblage." Journal of Social Archaeology 17, no. 1 (December 18, 2016): 27–48. http://dx.doi.org/10.1177/1469605316680506.
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The concept of ethnicity is a prevailing explanatory device in studies of colonial architecture. This paper argues for decentring ethnicity in buildings research through treating buildings as ‘assemblages’ of both material and social ‘things’. Drawing on a case study from the late 19th-century settler landscape of Manitoba, Canada, we illustrate how settler architecture – conceived of as an ‘assemblage’ – can shed light on the events, processes and material consequences of homesteading in a new land. Through decentring ethnicity as a determining factor in building projects, the role of settler architecture as a material indicator of resistance or assimilation becomes more easily questioned. An archaeological interpretation of buildings as assemblages draws attention towards their materiality and the embodied experiences of building by highlighting the historical and geographical contingencies of the settlement landscape.
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Skrzypczak, Wiktor. "Principles of Somatic Movement Education for Architectural Design." Dimensions 1, no. 2 (May 1, 2021): 51–60. http://dx.doi.org/10.14361/dak-2021-0205.
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Abstract An architect trying to predict the spatial effect of their design on its inhabitants often faces a dilemma. Their professional experience and personal feeling allows them to intuit its effect. Such intuition, however, might lack legitimacy in the dominant design practice. For over a century, the question of the felt space in architecture has been a topic of theoretical discussion, which led to the insight that the answer might lay not so much in studying the architectural structures, but rather in studying the bodies that inhabit them. And still the dominant architectural practice follows the outdated dualistic (mis-)understanding of the felt space. Another historical development took place in dance. Here, since the 1960s,the traditionally formalistic and objectifying understanding of dance has been strongly influenced by techniques of bodily sensitization, stemming from the field of somatics. In themselves rather diverse, these techniques have been institutionally delineated through the principles of somatic movement education. One of their characteristics is that somatic techniques are constantly re-emerging - not from a priori knowledge but from the study of one’s own body and its interactions with the environment. This article envisages how such principles might be applied to architectural design practice and give rise to new embodied design practices - which might foster architects’ sensory expertise and thus legitimize the felt knowledge in professional contexts.
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Stefanidi, Evropi, Michalis Foukarakis, Dimitrios Arampatzis, Maria Korozi, Asterios Leonidis, and Margherita Antona. "ParlAmI: A Multimodal Approach for Programming Intelligent Environments." Technologies 7, no. 1 (January 11, 2019): 11. http://dx.doi.org/10.3390/technologies7010011.
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The proliferation of Internet of Things (IoT) devices and services and their integration in intelligent environments creates the need for a simple yet effective way of controlling and communicating with them. Towards such a direction, this work presents ParlAmI, a conversational framework featuring a multimodal chatbot that permits users to create simple “if-then” rules to define the behavior of an intelligent environment. ParlAmI delivers a disembodied conversational agent in the form of a messaging application named MAI, and an embodied conversational agent named nAoMI employing the programmable humanoid robot NAO. This paper describes the requirements and architecture of ParlAmI, the infrastructure of the “Intelligent Home” in which ParlAmI is deployed, the characteristics and functionality of both MAI and nAoMI, and finally presents the findings of a user experience evaluation that was conducted with the participation of sixteen users.
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Tzortzi, Kali. "Constructing Meanings: The Museum as a Stage Set for the Presentation of Archeological Collections." Collections: A Journal for Museum and Archives Professionals 18, no. 2 (October 25, 2021): 142–61. http://dx.doi.org/10.1177/15501906211052715.
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Museums are real places that in a dematerializing world offer an encounter between visitors and tangible objects. With the shift of museum buildings away from recognizable types to heterogeneity and experimentation, as well as the greater emphasis placed on the visitor’s engagement with the museum, the issue of the role of museum architecture in relation to the collections it is designed to accommodate has become a key challenge. This paper argues that museum buildings as organized spaces can contribute to constructing meanings and become part of the distinctive experience of the collections each museum offers. It analyses three archeological museums with newly built or extended buildings, that experiment with novel ways of presenting their collections, and shows how the tension between visitors’ paths of movement and lines of sight can become the conceptual spine of the museum displays and stage the presentation of archeological objects. Three modalities of staging are identified, suggesting a critical shift: from emphasis on a theoretical concept, to attribution of symbolic meaning, and then to embodied, sensory and affective contextualization. This is argued to reflect the “experiential turn” in museums and the increasing understanding of meaning as being grounded in our bodily experience.
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Matsushita, Kojiro, Hiroshi Yokoi, and Tamio Arai. "Plastic-Bottle-Based Robots in Educational Robotics Courses – Understanding Embodied Artificial Intelligence –." Journal of Robotics and Mechatronics 19, no. 2 (April 20, 2007): 212–22. http://dx.doi.org/10.20965/jrm.2007.p0212.
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In this paper, we introduce an educational robotics approach featuring a unique robotic development kit - hardware, software, and instructions - that concretely encourages student interest in and curiosity about science and technology. The kit was developed based on practical policies: easy construction, low cost, creative activity, and enjoyable education. It uses common materials such as plastic bottles, RC servomotors, and hot glue, and provides three different controllers with instructions - a sensor-motor controller, an electromyography (EMG) interface controller, and a teaching-playback controller. The kit thus offers more custom access to both robot structure and control architecture than similar kits and encourages students to become engaged creatively. The three robotics courses for undergraduates and graduates we have conducted thus far to provide an understanding of robotics and embodied artificial intelligence (AI) have confirmed that some of locomotive robots explicitly exploit their own dynamics - also known as “morph-functionality” - an embodied AI concept. An evaluation of this approach for course hours, task achievement, student interest, and the influence of assistance confirmed conclusively that students experienced creativity in such robotics courses.
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Gonzaga, Elmo. "Consuming Capitalist Modernity in the Media Cultures of 1930s and 1960s Manila's Commercial Streets." Journal of Asian Studies 78, no. 1 (February 2019): 75–93. http://dx.doi.org/10.1017/s0021911818002565.
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Tracing the entangled genealogies of spaces of media spectatorship, modes of visual perception, and practices of capitalist consumption, this article explores how the shift in Manila's main commercial street from Calle Escolta in the 1930s to Avenida Rizal in the 1960s reveals changes in the imagination and experience of capitalism and modernity. Previously embodied in the infrastructure, architecture, and technology of the cityscape, which only government and business were perceived as having the capacity to produce, modernity became reconfigured as a dynamic force that ordinary residents came to believe they could harness. The article comparatively analyzes variations and dissonances in the print and audiovisual media of the two periods, particularly in the contrasting representations of awkward vaudeville comedians and youthful movie antiheroes. Instead of treating consumer and media culture as a source of docility and atomization, it sees the collective spectatorship of mass entertainment as generating the potential for self-transcendence and revolution.
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Forcucci, Luca. "Proprioception in Visual Mental Imagery of Spaces while Deep Listening." Organised Sound 23, no. 3 (December 2018): 286–91. http://dx.doi.org/10.1017/s1355771818000195.
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This article explores the sense of proprioception within visual mental imagery. The research is based on an experiment named In/Pe (Intention/Perception) developed by the author. The analysis of the data investigates the perception by an audience of architectural spaces, as well as natural environments, in visual mental imageries, emerging from a focused listening process of three fixed-medium pieces, one sound installation and one performance. This highlights the idea of the experience of the artwork as a virtual constructed perception within one’s mind, an embodied experience that triggers the phenomenal world of sensation. The study examines what kind of spaces are visualised by the ‘beholder’. The overall agreement in how participants imagine spaces suggests that the perception is linked to their own bodies.
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Calvillo, Nerea, and Emma Garnett. "Data intimacies: Building infrastructures for intensified embodied encounters with air pollution." Sociological Review 67, no. 2 (February 28, 2019): 340–56. http://dx.doi.org/10.1177/0038026119830575.
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The air is, in many urban contexts, polluted. Governments and institutions monitor particles and gas concentrations to better understand how they perform in the light of air quality guidance and legislation, and to make predictions in terms of future environmental health targets. The visibility of these data is considered crucial for citizens to manage their own health, and a proliferation of new informational forms and apps have been created to achieve this. And yet, beyond everyday decisions (when to use a mask or when to do sports outdoors), it is not clear whether current methods of engaging citizens produce behavioural change or stronger citizen engagement with air pollution. Drawing on the design, construction and ethnography of an urban infrastructure to measure, make visible and remediate particulate matter (PM2.5) through a water vapour cloud that we installed at the Seoul Biennale of Architecture and Urbanism 2017, we examined the effects and affects of producing a public space that allows for physical interaction with data. In Yellow Dust, data from PM2.5 were translated into mist, the density of which was responsive to the number of particles suspended in the air. Data were made sense/ible by the changing conditions of the air surrounding the infrastructure, which can be experienced in embodied, collective and relational ways: what we call ‘molecular intimacies’. By reflecting on how the infrastructure facilitated new modes of sensing data, we consider how ‘data intimacies’ can re-specify action by producing different forms of engagement with air pollution.
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Bartumeus, Sara, and Ester Vendrell. "Performing freedom: Massive protest in the Catalan sovereignty process: From smiling to resisting." Art & the Public Sphere 8, no. 1 (July 1, 2019): 39–62. http://dx.doi.org/10.1386/aps_00005_1.
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Abstract Political activism, performativity and social empowerment in contemporary public space are examined with a multi-disciplinary approach to analyse the mass choreographies organized in the sovereignty process of Catalonia. Through the lenses of the performing, visual and environmental arts (dance and architecture), this research looks at the interplay between public space and performance in collective protests, and its roles in shaping the collective experience and in the construction of the commoning.The study focuses on the largest peaceful marches ever organized in contemporary Europe, annually from 2012 to 2017 on September 11 (Catalonia National Day), by Catalan cultural and political activist associations (ANC and Òmniun Cultural) as massive collective actions in support of an independent republic state for Catalonia.The research aims to identify the unique elements of these long-time planned choreographies, and the repeated and embodied ones that are constructing a social identity influential in current semi-improvised protests.The choreography, iconography and impact of the protests are examined at different scales, from the emotional human experience and its local dissemination in social media, to the impressive visual experience of the aerial images at the city and the geographic scale, designed to be broadcasted live by global media. The study's goal is highlighting the design-thinking involved in these massive, peaceful and artistic expressions of emancipatory will, and its role and impact in the collective empowerment, the internal cohesion and the internationalization of the conflict in search of global empathy.
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Karsono, Sony. "The City, the Body, and the World of Things." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 178, no. 2-3 (June 25, 2022): 192–224. http://dx.doi.org/10.1163/22134379-bja10038.
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Abstract In late New Order Indonesia, industrialization generated among Jakarta’s intellectuals a sense of entrapment in an ‘onrushing century’ where the storm of progress had thrown their life into turmoil. What did it mean for them to find their urban experiences structured by this turmoil, which poet Afrizal Malna called an ‘architecture of rain’? Sensing that corporeal and material history may hold the key to this question, I look into why a section of New Order Jakarta’s intellectual class felt they were leading a hyper-fast, overheated life, and how they tried to come to terms with it. Focusing on thing-centred and embodied experiences, I use the tension between Jakarta’s social history and Afrizal Malna’s biography and literary work to spark a different understanding of contemporary Indonesian urbanism.
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RENTETZI, MARIA. "Designing (for) a new scientific discipline: the location and architecture of the Institut für Radiumforschung in early twentieth-century Vienna." British Journal for the History of Science 38, no. 3 (August 26, 2005): 275–306. http://dx.doi.org/10.1017/s0007087405006989.
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This essay explores how Viennese physicists who specialized in radioactivity research embodied visions of their new discipline in material terms, through the architectural design and the urban location of their institute. These visions concerned not only the experimental culture of radioactivity, or the interdisciplinarity of the field, but also the gendered experiences of those working in the institute's laboratories, many of who were women. In designing the Institute for Radium Research at the end of the 1910s – the first such specialized institute in Europe – physicists and architects were also designing the new discipline in a strong sense. In the architectural form of the building one can trace the aesthetics of the new discipline, the scientific exchanges of its personnel and the image of a newly formed community in which women were more than welcomed.
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Grigoryeva, Elena, and Konstantin Lidin. "city and war." проект байкал, no. 69 (November 13, 2021): 113. http://dx.doi.org/10.51461/projectbaikal.69.1861.
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And two thousand years of war.The war without any special cause.“The star called the Sun” (band Kino)Throughout its history, humanity has been fighting almost constantly. Cities were designed either as fortresses capable to hold the fort, or as permeable structures, which can be quickly restored after destruction. People, whose profession is meant for war, have always been a special caste and evoked a special attitude. We are witnessing an unprecedented process: the war changes its character, becomes undeclared, invisible, hybrid. How will a city, its appearance and functions respond to the new concepts of the war? How should we preserve, study and comprehend the military experience of the previous eras, the experience of educating “people of war” embodied in architecture of military schools?Not so long ago, historic Irkutsk lost the complex of Red Barracks related to the history of Port Arthur. The place is troubled again. While there is no problem with the building of the military school (the Ministry of Defense took it under their wing and is transforming it into the Suvorov School), there is a real war for preservation of exactly the same building of the cadet corps, which is fought in courts and public structures. As usual, we don't try to take these issues off the table or to hide away from inconvenient topics, but start discussing them in a series of articles.
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Jin, Shunhua. "Representing and Experiencing Islamic Domes: Images, Cosmology, and Circumambulation." Religions 13, no. 6 (June 8, 2022): 526. http://dx.doi.org/10.3390/rel13060526.
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Lindsay Jones developed the concept of “ritual-architectural event”, according to which the meaning of a sacred building depends upon the participant’s experience of it in the course of the rituals they perform. Starting from such approach, and taking the Islamic dome as my subject-matter, I examine the correlations that link architectural forms, ritual performance, and participants’ experience into a whole. I first survey a corpus of images related to domes in two types of manuscripts (poetry, and pilgrimage narratives), showing how these images suggest cosmological patterns. The second part unfolds these representations, proceeding from cosmology to ritual. The third and last part focuses on circumambulation as the ritual experience that best embodies the previously identified cosmological patterns. The connection between the three dimensions discussed here is ascertained by the fact that the combination of circle and square structures relates both to Islamic graphic representations and ritual practices. An aesthetic/spiritual experience is awakened both in the mind and in the bodily senses of the viewer/practitioner: When Muslims stand under a dome, in front of the mihrab, thus facing Mecca, and when they behold the dome under which they stand, the view of this circular space possibly translates into a kind of mental and spiritual circumambulation. The conclusion suggests that the meaning attached to sacred architecture places is triggered by a complex of interactions between patterns referred respectively to the mind, bodily actions, and cultural settings.
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Lebedeva, Natalia Ivanovna, and Aleksandr Evgen'evich Zhuk. "Pulkovo Airport Terminal in Leningrad is a Masterpiece of Domestic Modernism." Человек и культура, no. 1 (January 2023): 1–23. http://dx.doi.org/10.25136/2409-8744.2023.1.39540.
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This article is devoted to the Pulkovo airport terminal complex in Leningrad – Saint-Petersburg. The article offers comprehensive research on the architectural project (the project leader A.V. Zhuk) and its implementation as an architectural phenomenon in a sociocultural context. The research methodology is based on historical, chronological, structural, functional, and semiotic approaches. Based on historical and cultural analysis of the transformation and improvement of the project during the period of its realisation, the article shows a few innovative functions of the airport, besides its primary technological function, such as: representative function; memorial function, preserving results of the creative team's work and builders work; artistic function within the ensemble perception of the project. The article also shows the project's dynamic of development and enhancement throughout fulfilled work on it. The article illustrates the design solutions embodied in full in the construction, reflects the scale of construction and improvement of professional methods and techniques. The author also reviewed and analysed texts and documents contemporary to the architectural conception and its implementation. Based on the research, the author makes a conclusion about the Pulkovo airport being an object, perfect by its function and artistic image, representing a synthesis of innovative methods, taking landscape features into account, and translating the author's cultural experience. The relevance of the preservation of the airport is related to its characteristics, which are unique for world architecture and Saint-Petersburg's environment. The scientific novelty of the research lies in the statement about the building of Pulkovo airport being a perfect example of an embodiment of rationalism ideas in conjunction with the creation of vivid artistic imagery. Also, the thesis is presented, about the creative team successfully combining bold technological innovations with a humanistic focus of the functional object.