Revista Lusófona de Arquitectura e Educação nº 11 (2014)

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Architectural design research through cinematic collage
(Edições Universitárias Lusófonas, 2014) Troiani, Igea; Carless, Tonia; ECATI - School of Communication, Architecture, Arts and Information Technologies
This essay argues that cinematic representation can, and must, be understood as a method of developing a form of critical architectural enquiry and thinking in the same manner as text - a textual analysis and a communication means for practice-based research. The proposition is that cinematic architectural drawing and the discourse of occupied space are inseparable and that the limits of both are products of specific ideological and cultural practices. In this essay, two different bodies of iterative cinematic collage research practice are considered. Both sets of representations present new rigorously created architectural design knowledge and refer to the contention by Claude Lévis-Strauss (1966/1962:16-17) that the practice of the bricoleur, understood here as architect-bricoleur, is in marked contrast to the measurable output of the scientist, or architectural design scientist.
The city walls. an old theme for new urban spaces
(Edições Universitárias Lusófonas, 2014) Miano, Pasquale; ECATI - School of Communication, Architecture, Arts and Information Technologies
The walls of the historic cities have always been an occasion to reason about urbanopen spaces. Suffice it to think at the ancient settlements, where the areas excludedby the fence walls then became indeterminate urban places, object of subsequentfilling operations. For a long time, the theme of the conservation of the city walls hasprevailed over the issues of dejection and the cycles of ring roads, charactering theXIX century and the first half of the XX century. Yet, this recurring theme oftenproduces conservative actions for their own sake, in which the relics of the rampartsare surrounded by narrow and pointless gardens: a new form of insulation, that -when does not result in intentionally physical seclusion - at least so appears at theconceptual level, especially when the walls have been preserved for partial fragments.Today the necessity to take a step forward is strongly felt, rethinking about thespaces of the walls according to new processing and content, in which the city wallsresume to play a proactive role.
Communicating the dialectic between subjective ‘creativity’ and objective ‘rigor’ in design research; A case study of a multi-vocal mode of architectural criticism
(Edições Universitárias Lusófonas, 2014) Kazerani, Isun Aisan; ECATI - School of Communication, Architecture, Arts and Information Technologies
The objectivists’ distant view from the subject of study has long been prioritized overcreative subjective perspective in academia. This is while due to a certain level ofpersonal interpretation of any experiment, the pure ‘rigor’ of scientist approachescould be also challenged. However, acknowledging the advantage of multidimensionalexploration, this paper follows the notion of ‘oscillating subjectivity’,with a constant shift between projection of the object and the subject inrepresentation of a phenomenon. This position will be explored through a new modeof architectural criticism with a multi-vocal interpretation, which switches betweenthe inhabitation experience of the design outcome and a distant objective criticism ofthe design product. The critique will be represented textually and visually on a wellacclaimedpublic space, Olympic sculpture Park, through creating links between thedesign process, existing critical reviews as well as sensorial inhabitation of the space
Competitions serve a larger purpose in architectural knowledge
(Edições Universitárias Lusófonas, 2014) Guilherme, Pedro Miguel Hernandez Salvador; ECATI - School of Communication, Architecture, Arts and Information Technologies
The Beaux-Arts programme was structured around a series of anonymouscompetitions that culminated in the grand prix de ‘l'Académie Royale’, more wellknown as the ‘Grand Prix de Rome’, for its winner was awarded a scholarship and aplace at the French Academy in Rome. During the stay in Rome, the ‘pensionnaire’would be expected to regularly send his work in progress back to Paris. Contestantsfor the Prix were assigned a theme from the literature of Classical Antiquity; theirindividual identities were kept secret to avoid any suspicion of favour.These competitions ensured that the fundamental hierarchy of the members of theacademia (the teachers and juries: who defined what good art and architecture was)and those that would ascend to it (the students: who were prized and hence were thegood artists and architects) and perpetuated a secular way to ascend to stardom.The use of competitions in the traditional ‘studio’ class is still a current practice inuniversities. The class is provided with a ‘live’ project or a model case study problem, asite and a context, a fixed timetable, and each student is expected to research inarchitecture in order to present (using predetermined models and mediums) his finalconclusions (statements). Each personal architectural research is in fact subjected toan ‘informal’ (unstated) merit competition (were the teachers take the part of clients,sponsors and juries), to a peer evaluation, in order to prove its author’s right to, stepby step, become a graduated architect. The research is validated by the competitionand assures the originality of the research, its significance and rigour.There are of course mixed feelings towards competitions by different parts -architects; clients; juries or sponsors – and in face of personal past experience. Yet, itis undeniable the role and value of competitions in the process of generating aqualitative built environment. In general, competitions can bring out the best inpeople and are a way to achieve excellence in design. It can be stated that a largemajority of competitions is experienced daily either as users or as passers-by sincemost public buildings in Europe are subjected to competitions procedures.Therefore, along their professional practice, licenced architects outside the academiaand in praxis, seem to continue a personal architectural research within professionalarchitectural competitions. There are evidences that, besides the investment indeliberate or improvised practice’s business strategies, architects use competitions asfundamental research opportunities.So I intend to put forward that competitions served once (and still do) as a specificway of peer evaluating the architectural research in academia. Architecturalcompetitions are in fact a time and a space were academia and praxis connect andmay, to certain extent, constitute prove of Schon’s research-in-action and Till’sevidence of “architecture [as] a form of knowledge that can [, is] and should bedeveloped through research”.
Considering the diagram and design research
(Edições Universitárias Lusófonas, 2014) Burke, Anthony; ECATI - School of Communication, Architecture, Arts and Information Technologies
While there has been much written on the role of the drawing in architecture as aform of re-presentation and reflective practice, this paper argues that the diagram asa specific graphic type, is an essential generative component of design research and central to claims for innovation or the production of new knowledge through contemporary design, yet not understood in the context of design research moregenerally. As an abstract and highly idiosyncratic form of notation, the diagramuniquely situates innovation within visual forms of enquiry. This paper speculates onhow diagrams communicate, both internally to the discipline and externally to newextra-disciplinary research fields as a function of innovation, and in this sense, whatwork in terms of design research they do.
Craftsmanship in Architecture
(Edições Universitárias Lusófonas, 2014) Herres, Uli Matthias; ECATI - School of Communication, Architecture, Arts and Information Technologies
In my dissertation at the ETH Zurich and the Lucerne University of Applied Sciences and Arts, I examine the role that crafted production of buildings plays for architectural space. A crucial point is the question of specific forms of knowledge. On the one hand, both craftsmanship and architectural design rely heavily on tacit forms of knowledge (skills, experience) in addition to communicable knowledge. Secondly,the erection of built architecture can be seen as a system of distributed knowledge,where the transfer of knowledge from the architect towards the craftspeople is crucial for the successful implementation of an architectural concept into physical space. The methodology includes the investigation of case study buildings. One aspect of the survey could be named "Reverse Design". Here, the process of the making of a building is re-experienced to be able to consciously reflect upon design decisions and problem-solving strategies. One aim is to make aspects of the tacit knowledge (experience) of the construction process communicable.
Design studio as a process of inquiry: the case of Studio Sao Paulo
(Edições Universitárias Lusófonas, 2014) Barbosa, Eliana Rosa; DeMeulder, Bruno; Gerrits, Yuri; ECATI - School of Communication, Architecture, Arts and Information Technologies
The paper stresses the potential of a Design Studio as a critical part of the inquiry process in Urbanism Research, using the experience of Studio Sao Paulo as casestudy. It explores what is a process of inquiry in a context of research in urbanism,discoursing on the potential of the design process as a tool to reveal hidden questions and processes on a territorial scale The research and its case study led to the establishment of Studio Sao Paulo, an undergraduate design studio in KULeuven, inwhich students develop their masters thesis in the context of Tietê´s flood plain. The experience so far, more than defining conclusions, stress some challenges toovercome, regarding research by design as methodological tool in an Urbanism PHD context
The Duke in his domain
(Edições Universitárias Lusófonas, 2014) Ozga-Lawn, Matt; ECATI - School of Communication, Architecture, Arts and Information Technologies
The Duke Vespasiano Gonzaga (1621-1687) was a true renaissance man. A prince, soldier, poet, artist and architect, he lived amidst the emergent and unstable origins of the architectural discipline. He created through force of will the città ideale of Sabbioneta, a place that in conflating the military and civic gives insight into the militarised mindset that helped birth the discipline we recognise today. Sabbioneta is the result of this mindset: the Duke was free to explore his existential condition through the medium of architecture. One means he used to achieve this was a theatre he commissioned at the centre of Sabbioneta, designed by Vincenzo Scamozzi. The theatre was a space, housing a stage-set representation of the surrounding city, for the Duke to viscerally engage with the ideal, militarised world created around and through him.The paper will show how the duke and his domain, interacted with via the theatre space at Sabbioneta, can act as allegory for the architect in his studio space. The paper blurs agencies of the military and the architectural, with the designer’s role as viscerally engaged with and immersed within the design process discussed in this context.
The experience of a pioneer research program in architecture in Évora
(Edições Universitárias Lusófonas, 2014) Salema, Sofia; Soares, João; Rivera, Jorge Croce; ECATI - School of Communication, Architecture, Arts and Information Technologies
Three years ago the University of Évora implemented a research PhD program in architecture. Generally a doctorate in architecture has been an academic title awarded to architects who present a theoretical dissertation; however, for us, as a young but promising school of architecture it was just natural that a project (as a methodology,a process of knowledge or simulation of a hypothesis) could be part of an advanced research in architecture. Thus, we started with this doctoral program seeking toquestion the current model of PhD programs and to established a new pioneering paradigm syllabus in the national context with the intention to reach the international arena During the course syllabus the project lab integrates the formulation of a theoretical hypothesis (a conjecture), that becomes an architectural design, which is unique, but simultaneously an universal knowledge. The program already had two editions were PhD students have been encouraged to develop advanced research and to foster interaction between the theoretical and architecture production. Currently no research has yet finished. Students, although much interested in this type of research, are divided in their approach to architectureas a theoretical, speculative and critical field, and to architecture as a field of research. Students and teachers are interested in research that develops their architecture design skills, as a relevant process of advancement knowledge in architecture.We believe that PhD syllabus will contribute to demystify and implement the concept of advanced studies in architecture, based on architectural research. This paper will share some of the ideas, doubts, and results of our PhD program.
Experimentation as a method, the project as a production of knowledge : theory and practice according to Buckminster Fuller
(Edições Universitárias Lusófonas, 2014) Nourrigat, Elodie; ECATI - School of Communication, Architecture, Arts and Information Technologies
Research by design opens on two news fields regarding research. On the one hand, it is about the specifics methods through the project design as a place of research, onthe other; it is about the knowledge production which is possible by the way of the project itself which is neither a research object nor finality. The basic postulate is that the knowledge production by design project is possible thank to the experimentation.This method seems to be more empirical than scientific which is, after all, common to several disciplines as physics, astrophysics… The method is in experimentation,conception and knowledge production in the project. As Buckminster Fuller projects show, thanks to his Dymaxion Chronolife, place of consignment of his experimentations and projects, that he realizes the constitution of used and usable knowledge.
Iteration, repetition and internal coherence within Le Corbusier’s creative process
(Edições Universitárias Lusófonas, 2014) Burriel Bielza, Luis; ECATI - School of Communication, Architecture, Arts and Information Technologies
Architectural practice is without any doubt based in a constant enquiry over the project. Even more important would be the fact that this process bounces off in two opposite directions: from the context onto the project and from the building onto the surrounding frame of reference. Both these two extremes are confronted in an active dialogue and to a certain extent, they both perform as “mirrors”. However, in the case of Le Corbusier, these questions do not only revolve around these two poles but even further, they do so in relation to his whole career. If we look closely at his works, we will find out that several ideas, concepts and strategies are transferred from one project to another as a tool able to trigger the creative process, thus unfolding through subsequent iterations. As part of this method, his own experiences and education during travels and visits help him to conform a synthesizing regard over theworld.
Knowledge and studio culture in Portuguese architectural schools since Bologna
(Edições Universitárias Lusófonas, 2014) Pinto, Pedro da Luz; ECATI - School of Communication, Architecture, Arts and Information Technologies
The curricular harmonization of the European courses, the Bologna Process (1999-2009), relocated an emphasis in the specificity of architectural education inside auniversity environment. Nowadays, the architect’s basic training embraces a Master’sdegree and compromises research as an educational purpose. Furthermore, doctoralcourses and research centres are associated, framing funding and evaluation, andpressing an overall urge for professional academic production, which can move theschools away from the construction site into the library and the laboratory, turningthe learning programs into extensions of the research ones. Therefore, in the halls ofthe design studio arise the researcher-teacher-designer, professor Clark Kent (Figueira,2013). Within this scenario, the article exposes both the organizational, curricular anddidactical evolutions in Portuguese schools, and inquires the models and theknowledge, transmitted and produced, trying to foresee any paradoxes requiring an epistemological clarification.
Learning from actor network theory: bridging the gap between research in science and research by design
(Edições Universitárias Lusófonas, 2014) Bradbury, Simon; ECATI - School of Communication, Architecture, Arts and Information Technologies
This paper explores how an alternative understanding of the development ofscientific knowledge through the work of Bruno Latour can help to bridge the gapbetween knowledge produced through practice-based research and conventionalresearch outputs.The paper reviews the history of the debate of what constitutes practice-basedresearch outputs drawing from the work of Frayling (1993) and Archer (1995). Anunderstanding of practice-based research is developed that goes beyond a simplisticview of a building or artefact as a research output or “mute object” (Till 2012).This is considered in the context of the work of Bruno Latour (1987, 2005) and otherswho have tried to show how the construction of scientific facts is produced as afunction of both the ‘objects’ and ‘social’ context of science.Through reviewing practice-based research submissions from RAE 2008 the paperexplores how we may re-conceive both the normative models of research outputs(peer reviewed academic papers) and the products of architecture practice (buildingsand artefacts) and conceive them both as part of the same network of knowledgeproduction. This is then discussed in the practical context of a practice-based research project into low energy housing.In doing so the paper suggest this new understanding will elevate the importance ofrigorous practice-based research while overcoming the challenges faced inconventional research in the constant desire to show impact from research projects.
Learning from Markethall
(Edições Universitárias Lusófonas, 2014) Keppl, Julián; Sichman, Martin; Síp, Lukás; ECATI - School of Communication, Architecture, Arts and Information Technologies
Faculty of Architecture in cooperation student studio project. Its main topic of Old Market hall in Bratislava. Objective operational and social qualities to this work ranged from analytical to the realization 1:1 scale or prototypes of critical details signed architectural interventions, solved quently constructed those details in the tails often resulted in the change of studio aimed at promoting active working the design process.
Material experimentation in Peter Zumthor’s creative process: research design through material inquiry
(Edições Universitárias Lusófonas, 2014) Ventura, Susana; ECATI - School of Communication, Architecture, Arts and Information Technologies
Material experimentation in Peter Zumthor’s creative process seeks to explain the different materials experimentations present in the creative process of Peter Zumthor which lead him to the final work of architecture, resulting in his atmospheres.Experimentation processes are mainly characteristic of avant-garde architectures that develop new forms of thought in architecture design, however mainly through form paradigms and models. Nonetheless, Zumthor has been inquiring and creating experimental processes through material composition, rooted in the work of land artists such as Joseph Beuys or Mario Merz, that imply the overall design of the final work of architecture. The present paper explain several experimental processes present in a series of Peter Zumthor’s works, with an important focus to the design process of the Serpentine Summer Pavilion during 2011, one of the works the author has accompanied Zumthor during its process of creation during her PhD research.
The Ouroborus Serpent - The memory in architecture: from the uterine size of the primordial home and the birth of the architectural creation to the object memories
(Edições Universitárias Lusófonas, 2014) Nunes, José Carlos Duarte Rodrigues Avelãs; ECATI - School of Communication, Architecture, Arts and Information Technologies
The architecture’s memory is the primordial soup to the creative act of architecturaldesign. We intend to demonstrate that the architect uses a "drawer of the stored",standing on "manufactured" or "living" channels and whose creation is notspontaneous, but the result of life experiences and experiences of their consciousnessof the reality, intrinsic to his intellectual maturity. In this regard, examples andcommunication paradigms are presented in the creative process - from the ideaembodiment - until the evolution of these two time marks, and which are shownchangeable and subject to external and more complex readings, in addition to theshift on communication of these processes by the architects and designers. Insummary, in this article those issues will be considered with analysis of visions andproposals of the architects Álvaro Siza Vieira and Oscar Niemeyer and their works
Poiesis or semiosis in architectural design practice
(Edições Universitárias Lusófonas, 2014) Verbruggen, Sven; ECATI - School of Communication, Architecture, Arts and Information Technologies
We inquire into architectural design theory1 to find ways out of the gridlocks thatoccur in the design process. When mining for guidance, it becomes clear that - toparaphrase biosemiotician Victoria N. Alexander - ‘we need to better understand creativity (poietics) to supplement and enhance our understanding of already established habit (semiotics).’ (Alexander, 2013) Knowing the difference between a habitual association and a radical novelty allows us to define convention and invention more accurately. It leads to an important implication for architectural design theories. We will learn that prescriptive theory that intends to provide direct solutions - or positive feedback - can only instruct on conventional design decisions- already-established habits. By implication, if we want prescriptive theory to guide toward innovating design ideas it can only do so by reflecting on what creativity isconstrained by. Thus, an essential part of theory should provide negative feedback and address clearly what not to do, which conventions should be put up for debate,both on an individual level as well as on the level of the discipline.
Research by Design : Research through Design
(Edições Universitárias Lusófonas, 2014) Geissbühler, Dieter; ECATI - School of Communication, Architecture, Arts and Information Technologies
This paper is to be read in context with the paper of Uli Herres (next paper in this journal), since the two explain the handling of specific forms of knowledge in the Master of Arts in Architecture course at the Lucerne University of Applied Sciences and Arts and in the related Research Group Material Structure Energy in Architecture.Research by Design is established in the curricula of teaching as well as in research ondifferent levels from regular teaching in architecture to the PhD program. The interaction is a two directional, meaning that teaching influences research as research influences teaching. The concept of combining theory and practice in the Master of Arts in Architecture course at the HSLU – T&A forms the basis of the concept of research by design as applied by the Research Group Material Structure Energy in Architecture.The Master course in architecture is directly linked to the work of the Research Group,a request that has been stated by the governmental guidelines for the introduction of a master program in architecture at the universities of applied sciences in Switzerland.The University of Applied sciences and Arts Lucerne took this opportunity to establish a model that introduces the interaction of design methods with scientific methods in three steps. The basis is set with a distinct content linked to the credo “building as system” of the Department Technique and Architecture. This meant a clear focusing on issues directly linked to the design of buildings
Research by design in architecture: an approach into the exploratory research phase
(Edições Universitárias Lusófonas, 2014) Almeida, Maria Rita Pais Ramos Abreu de; ECATI - School of Communication, Architecture, Arts and Information Technologies
In the scope of design, research has been a difficult issue to respond to the real necessities throughout the process of thinking. Even the “design” word is meant to beused in several different fields of knowledge and practice (from industrial design,computation systems to architecture).Concerning Research by Design (RbD), there is a sense of vagueness, both in terms ofmethodology and aims. That’s the result of its own essence: design is the result of a big creative endeavour and research is focused in concrete results due to certain questions or problems.Focusing in the architecture discipline, RbD is commonly the most used work methodology.In this sense, we can say that there are so many RbD as many architects and architecture students in the world. So can we improve this kind of research and take it to another level, integrating it into the field of the so called traditional research? The purpose of this paper is to understand more about the “exploratory phase” in theRbD approach. This phase is based in data and collected information as well as individual experience. This paper tries to understand and improve the critical thinking implicit in the “exploratory research”. This critical thinking is linked to certain “strategic questions” and “operational links” that guide the researcher into a more understandable research practice. The final aim is to lead the RbD to a more sustained internal validity (satisfactory conclusions among the variables experimented) andexternal validity (generalise the findings to an appropriate community).
Research by Design—situating practice-based research as part of a tradition of knowledge production, exemplified through the works of le Corbusier
(Edições Universitárias Lusófonas, 2014) Hauberg, Jørgen; ECATI - School of Communication, Architecture, Arts and Information Technologies
Research by design concerns the various ways in which design and research are generallyinterconnected in the production of new knowledge through the act of designing.This paper discusses the role and value of research by design especially through theworks of Le Corbusier. It seeks to demonstrate, how the development of types andprograms contributes to theory building in architectural research. Le Corbusier’s developmentof a constructive system (from the Dom-ino houses to an actual skeletonframe), a dwelling type (from Maison Citrohan to universal block of flats) and a citymodel(from a City of Three Million Inhabitants to a Linear Industrial City) representsa reflective practice through which architectural theory is developed in direct engagementwith the basic media of architecture: objects, sketches, diagrams, notationsand texts.The paper suggests that work like Le Corbusier’s, although never intended as research,demonstrates a hybrid practice between design and theory, which reachesbeyond the single projects and unique piece of work, and contributes to theory buildingthrough research by design.The paper presents building types – examples and proposals developed by the author.The intention is to illustrate a combined practice of investigating architecture’shistory and theory with designing, and is presented as examples of research bydesign.

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