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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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 as a key for understanding, a pretext for action, a synthesis of knowledge
(Edições Universitárias Lusófonas, 2014) Frazão, Marta Felicidade Mateus; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This paper considers the current investigation under the context of a PhD thesis.The research theme focuses on exploring possible strategies to promote and empower the Rural Territory, through the historical and cultural use of springs with therapeutic properties, in Baixo Alentejo region of Mértola, where we observe a significant concentration of bathing places, which are nowadays in a declining process.This research explores and considers the connection and complementarity between theoretical and operational field, the narrative and design, the thinking process and possible action. The main purpose of this paper is to identify some of the mechanisms and working methods that have been adopted, with special focus on the‘diagram’, understood as an essential design tool and therefore a graphic instrument that organises information, activates thinking and stimulates unexpected possibilities for action.
Design studio as a process of inquiry: the case of Studio Sao Paulo
(Edições Universitárias Lusófonas, 2014) Barbosa, Eliana Rosa; DeMeulder, Bruno; Gerrits, Yuri; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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
Designing the urban: reflections on the role of theory in the individual design process
(Edições Universitárias Lusófonas, 2014) Montague, Lucy; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
This paper offers an overview of PhD research that seeks to explore the ways in whichtheories in urban design might influence the individual creative process of urbandesign. Its objectives are to study existing theory related to design, examine theprocess of design and urban design, and relate knowledge of urban design theory tothe design process. Having reviewed possible research by design methodologies andidentified four approaches, a reflective one is taken based upon Donald Schön’s ‘TheReflective Practitioner’ (1983). This is executed through the generation of an urbandesign (site evaluation, framework and masterplan for a site in London) andaccompanying commentary that records the design activity, followed by an analysisof and reflection on the design and commentary offering insights into the use oftheory within the process
Different reflections of architectural knowledge on design
(Edições Universitárias Lusófonas, 2014) Dursun, Pelin; Avci, Ozan; Saglamer, Gülsün; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Design in architecture starts by understanding dynamics of a context and by decoding the knowledge of place where the space will be created. These are then transformed into spatial concepts and end with spatial formations. Subjective knowledge that is especially enhanced by the experiences of the architect and scientific knowledge come together to lead this design process. The aim of this study is to reveal how architects from different cultures produce knowledge of space and the ways of transforming this knowledge into design process. Different architectural reflections of this knowledge are illuminated by the design proposals of architecture students from two different countries. Comparative evaluations focusing on the student worksare considered as an instructive process for architects that make indiscernible discernible, vary the possibilities and by this way enhance their own architectural knowledge.
The Duke in his domain
(Edições Universitárias Lusófonas, 2014) Ozga-Lawn, Matt; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
For from design and through design and for design are all things
(Edições Universitárias Lusófonas, 2014) Sequeira, Marta; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
Academic research in architecture has mainly become a theoretical activity driven away from its subject’s core, focusing in complementary fields. Analytical investigations are common – concerning historical character, theoretical, constructive or technological – as well as propositional thesis – mainly regarding construction and technology. Yet, you can find much investigation in this scientific area, which find its significance in other domains. However, project-based theses in architecture, in which there are no antagonism or exclusion between theory and practice but rather promote complementarity, are quite scarce. This paper aims to answer the question that seems natural and consistent with the above scenario: how can we define a new paradigm, in which architecture would be understood and portrayed as a system for producing and spreading knowledge?
From interpretation of the site to the project: a proposal for the rock art of the Tagus Valley
(Edições Universitárias Lusófonas, 2014) Benjamim, Mário Monteiro; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
An artificial intervention in the landscape, like the immersion of a large area by areservoir, not only implies the obvious change in the usefulness of a resource, it can also dramatically affect the site by concealing the human legacy, landscape and patrimonial heritage, however important to the understanding of its historical makeup. The research we developed has the purpose to conceive strategies to expose therock art of the Tagus Valley, which has been immersed by the construction of theFratel dam on 1974, and the subsequent filling of the reservoir. These strategiespertain to a more extensive scope of intervention, where the engravings become acohesive part of the current landscape, creating new usages for the premises and newopportunities for regional development. It is in this context that we find thepossibility to validate a theoretical model of in-project research, through a concreteproposal of intervention; proposal that, in addition to being an experiment in design,will allow us to correct strategic methodologies and to progressively perfect thetheoretical model itself.
Iteration, repetition and internal coherence within Le Corbusier’s creative process
(Edições Universitárias Lusófonas, 2014) Burriel Bielza, Luis; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
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.
Manipulations in the abstract space
(Edições Universitárias Lusófonas, 2014) Schurk, Holger; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
At the centre of the examinations presented here are the interaction processes taking place at the interface between theory and form in the design process effectuated by means of intermediate media – most of all drawings – in the sphere of geometry. A decisive role is assigned to abstraction, allowing to locate graphic representations at the threshold between the projection of a structural model and the notation of an imagined model. A graphic study based on the design drawings created by the architecture office OMA/Rem Koolhaas are applied here as an example in order to describe and investigate this interface. In the process the drawings are manipulatedin a hybrid procedure consisting of manoeuvres determined by rules on one hand and free operations on the other. The examination method thus stands in direct analogy to the hybrid character of the design process itself.

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