Revista Lusófona de Arquitectura e Educação nº 11 (2014)
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Item The city walls. an old theme for new urban spaces(Edições Universitárias Lusófonas, 2014) Miano, Pasquale; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe 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.Item Research and practice: full-size practical constructions for the development of innovative lithic prototypes(Edições Universitárias Lusófonas, 2014) Fallacara, Giuseppe; Calabria, Claudia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe construction of full scale architectural elements has the double purpose of experimental control for researchers and teaching resource for students. In the first case model allows to make an experimental verification, creating a reference point to confirm or refute the starting hypothesis. The second function makes possible to stimulate students’ way of thinking, involving both abstract and concrete design aspects. This link between research, teaching and practice of construction is shown in various examples. This relation represents a necessary element in order to successfully proceed in the advance of architectural experimentation.Item 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 InformaçãoArchitectural 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.Item The Duke in his domain(Edições Universitárias Lusófonas, 2014) Ozga-Lawn, Matt; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe 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.Item The relational space: designing new urban hinges in suspended edge places(Edições Universitárias Lusófonas, 2014) Aquilar, Giorgia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe research on tentative strategies for designing spaces which reveal themselves as relational, choral, shared, participated, gains new meanings and renovated urgencies under the changing conditions of contemporary architectures, landscapes and cities.Object of inquiry is the complex whole of transitional spaces, intermediate places,suspended fragments hovering among different morphological, historical, social contexts, expressing unexplored potentialities as new urban hinges. These mediatedjoint-spaces – acting as relational devices – provide the opportunity to reflect on theovercoming of the traditional theme of public urban space. Therefore the sustained hypothesis resides in the turning of the idea of "relation" from a conceptual device –for the interpretation of space quality – into a strategic tool with multiple methodological values, whose implications may be investigated through the concrete experience of the project.Item Manipulations in the abstract space(Edições Universitárias Lusófonas, 2014) Schurk, Holger; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoAt 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.Item 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 InformaçãoDesign 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.Item Material experimentation in Peter Zumthor’s creative process: research design through material inquiry(Edições Universitárias Lusófonas, 2014) Ventura, Susana; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoMaterial 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.Item Considering the diagram and design research(Edições Universitárias Lusófonas, 2014) Burke, Anthony; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWhile 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.Item 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 InformaçãoThree 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.Item 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 InformaçãoAcademic 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?Item A passage in action research(Edições Universitárias Lusófonas, 2014) Coxito, António; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWith different conditions and levels, one can find in contemporary wealthy societies potential situations for the intervention of the architect where it is assumed an intentional avoidance of their presence, that can result in squats, ecovillages or many unnoticed who seek autonomy from something or someone.While in a theoretical research on architecture without architects a systematic enquiry can be produced without taking the part of the subject, in practice based research on the same subject, to keep its character can result in an artifact not validvis-a-vis the architects practice, albeit presenting the printed document with the appropriate tools and methods for an academic research.In the present research it is simulated a situation of scarcity, including the absence ofthe presence of the architects skills.Item Craftsmanship in Architecture(Edições Universitárias Lusófonas, 2014) Herres, Uli Matthias; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoIn 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.Item Transreal topographies : manifesting the unconscious(Edições Universitárias Lusófonas, 2014) Kypraiou, Diony; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoDrawing largely upon a study of the ‘transreal’1 topographies of the late 19th century,with a focus on the Freudian topographic constructions through drawings and criticalreviews of Freud’s own writings, this paper examines the role of the unconscious as adrive in the creative design process and its impact on the conception, perception andexperience of space. In an attempt to examine the relation between the Freudianunconscious and the space, this paper presents a set of constructed topographies,including the actual psychoanalytical setting and, a recreation of Freud’s desk, as themanifested topography of his own unconscious. Operating as an analogical act of‘unearthing’ that ‘brings to light’ a multiplicity of layers where unconscious appearsanalogous to physical space; this paper aims at a negotiation of ‘transreal’topographies as extended projections of instincts, desires, fantasies and fears; a siteof mutation that-‘as an expanse of ruins’-demands a disruption to reveal the depthof its spatialityItem Learning from Markethall(Edições Universitárias Lusófonas, 2014) Keppl, Julián; Sichman, Martin; Síp, Lukás; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoFaculty 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.Item 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 InformaçãoAn 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.Item 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 InformaçãoThe 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 contextItem Poiesis or semiosis in architectural design practice(Edições Universitárias Lusófonas, 2014) Verbruggen, Sven; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWe 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.Item Time in modernist architecture: an approach(Edições Universitárias Lusófonas, 2014) Jasper, Michael; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoTwo propositions underpin this paper. The first is thematic: there is a largelyunexamined temporality specific to modernist architecture, one independent ofmovement. A close reading of certain projects from the perspective of time mayreveal the devices and formal moves deployed to achieve the characteristic effects ofthat temporality. The second proposition is methodological: that the analysis ofcertain works of architecture as manifestations of design-led research revealdiscipline-specific problems. These research problems are rendered as form relations,composition strategies, and spatial effects. Variations as to how such problems areresponded to in turn constitute contributions to architectural knowledge.Item 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 InformaçãoResearch 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.