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Understanding Architecture : Transforming Philosophy and Vocabulary into Architectural Marvels
JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS, 2018
JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS showcasing the changes which human race has faced. Since, decade architecture is relatively ignored by philosophers and is largely unsuccessful to draw persistent, detailed attention when compared with other art forms such as film or comic. Even today, principally ancient art forms are livelier and have philosophers focus them rather than architecture. Further, some philosophers have even dabbled in architectural projects: Dewey worked on the Chicago Laboratory School, Wittgenstein took part in designing a house for his sister, and Bentham sketched the Panoptic on design as a plan for prison reform. Architecture has existed since the recognition of civilization with its language analogy being as old as Vitruvius has flourished through the stages of development of human ABSTRACT : Architecture has existed since the recognition of civilization and its language analogy is at least as old as Vitruvius. Architecture and the human sciences such as philosophy, psychology, sociology etc. have always shared common interfaces leaving significant impersonation on each other. Architecture is not just an art but it is the reflection of social and cultural values of a society. Thus, through architecture philosophy is represented whereas philosophy is adopted by architecture for creating an edifice which showcases the prevailing human nature and need. This article offers an overview of concerns in the philosophy of architecture. Essential issues include introductory matters regarding the nature of architecture i.e. a. What kinds of objects are architectural, and what is it defined domain. b. Three Aspects-Beauty, structure and utility defining architecture and further dimensions may include space, sustainability, psychological or social features. Through this article, architectural status of various civilisations is discussed keeping in mind the philosophy and vocabulary of architecture. Renaissance enhanced the status of man in society and introduced Anthropometry in architecture. The Industrial Revolution was another of those extraordinary jumps which aid in erecting the high rise steel structure by using new building materials like cast iron, steel, glass, etc. Further, in the late of 1950s, boredom in architectural structure and look provokes distortion of regular architectural elements and objects calling this style deconstructivism. 'Mankind living and interacting with our environment in a way that can continue' lead to the evolution of a new but established thought viewed as Sustainable Architecture. In short, the paper is an approach to discuss about the philosophy and terms used by architects through their expedition from prehistoric times to the sustainability era.
Between Bild and Bildung A Sample of Re-reading the Making of Architectural Knowledge
critic|allV International Conference on Architecture Design & Criticism DIGITAL PROCEEDINGS, 2023
started ten years ago to provide an international forum for architectural criticism. The Conference enhances its scope as a place for knowledge production from which to convene relevant voices around the proposed topic at each edition. This time, with a join event co-organized with the Department of Architecture of the Faculty of Architecture and the Built Environment at the Delft University of Technology (BK-TU Delft). We would like to thank all participants for their work and trust, as well as the members of the Scientific Committee for their effort and commitment. We want to reinforce the idea contained in the conference's name. Critic|all is a call on criticism, and also a call for all. An appointment that, beyond the scope of each edition, we hope will be able to reinforce a more general debate on the role of architecture in the present context.
n this article, we present a case study of a student composing a significant text in a high school class. We focus on his inscription and representation of meaning in the textual codes and the ways in which those codes were interpreted by his readership, particularly his teacher. The text was an architectural drawing of a house that the student, Rick (all names are pseudonyms), designed to suit the life he imagined himself living. It embodied a particular meaning for him and a vision of how it would function in service of his conception of a good life. Critical aspects of that inscription were apparent to his teacher, Bill, following much discussion with Rick. Yet Bill read key aspects of Rick's design as violations of common-sense rules for designing homes for the suburban housing market and consequently resisted, although ultimately accepted, Rick's design as a viable text. The tension between Rick's inscription of narrative meaning in his text and the meaning anticipated and read by his teacher-a tension that existed not only between student and teacher but also between the broader cultures in which each participated-served as the I 70 ABSTRACTS CETTE ÉTUDE analyse la composition par un élève de lycée du plan d'une maison pour une classe de dessin d'architecture. Ce texte a été produit en relation avec les lectures de ce texte par son professeur et d'autres lecteurs potentiels. Les auteurs de cette étude ont adopté une perspective vygotskyenne pour appréhender les positions, les buts et les outils au moyen desquels il a composé ses plans architecturaux, s'appuyant sur une théorie culturelle de la lecture pour analyser comment ce texte a été compris par son lecteur le plus proche, le professeur. Les données comportent des prises de notes à partir d'observations effectuées quotidiennement tout au long d'un cours semestriel, un entretien avec le professeur à partir de ces observations, des objets techniques tels que les brouillons de l'élève et son dessin final, une session de compte rendu enregistrée au cours de laquelle le professeur discute du dessin avec l'étudiant, un protocole concourant de pensée à haute voix provenant de l'étudiant pendant qu'il dessinait la maison, et un protocole rétrospectif dans lequel l'étudiant réfléchissait sur son processus de composition en utilisant comme stimulus le dessin architectural final. Cette analyse a permis d'identifier un ensemble de processus et de relations sociales impliquées dans la composition et la lecture d'un plan de maison, comportant le rôle des connaissances et des pratiques culturelles dans l'apprentissage de l'étudiant dans l'approche du dessin d'architecture, des tensions entre les objectifs de l'étudiant et sa lecture de l'évaluation, des tensions entre définitions de l'économie déterminant des conceptions différentes d'un plan de maison, et des tensions entre l'inscription de la signification dans le texte architectural de l'étudiant et l'encodage de la signification par le professeur lors de sa lecture du texte. La négociation que fait l'étudiant de ces processus et de ces tensions contribue à la compréhension que l'on peut avoir du projet plus large dans lequel il était engagé, à savoir le développement continu d'une identité et d'un projet de vie.
THE STRUCTURE OF KNOWLEDGE IN ARCHITECTURE
Architectural Design between teaching and research, 2011
The development of an architectural project requires a specific knowledge and involves many questions. What is the nature of the project?. How does the nature of the project involve knowledge of certain kinds?. What are the sources of this knowledge (local, regional or international, abstract or real)?. This Conference gives us an opportunity to discuss these issues through the case of the department of architectural engineering at Ajman University of Science and Technology, not only in terms of a structure for the formation of architects but to identify the department from the doctrinal point of view. These questions will be treated by looking at, on the one hand the structure of the department, and on the other hand by analysing the different projects developed in the Studio of architecture (Fourth year and Graduation Projects). Hence of the fact that the structure of the environment has a direct impact on the behaviour of the users, one notices that the majority of operations planned distinguishes themselves by their demarcations and differences with regard to the immediate environment. The same remark is observed in projects developed in the department of architecture, in the sense that most of the projects are referred to the projects and buildings published in the different magazines of architecture. The question of regional style or international style in Architecture will be discussed trough the development of the project of architecture as a pedagogical exercise. This question will lead us to see the relation between design knowledge and other sources of knowledge. This paper is an analysis of these different questions, and it is from them that we will explore, on the one hand, the stylistic preferences in the development of the projects of architecture at the department, and on the other hand the role of self-criticism, the immediate environment and the history of the architecture in the process and development of the architectural project.
REVISITING OTTOMAN ARCHITECTURAL WRITINGS: THOUGHTS ON OTHER FORMS OF KNOWLEDGE ON ARCHITECTURE
This paper is part of a research work which aims to lay the epistemological grounds of architectural writings of the Ottoman and early Republican periods, blamed of not creating any theoretical attempt within the field of architecture. The basic argument of the research is that there is the possibility of different epistemologies for understanding the knowledge of architecture and different ways of knowing in different parts of the world, which may in turn enhance the development of other forms of knowledge and new ways of knowing within the field of architecture. Conventionally, it is believed that knowledge sits in the brain and can be understood independent of the outside world, and has representative characteristics. Yet, with the development of new approaches to the thought processes, classical AI theories have been replaced by more complex theories which include both the body-embodied cognition-as a means of knowing and the environment-situated cognition-which the mind interacts with; and non-representative or other forms of representation of knowledge have been proposed. Moreover, knowledge and knowing are not identified with merely rational processes; sensations, dreams, imaginations, myths, and other ways of knowing also exist, and they are considered as different ways of knowing and sum up to what we call knowledge. The motivation of this paper comes from two basic sources; one is interest in the non-representative or other than language representative qualities of architectural knowledge, and the other is a curiosity for different ways of knowing. When one becomes interested in those non-representative or non-linguistic characteristics, other sources of knowledge become a point of attention. And how this knowledge-which is definitely not explicit-is acquired, becomes another concern. Ottoman texts related to architecture, can be interpreted in the light of these two instruments. Object oriented and language driven knowledge of architectural objects can be replaced by knowledge of existences, which cannot be represented but experienced, e.g. maqams and music; or an abstract/symbolic representation of these existences in geometry or with numbers. These would in turn, refer to " lived-in " and " thought of " models of knowing. We will discuss these two ways of learning and knowing through the dichotomy that Mehmed Aga experiences, first by musical education, then by being told that he should learn geometry, which we are informed about by Risale-i Mimariyye. [1] We will base our discussion on propositions of Tasawwuf (mysticism) philosophers, e.g. Kındî and Farabî. [2] Kındî's ontology explains the circular motion of spheres that generate a specific music, in other words, non-conceptual melodic units instead of a conceptual language being the base of a philosophical thought. The other representative yet not conceptual language of thought to our interest would be geometry. These two tools of thought and experience will be discussed as a potential source for other forms of knowledge and knowing in architecture.
Journal of Traditional Building, Architecture and Urbanism
When modernizing the curricula at the Faculty of Architecture of the University of Belgrade, some fields of study have been somewhat neglected, including the teaching of traditional architecture, which is currently studied only at a basic level. Many students complete their education without adequate knowledge in this field, and this has affected the current situation of architectural practice in Serbia. Two optional courses were initiated to try to fill this gap, with different approaches to the study of traditional architecture. One course focuses on the study of traditional building techniques and materials related to the historical building context. The other course explores the correlation between traditional and sustainable architecture, following the idea that the latter is closely connected to traditional architecture. These teaching experiences, their problems and their outcome will be presented in this paper.