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Apartment layouts and domestic life : the interior space and its usability : a study of Norwegian apartments built in the period 1930-2005
Full text linkThe background for this study is Norwegian housing where floor plans of new apartments seem to differ significantly from what previously has been built as well as from what architects have considered good quality. The study consists of two empirical surveys. The first is a diachronic analysis examining the development of apartment layouts since the 1930s, while the second is a synchronic interview-based survey where different apartments identified through the diachronic study are examined as dwellings for contemporary living.
The features of apartments particularly examined in the diachronic analysis are the sizes of rooms and the spatial configurations of the apartments, two features that are decisive for the degree of generality concerning functions or use. These features of space have been analysed in a sample of 150 apartments built in Oslo since 1930. The conclusion of this analysis is the identification of three generations of apartments. Apartments of the first generation, which was common until about 1955, were general with respect to sizes of the rooms as well as to the spatial configuration. Around 1960, there was a change towards larger apartments and functional specificity. In the second generation of apartments, those that were typical in the period from the 1960s until the early 1980s, the individual rooms were highly differentiated in size and positioned in accordance with their very specific function. Since then, the number of rooms has decreased and the spatial layout has become simpler, the kitchens are now usually in the living room and the bedrooms have become smaller. These apartments, which are the third generation, are specific with respect to use in that the bedrooms are rooms for sleeping while the “living and kitchen room” is the place for all daytime living.
The three generations of apartments defined by the diachronic analysis are not just a theoretical classification of floor plan layouts but also a typology that captures features relevant for real domestic lives. Sizes of rooms and configurational aspects of the interior spaces are decisive for what kind of households that lives in a particular apartment as well as for how they use their rooms. A conclusion from the interview-based survey is that generality works; the first generation of apartment, the apartment characterised as general due to large “second largest rooms” and a spatial layout where all rooms have access directly from the entrance, is the kind that houses the largest range of households. This is very different from the apartments being built now, which are appropriate only for a limited range of households.
Since they rarely have more than one place for daytime living, they are unsuitable for the many households where daily lives consist in simultaneous and not easily co-existing activities. Where theory and methodology are concerned, the field of architectural research named “space syntax” has been a basis for figuring out the subject to examine as well as for carrying out the analyses. This study not only illustrates how space syntax can be useful for identifying patterns across a sample of dwellings, but also how the configurational features of space captured by the space syntax methodology are relevant for households preferences of dwellings and for their daily living.publishedVersio
Bitvis byutvikling : møte mellom privat eiendomsutvikling og offentlig byplanlegging
No full textDenne avhandlingen har en målsetting om å være relevant for den praksis som skjer i møtet mellom den offentlige byplanleggingen og den private eiendomsutviklingen. Det betyr at jeg ønskes at avhandlingnen kan leses av arkitekter, planleggere, eiendomsutviklere og gjerne politikere som er direkte eller indirekte involvert i det møtet jeg behandler. Jeg håper at de vil kunne kjenne seg igjen, men samtidlig få ny innsikt som gir mulighet for å reflektere over egen praksis
On Sacred Architecture and the Dzongs of Bhutan. Tradition and Transition in the Architectural History of the Himalayas
No full textThis thesis contributes with new insight and knowledge on the architectural traditions in Bhutan and the Himalayas, and also discusses questions relevant to architectural theory and history. In Bhutan the traditional society is still living, and thus represents a `window´ into past architectural traditions. The buildings express the fundamental relationships between architecture and culture, interlac-ing religious and socio-economic structures and perceptions.
Bhutan´s monumental dzongs are at once both fortified monasteries and admin-istrative centres for the surrounding areas. The historical developments and the typological variations of the dzong type of buildings are discussed in the thesis. The dzongs were drawn and photographed by British expeditions from 1783 on-wards, and this historical material has been collected in archives and other sourc-es. Through what the author calls `visual archaeology´ it is documented how the dzongs have changed up until the present.
In Bhutan there is no essential difference between the monuments and the ver-nacular traditions, and this research on the dzongs thus also investigates the over-all transition processes which have taken place in this architecture. Modernisation processes and issues are also discussed with a view to construc-tive attitudes towards the challenges of building today.acceptedVersio
Barn og omgivelser : virkelighet med flere fortolkninger
No full textEt generelt endret syn på barns samfunnsmessige posisjon mot slutten av det 20. århundre er blant annet konstituert gjennom FN's barnekonvensjon og norsk lovgivning. Det er én bakgrunn for studien. Relatert til denne finnes det en forventning om endrede forutsetninger for hva som kan stilles av krav til arkitekters kunnskap og ervervelse av kunnskap om barns utemiljø. Studien tar således opp spørsmål som Kevin Lynch reiste på nittensyttitallet i forbindelse med prosjektet Growing up in cities. Han spurte: hvilke holdninger har arkitekter og planleggere til barns fortellinger om sitt fysiske miljø?Growing up in cities prosjektet (GUIC I) ga ikke noe svar på dette.
Det ønskede resultat av denne studien er således å synligjøre hvilke sider av arkitektenes praksis som kan flyttes ut av en tradisjonell posisjon samtidig som en lojalitet overfor barnas fortellinger er ivaretatt. Antakelsen er at det finnes ulikheter mellom hvordan barn og utøverne: arkitekter, landskapsarkitekter og arealplanleggere, beskriver disse omgivelsene.I tillegg er det en forventning om at disse ulike virkelighetsoppfatningene forteller noe om deler av denne praksisutøvelsen. I kjernen av prosjektet ligger spørsmålene: hvordan kan arkitektprofesjonen konfronteres med sine egne forestillinger av ulike virkelighetsoppfatninger?
Det empiriske materialet for de sentrale deler av denne studien er samlet inn i perioden våren 1997 til våren 2001. Det bygger på fortellinger fra 38 barn fra bydelene Elgeseter og Møllenberg i Trondheim. De er sammen med fem arkitekter og tre landskapsarkitekter, alle fra Trondheim, mine sentrale informanter. Datamaterialet er nedtegnelser fra intervjuer, befaringer, kart og som det viktigste, et stort antall fotografier, tatt og tekstet av barna.
Studien bygger på et fortolkende utgangspunkt. I de innledende deler har jeg belyst konteksten som spørsmålsstillingene trer ut fra og de samfunnsmessige diskurser som utgjør dette feltet. Også de forskningsmessige posisjoner som danner bakgrunn for mine valg av tilnærminger er beslyst. Et nytt paradigme innen barneforskningen gir ledetråder i forsøket på å definere et forskningsfelt som omhandler barn og omgivelser. Et mål er defor å vise hvordan barn og barndom er såvel synlige som mindre synlige kategorier i den forskningen som handler om urbane og bolignære omgivelser. Studien er derfor posisjonert, enten dette er på siden av, delvis overlappende med, eller innenfor pågående forskningstradisjoner.publishedVersio
Trekirkene før stavkirkene : en undersøkelse av planlegging og design av kirker før ca år 1100
No full textUndersøkelsen er et bidrag til forståelsen av oppgaven byggerne sto overfor ved reisning av de tidligere trekirkene i Norge og hvordan de løste dette oppdraget. Forskere har gjennom mer enn 160 år lagt frem opphavsteorier om de tidlige kirkene, ofte basert på sammenligning av ytre former. Denne avhandlingen tar sitt utgangspunkt i overføring av kunnskap om de konstruktive og rituelle handlingene i design- og planleggingsprosessen som kan ha ført frem til ønsket form. Kildene som har blitt brukt er feltmateriale som viser spor etter bygninger med jordgravde stolper av antatte kirkelige bygninger, bygningsrester og skriftlige omtaler fra før ca. år 1100. Det blir pekt på at Kirken hadde en etablert praksis for overføring av kunnskapom alle sider ved tro og trospraksis ved kristningen av Norge og at noe av dette må ha omfattet bygninger for trospraksis. Den internasjonale kirkelige byggetradisjonen med sine intensjoner påviket måten byggerne løste oppdraget på ut fra den lokale byggesikken. Kunnskapen om kirkebygging kan sees på som en tilnærmet normativ, handlings- eller praksisbasert designmetode. Byggernes systematiske tankegang ble ikke nedskrevet og er i dag svært vanskelig å rekonstruere, men det er mulig å ane konturene av den akkumulerte erfaringen både i de skriftlige kildene og i det dokumenterte feltmaterialet. Felles mål og forhold i noen av de undersøkte planene kan være en viktig del av denne kunnskapen. De tentative svarene i denne undersøkelsen åpner for en videre undersøkelse av design og planlegging av trekirkene i Norge fra etter ca. år 1100
Genuine Christian Modern Art : Present Roman Catholic Directives on Visual Art Seen from an Artist’s Perspective
No full textThe Professional Problem of the Artist
The professional problem of artists who want to produce art for Christian use is to find artistic solutions that may satisfy both patron and artist. To succeed, the artist needs to know what ecclesiastical patrons need and desire in our time for works yet to be produced.
Ecclesiastical Norms on Art
Since the Roman Catholic Church has explicit, written norms on art, the project is restricted to this Church only. The Second Vatican Council laid down the basis for the present directives in 1963. The conciliar documents encourage contemporary artists to create art for the Church; the premise, however, is
that the new artworks serve liturgy and worship, and are considered suitable by the Church. The translator of the first Instruction to the conciliar text on art, from 1964, summed up in a footnote that in new church buildings the Church expects "genuine Christian modern art" . The question is what these theological normative statements mean in relation to artistic practice.
Survey of Literature
A few scholars have analyzed the ecclesiastical demands in relation to future design and architecture. Lacking are studies that discuss the ecclesiastical norms in relation to future embellishing visual art specifically, as well as those which take the artist's perspective.
Research Question
How can the Roman Catholic directives on art be understood through concepts useful for artists?
Hypothesis
If the Church's directives on art in our time can be legitimately condensed into "genuine Christian modern art", and if these four terms could be given an interpretation that is comprehensible and useful for artists, then artists would have a basic set of guidelines in their future artistic work that may help them provide what the Church needs and requests.
Sources
The sources utilized are theological texts: Roman Catholic normative documents on art from the Second Vatican Council and those issued after the Council.
Methodology and Design of Research
The dissertation consists of:
Part I, Research project terminology, that surveys literature, establishes a theoretical foundation for the project, and defines terminology. Part II, Roman Catholic attitude to and norms on art, that is hermeneutic in approach. It first provides a background for understanding the present norms on art, and then reads the theological documents on art from the perspective of the artist, in order to find criteria for future artworks and art making. Besides, a personal case study is available in Appendix 1, The notion of genuine Christian modern art exemplified by the author's Crucifix Series, which is a practice-based visual analysis of the author's artistic exploration of crucifix forms from 1986 and onwards that was inspired by the "genuine Christian modern art" statement.
Findings
The notion of genuine Christian modern art is suggested as a basic set of interdisciplinary criteria for ecclesiastical art, understood through a related set of terms so that genuine associates to spirituality; Christian to beauty; modern to significance; and art to quality.
Aims
The project aims at contributing to an understanding of what the Roman Catholic Church normatively wants artists to produce in the future; to the interdisciplinary dialogue between theologians and artists; and to the development of theory and methodology of practice-based artistic research in the visual arts.acceptedVersio
Reflections on Purposes for Art Education in the Compulsory School
No full textThe aim of this thesis is to contribute new knowledge as a basis from which to discuss the development of and justification for art education in the compulsory school. The experienced drawing curriculum in compulsory school is illuminated through analyses of drawings made by young people and compared with what they say they have learned about drawing in school. This is discussed in relation to theory and the given framework for art and design in compulsory school. During the period studied ( 1992-1997) the subject Forming, included drawing, textiles and woodwork, had as many scheduled lessons as mathematics in middle school ( ages 10-13). Despite this, the juvenile's interest in drawing declined dramatically. The youngsters' experiences from drawing activities in school indicate that attitudes from the self-expression movement and the philosophy of hands-off still have an influence on the way Norwegian teachers teach, or rather, not teach drawing. Those youngsters who seem to master the cultural conventions of spatial representations had often learned their skills outside school, and there is almost no indication that pictorial representation of space was promoted in compulsory school in the period studied. According to assessments given in the period from 1989 to 1997, teachers seemed to be extremely satisfied with what the pupils accomplished in Forming, since Forming was the subject where the second best mean score was achieved. Despite this, Forming was the subject where it was most rare to achieve a top score and easiest to avoid the lowest. This reflects the teacher's problems in assessing, they have difficulties in giving signals to the pupils on what is a good solution and what is not. This is understandable if self-expression is the aim, as it is impossible to judge one self-expression to be better than another, but it is doubtful if such an attitude promotes respect for quality in art and design. The philosophy of hands-off in drawing in middle school is questioned when seen in the perspective of an extrinsic need for competence inside design and visualisation. Today many important decisions are made on the basis of representations, and the use of representations will probably not decline with an increasing use of computer images, rather the opposite. By taking an example from architecture, the question is raised whether art education in compulsory school is qualified to prepare for visual communication, including both making and understanding. Both the Norwegian Ministry of Education, Research and Church Affairs (KUF) and the Norwegian Ministry of Cultural Affairs (KD) have seen the challenge, and are making efforts to promote public interest in design and architecture and thereby prevent design to be an objective mainly for the privileged or for those with a special interest. Compulsory school should prepare youngsters for democratic participation when our built environment is planned and discussed on the basis of pictorial representations of space by focusing on drawing, communication and reflection. Compulsory school reaches all youngsters irrespective of future occupation as politicians, teachers, designers, nurses or directors and their attitudes to art, design and architecture are built through those important years
