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Scale: imagination, perception and practice in architecture
No full textScale is a word which underlies much of architectural and urban design practice, its history and theory, and its technology. Its connotations have traditionally been linked with the humanities, in the sense of relating to human societies and to human form. To build in scale goes virtually without saying in the world of ‘polite’ architecture, but this is a precept observed more often in the breach when it comes to vast swathes of commercial and institutional design. The older, more particular, meaning in the humanities, pertaining to classical western culture, is where the sense of scale often resides in cultural production. Scale may be traced back, ultimately, to the discovery of musical harmonies, or it may reside in the arithmetic proportional relationship of the building to its parts. One might question the continued relevance of this understanding of scale in the global world of today. What, in other words, is culturally specific about scale? And what does scale mean in a world where an intuitive, visual understanding is often undermined or superseded by other senses, or by hyper-reality?This book contains a selection of the best papers given at the 7th International AHRA Conference, hosted by CREAte (The Centre for Research in European Architecture) at the University of Kent, Canterbury. It includes an introduction which sets the scene in terms of current architectural discourse, and is organized in three thematic parts, each with an introduction by one of the co-editors.The chapters are grouped according to the following broad themes: Scale and the Post-Humanist Age, Scale in the Age of Digital Representation, and Scale and Globalisation
Sauf aux Riverains: the riverine memorial of Georges-Henri Pingusson
No full textRiverine has echoes in English of the sign you see on streets near to rivers in France: ‘sauf aux riverains’. This refers to the access given to locals to the narrow passageways leading down to the river, and seeks to bar ‘foreigners’ from getting too close to the water. In towns, most buildings like to keep a healthy distance between themselves and the flowing river, apart from those parts that have an intimate relationship with the water, such as landing stages and warehouses. Nonetheless, the general principle obtains, that urbanised rivers become embellished with raised embankments, raising houses and gardens well above the waterline, and out of harm’s way. We see this most clearly in those cities with well-developed riverside terraces, such as in Dresden with its Brühlsche Terrassen, in London with its Adelphi development of the late eighteenth century, and generally by the banks of the Seine in Paris, where the streets end abruptly in a precipitous canyon into which the river appears to be sunk, to be reached by narrow stone steps accessed through chinks in the closely packed bouquinistes lining either bank.
At the extreme eastern end of the Ile de la Cité, behind the chevet of the cathedral of Notre Dame, you find a low concrete mass split in two places by narrow stairs. Descending, you pass between a pair of concrete ‘grindstones’ and arrive at a hard, concrete courtyard, hemmed in by bush-hammered walls. Above, the sky, while ahead, you see and hear the Seine rushing past, its waters virtually level with the pavement at your feet. This was the scene designed by the French architect Georges-Henri Pingusson (1894-1978) and is his late masterpiece completed in 1962. The external sunken courtyard leads to a labyrinth of cave-like spaces that tunnel beneath the tip of the island; the whole ensemble is the monument to the deported, the place of ‘collective memory’ for Paris to remember those of its citizens, largely Jews, who were rounded up and deported during the German occupation of the Second World War, en route to being sent east to the extermination camps in the Reich.
Pingusson’s work is, to borrow the subtitle of the monograph on his oeuvre by Simon Texier, ‘la poétique pour doctrine’, and represents one of the great brooding and evocative spaces of modern architecture. Like the great bulk of his practice output hitherto, it is accomplished by recourse to simple geometries and everyday materials, yet manages to evoke an almost mythical atmosphere, as if one were descending into Hades, stopping awhile at the lapping waters before Charon, the ferryman, carries us off. The spatial configuration and material presence remind us of other, uncanny, riverside ensembles, such as the Traitors’ Gate at the Tower of London, the skateboarders’ undercroft at the South Bank, or Harry Lime being given chase through the sewers of Vienna, before they empty into the Danube. The location behind Notre Dame lends the memorial a sacred aura, while its location upstream from the site of the 1961 massacre of peaceful demonstrators against the Algerian War, led by the Paris police chief (and later convicted war criminal) Maurice Papon, further intensifies this, the most haunting of memorials to the infamies of the twentieth century
Riverine: Architecture and Rivers
No full textEdited book based on a conference run with Gerald Adler in 2014.
Human settlements may be broadly divided between inland ones often located on high ground, such as the hill towns of Urbino and Jerusalem, those of inland plains such as Brasilia and Novosibirsk, and those located on waterways or rivers close to the sea, which form by far the great majority of cities. In this new volume we concentrate on the latter, and seek to tease out and explore architectural, planning, artistic and literary backgrounds to cities as diverse as Ahmedabad, Amsterdam, Isfahan, London, New York, Paris, Rome and Shanghai; that is, we are interested in human settlements whose origins depend upon rivers. And not just the cities proper, but also their hinterlands, or more precisely their riverine conditions up and downstream of their urban centres.
This book investigates the relationship between architecture and rivers at a number of scales, from the geographical/topographical, through the urban/infrastructural, down to that of the individual building or space. Here, we examine the interface between terrain and water through the techniques and cultures of landscape, urban, architectural and material history and design, and through cross-cultural studies in art, literature, as well as social and cultural histor
Scale Imagination, Perception and Practice in Architecture
No full textScale is a word which underlies much of architectural and urban design practice, its history and theory, and its technology. This book considers what is culturally specific about scale? And what does scale mean in a world where an intuitive, visual understanding is often undermined or superseded by other senses, or by hyper-reality?
With a visual essay in each section, this book is for students, academics and practitioners in architecture and architectural theory as well as of interest to students in a range of other disciplines including art history and theory, geography, anthropology and landscape architecture.
Contributors:
Introduction Gerald Adler 1.
Scale Excursus 1: The Scale of the Detail, Natalie Rozencwaig
Part 1: Scale Before the Twentieth Century
The Role of Small-Scale Images by Wenceslaus Hollar: the Rebuiling of London in the Late Seventeenth Century, Gordana Fontana-Giusti
Mildendo and Masdar: A Tale of Two Cities, Adam Sharr
Examining the Knots…Counting the Bricks’: John Ruskin’s Innocent Eye, Stephen Kite
The Worm’s Eye as a Measure of Man: Axonometry in Architectural Representation, Hilary Bryon
Scale Excursus 2: Scale in Recent Projects by MVRDV, Natalie de Vries
Part 2: Scale in Art and Perception
Colour Scales, Fay Zika
Scales of Interaction: Aligning the Qualitative with the Quantitative in Music and Architecture, Fiona Smyth
Architectual Scale: Psychoanalysis and Adrian Stokes, Janet Sayers
Sublime Indifference, Helen Mallinson
Measuring Up: Measurement and the Redefinition of Scale in Conceptual Art, Elise Noyez
Scaling Haptics – Haptic Scaling: Studying Scale and Scaling in the Haptic Design Process of Two Architects who Lost their Sight, Peter-Willem Vermeersch and Ann Heylighen
Scale Adjustment in Architecture and Music, Richard Coyne
Scale Excursus 3: Complex Ordinariness in Oxford: 'House after Two years of Living', Igea Troiani
Part 3: Scale in the Twentieth Century
Ethos Logos Pathos: Architects and their Chairs, Jonathan Foote
‘Halfway between the Electron and the Universe’: Doxiadis and the Delos Symposia, Simon Richards
Little Boxes, Gerald Adler
Scale and Identity in the Housing Projects of Coderch, Michael Pike
Politics and the Deliquescence of Scale: the Columbaria of Brodsky and Utkin, Michael Ostwal
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Adler, Gerald
No full textClassroom and office photos.https://ida.gallaudet.edu/portraits_A/1233/thumbnail.jp
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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