159 research outputs found

    Building as gesture, Building as argument

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    Wissenschaftliches Kolloquium vom 24. bis 27. April 2003 in Weimar an der Bauhaus-Universität zum Thema: ‚MediumArchitektur - Zur Krise der Vermittlung

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    Designing for change: The poetic potential of responsive architecture

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    The integration of responsive components in architecture offers the potential to enhance the experience of the building by giving expression to fleeting, changeable aspects of the environment. Responsive buildings enable a physical response to changes in the environment through specific building elements; in rare cases these responsive elements become an integral and poetic element of a culturally significant work of architecture. In this paper I examine two types of responsiveness, one which concerns the changing environment and another the activities and needs of the building׳s inhabitants. I look at two examples of buildings that illustrate a potential poetic role for architectural components responding to these two types of change, and propose that architects will need to acquire experience with designing for specific rates, scales and types of change before responsive elements will more frequently appear as a poetic and integral part of the building

    "The Collecting Itself Feels Good": Towards Collection Interfaces for Digital Game Objects

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    © Lennart Nacke, 2016. This is the author’s version of the work. It is posted here for your personal use. Not for redistribution. The definitive version was published in CHI PLAY Companion '16 Proceedings of the 2016 Annual Symposium on Computer-Human Interaction in Play Companion Extended Abstracts, https://doi.org/10.1145/2967934.2968088Digital games offer a variety of collectible objects. We investigate players' collecting behaviors in digital games to determine what digital game objects players enjoyed collecting and why they valued these objects. Using this information, we seek to inform the design of future digital game object collection interfaces. We discuss the types of objects that players prefer, the reasons that players value digital game objects, and how collection behaviors may guide play. Through our findings, we identify design implications for digital game object collection interfaces: enable object curation, preserve rules and mechanics, preserve context of play, and allow players to share their collections with others. Digital game object collection interfaces are applicable to the design of digital games, gamified applications, and educational software.Canadian Network for Research and Innovation in Machining Technology, Natural Sciences and Engineering Research Council of Canada Social Sciences and Humanities Research Council of CanadaPeer-reviewe

    El entramado como estrato vertical en la arquitectura de Alison y Peter Smithson

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    [EN] This article discusses the concepts of lattices, stratum and stratification, based on the discourse narrated by Alison Smithson in her article “Layers and layering” (1981), and the works in which Alison and Peter Smithson worked with the strata and the stratification, using the lattices as a means to carry out its architecture. In this sense, the Smithson –after several experiments with vertical strata that filtered and broke the classical static vision, as in the Ascot Pavilion, 1955–, raised an exploration that would take to two consecutives stages. The first stage is linked to the seventies, where the fixed lattices appeared as filters, veils, membranes, insinuating and protector skins, that is to say, weft flat surfaces (overlapping each other or on different spaces), as shown in St. Hilda's College, 1967-70. A second stage is related with the eighties, where those lattices begin to separate, creating intermediate spaces –to be occupied with the art of inhabitation– as in the exhibition Christmas Hogmanay, 1980, and that, subsequently, would finish ramifying three-dimensionally as in the porch of Hexenhaus, 1984-2002. These reflections will be re-taken in contemporary architecture, as new possible reference to the creation of stratified future spaces.[ES] En el presente artículo se analizan los conceptos de entramado, estrato y estratificación, en base al discurso narrado por Alison Smithson en su artículo “Strati e stratificazioni” de 1981, y a las obras en las que Alison y Peter Smithson trabajaron con los estratos y la estratificación, utilizando los entramados como medio para llevar a cabo su arquitectura. En este sentido, los Smithson –tras varias experimentaciones con estratos verticales que filtran y rompen la visión estática clásica, como en el pabellón de Ascot, 1955–, se plantean una exploración que les llevará a dos etapas consecutivas. La primera etapa está vinculada con los años setenta, donde los entramados fijos aparecían como filtros, velos, membranas, pieles insinuantes y protectoras, es decir, superficies planas tramadas –superpuestas entre sí o sobre diferentes espacios–, como se muestra en St. Hilda’s College, 1967-70. Una segunda etapa está relacionada con los años ochenta, donde esos entramados comienzan a separarse creando espacios intermedios –para ser ocupados con el arte de habitar– como en la exposición Christmas Hogmanay, 1980, y que, posteriormente, acabarán ramificándose tridimensionalmente como en el porche de Hexenhaus, 1984-2002. Estas reflexiones serán retomadas en la arquitectura contemporánea, como posibles nuevos referentes ante la creación de futuros espacios estratificados.Delgado Berrocal, S. (2015). The lattice as vertical stratum in the architecture of Alison and Peter Smithson. VLC arquitectura. Research Journal. 2(1):101-127. doi:http://dx.doi.org/10.4995/vlc.2015.3388.SWORD10112721Eyck, A. Doorstep in Otterlo Meeting, 1959. Architectural Design, 1962, 12.González, A., M. Vidotto, J. Frechilla Camoiras & J.M. López-Peláez. "St. Hilda’s College: la arquitectura del entramado. Alison & Peter Smithson." arquitecturasilenciosas#1. Madrid: COAM, 2001.Rowe, C. and R. Slutzky. Transparency: Literal and Phenomenal. In: Hoesli, B. (ed.). Transparency. Basilea: Birkhäuser, 1997.Rykwert, J. "Semper and the Conception of Style". In: Gottfried Semper und die Mitte des 19. Jahrhunderts. Basilea y Stuttgart: Birkhäuser, 1976.Semper, G. The Four Elements of Architecture and Other Writings. Cambridge: Cambridge University Press, 2011.Smithson, A. Strati e stratificazioni / Layers and layering. Spazio e Società, 1981, 13.Smithson, A. How to recognise and read Mat-Building: Mainstream architecture as it developed towards the mat-building. Architectural Design, 1974, 9.Smithson, A. & P. Cambiando el Arte de Habitar. Piezas de Mies, Sue-os de los Eames, Los Smithson. Barcelona: Editorial Gustavo Gili, 2001.Smithson, A. & P. The Charged Void: Architecture. Nueva York: The Monacelli Press, 2001.Smithson, A. & P. Density, interval and measure. Architectural Design, 1967, 9.Smithson, A. & P. House in Soho, London. Architectural Desing, 1953, 12.Smithson, A. & P. Millbank competition: Reflections on the state of British architecture. Architectural Design, 1977, 47, 7-8.Smithson, A. & P. The Space Between. Oppositions, 1974, 4.Smithson, P. The Lattice idea. ILA & UD Yearbook, 1999.Smithson, P. Three Generations. OASE, 1999, 51.Smithson, P. & K. Unglaub. Flying furniture: our architecture rolls, swims, flies, Köln: Walther Köning, 1999.Woods, S. Web. Le Carré Bleu, 1962, 3

    From Prototyping to Allotyping. The invention of change of use and the crisis of building types

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    The chapter analyses the invention and the form of the discourse on building conversion as one particular instance of redefining what a technology is and how it operates. I describe a shift from expert defined closure to lay based openness and tinkering as a shift from prototyping to allotyping: Since the early 1970s, change of use and building conversion have become a central and fashionable discourse among architects and architectural theorists. Before the 1970s, buildings were understood as technologies, as ‘society made durable’. The notion of building type was central to link a building to a given use. A bank was a bank because architects applied existing templates, prototypes, to turn a building into a bank. In the 1970s, suddenly buildings became flexible – discursively, since building conversion always existed: ‘Building type’ no longer was a meaningful link between a building and its use. A bank should not stay a bank, but become a hotel, a theatre or a flat, in short: an allotype. The chapter elucidate this central shift in thinking about buildings and reflects on the special case of allotyping buildings and how it continues to vex thinking about buildings

    The noise-lovers: cultures of speech and sound in second-century Rome

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    This chapter provides an examination of an ideal of the ‘deliberate speaker’, who aims to reflect time, thought, and study in his speech. In the Roman Empire, words became a vital tool for creating and defending in-groups, and orators and authors in both Latin and Greek alleged, by contrast, that their enemies produced babbling noise rather than articulate speech. In this chapter, the ideal of the deliberate speaker is explored through the works of two very different contemporaries: the African-born Roman orator Fronto and the Syrian Christian apologist Tatian. Despite moving in very different circles, Fronto and Tatian both express their identity and authority through an expertise in words, in strikingly similar ways. The chapter ends with a call for scholars of the Roman Empire to create categories of analysis that move across different cultural and linguistic groups. If we do not, we risk merely replicating the parochialism and insularity of our sources.Accepted manuscrip
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