METU Journal of the Faculty of Architecture最新文献

{"title":"A NEW APPROACH CHANGING EXPECTATIONS FROM SOLID PARTS OF BUILDING ENVELOPES: TESTING THE CARBON DIOXIDE DIFFUSION AND RETAINING PERFORMANCES OF BUILDING MATERIALS","authors":"Başak YÜNCÜ KARANFİL, A. Tavukçuoğlu","doi":"10.4305/metu.jfa.2023.1.6","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.6","url":null,"abstract":"Contemporary building technology focuses on fully airtight building envelopes supported with mechanical or hybrid ventilation systems for energy-efficient buildings and healthier indoors. In fact, during COVID-19 pandemic and associated lock-downs, people realized how valuable fresh air is in built environments. Experts and governments promoted natural ventilation to meet higher air change rates. If mechanical ventilation is the only option, it is recommended to stop recirculation and feed the indoor air with 100% outdoor air (ASHREA, 2020; REHVA, 2021). These recommendations are quite challenging for a sustainable construction sector aiming at energy efficiency. This challenge presents an opportunity to think out of the box. In other words, this situation awakens curiosity to other undiscovered horizons beyond the common approach which encourages fully airtight built environments and advanced mechanical ventilation solutions. Here, this study asks a striking question: “What if the key to healthier indoor air is the breathable building envelopes?” This question may be considered as a paradigm shift for the building science community obsessed with airtightness. In fact, the concept of breathable walls is not new, but this hitherto underestimated approach is worth reconsidering.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82909193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"UNDERSTANDING, INTERPRETING AND PRESENTING HERITAGE SITES THAT LACK INTEGRITY: THE CASE OF THE OLD ARİFİYE VILLAGE INSTITUTE CAMPUS","authors":"Hande SAVAŞ OKUMUŞ, Figen Kıvılcım Çorakbaş","doi":"10.4305/metu.jfa.2023.1.8","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.8","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87638273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ALDO VAN EYCK’İN ARA ALAN KAVRAMININ GÖZDEN GEÇİRİLMESİ","authors":"Tuğba Özer","doi":"10.4305/metu.jfa.2023.1.2","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.2","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82752823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"DESIGN AND COUNTER DESIGN AGAINST CONSUMPTION: 1972 “ITALY, THE NEW DOMESTIC LANDSCAPE” EXHIBITION","authors":"Aysu Boysan, Gülru MUTLU TUNCA","doi":"10.4305/metu.jfa.2023.1.7","DOIUrl":"https://doi.org/10.4305/metu.jfa.2023.1.7","url":null,"abstract":"Architects and designers have debated consumerism and its effect on the production and design of cultural content since Adorno and Horkheimer first claimed in their 1947 essay “The Culture Industry: Enlightenment as Mass Deception” that culture and cultural products became commodities of the constant reproduction and legitimization progress of capitalism and industrial society. Nevertheless, the discussions have never been as intense as in the 1960s and 1970s European intelligentsia, when the economic boom amplified the controversial progress of mass production and consumption. One of the first instances of this highly critical and political intellect’s dissemination on the other side of the ocean was through the 1972 cutting-edge exhibition “Italy: The New Domestic Landscape” (INDL), held in the Museum of Modern Art, New York (MoMA, NY), which had broad repercussions on the architecture and design circles of the day in both continents; hence has a tremendous impact on that of today beyond dispute. The young Argentinean architect and designer Emilio Ambasz (1943-), the Design Curator of MoMA, curated the exhibition to introduce American society to the rising star of Italian design through “objects” he collected and “environments” designed and produced solely for this exhibition. Identifying Italian design as the precursor of a unique, colorful, sensuous, and “hedonistic” style, Ambasz aimed to “honor” a selected repertoire in New York and analyze the “diversity” behind responses DESIGN AND COUNTER DESIGN AGAINST CONSUMPTION: 1972 “ITALY, THE NEW DOMESTIC LANDSCAPE” EXHIBITION (1)","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90211154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘My Village’: organising the world and structuring the colonial architectural archive","authors":"M. Crinson","doi":"10.1080/13602365.2023.2205430","DOIUrl":"https://doi.org/10.1080/13602365.2023.2205430","url":null,"abstract":"The problems of archives accumulated under colonialism are now well known. This paper uses aspects of the Percy Johnson-Marshall Collection at the University of Edinburgh to reflect on how to interpret the archive not only through what it records, or the relation between what survives and what does not, but in terms of alternative ways of understanding the archive’s conceptual structure. As an influential post-Second World War architect and planner, active in Britain and in international organisations, Percy Johnson-Marshall’s (1915–1993) attitudes towards the work of the welfare state were significantly formed by his colonial background and his reactions against that background. This article draws out the deeper meanings of his archive by deploying A. J. Greimas’ ‘semiotic square’, as interpreted by Fredric Jameson. Explaining it first via the legal thriller Dark Waters (2019), which has an archive as its narrative pivot, the semiotic square is then used to map the conceptual structure of the Johnson-Marshall Collection. Finally, the article focusses on ‘My Village’, a set of papers in the collection documenting a pedagogic project preparing Indian soldiers to reform their villages following wartime service. Here themes of organisation and disorganisation (good and bad villages) are specific articulations of the archive’s epistemology while the idea of collectivity is problematically related to them.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80720849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lyda Caldas and women architects in Colombia: the landscape of Universidad del Valle in Meléndez","authors":"F. Hernández","doi":"10.1080/13602365.2023.2206408","DOIUrl":"https://doi.org/10.1080/13602365.2023.2206408","url":null,"abstract":"This article explores Lyda Caldas’ landscape design for Universidad del Valle to enquire about the position of women in Colombian architectural education and practice. It questions modern architecture, which emerged as a masculine discourse that, following ideals from the Enlightenment, assumed the superiority of western culture; after the Second World War, it became a vehicle for socio-economic and technical control in the Global South. As such, it established frameworks of practice that have excluded women and various minorities. Based on archival material and a series of formal and informal interviews, this article argues that the success of a few women architects in Colombia has been appropriated by the dominant discourse in academia to obscure discriminatory practices and the impact of socio-economic inequality on the career of less affluent women and ethno-racial minorities. The article promulgates the creation of a critical feminist discourse in order to challenge existing patriarchal and colonial structures that prevent women (and ethno-racial minorities) from having a greater impact on the country’s architectural history. A critical feminist discourse in Colombian architecture must go beyond the duality between men (male) and women (female), or the celebratory account of successful female architects by addressing the many female positions and subjecthoods found in the country.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74196664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Deconstruction in Tasmanian New Heritage Architecture","authors":"Andrew P. Steen","doi":"10.1080/13602365.2023.2205427","DOIUrl":"https://doi.org/10.1080/13602365.2023.2205427","url":null,"abstract":"The literary-philosophical practice of deconstruction has suffered abuse in architectural discourse for decades. Popularised interpretations of metaphor-heavy and art-referencing iconic architecture have undermined the potential of an exercise that holds potential for much insight. This paper looks to recover some of that potential burnt out in flagrant forms and beaten down in opaque missives of discursive deliria. Deconstruction is not, however, the object under consideration, but rather the device through which it operates. The object of this paper is Architecture built onto and into existing Heritage fabric. The Architecture — Captain Kelly’s Cottage (2018) by John Wardle Architects; Bozen’s Cottage (2019) by Taylor and Hinds; and Install House (2019) by Partners Hill — is all found on the small island of Tasmania. These powerful works are celebrated for their object status and their adroit condensations of peoples and contexts, as well as the historical and the contemporary. They are given gravity by a weight of facts and accounts of history, highlighted by age-value remnants and exquisitely crafted interventions. Captain Kelly’s Cottage, Bozen’s Cottage, and Install House are positioned in this paper as manifesting deconstruction. This paper does not claim that their architects designed with deconstruction in mind, rather that the intrinsic parameters of their architectural complexes implicate aporia, and that the interventions can be read to develop the potentials these aporia offer. Further, this paper suggests the practice of Heritage-related Architecture as translation and conversions that inherently affords potential for deconstruction in design and interpretation. This paper, thus, reframes deconstruction in Architecture, establishing a more appropriate and pertinent location in discourse on Heritage-related work. At the same time, it offers its readers a translation of deconstruction into Architecture theory-criticism as material construction.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89310538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between passion and possession: women architects and the houses they built for family, love and work","authors":"H. Steiner","doi":"10.1080/13602365.2023.2197923","DOIUrl":"https://doi.org/10.1080/13602365.2023.2197923","url":null,"abstract":"This article discusses a specific architectural type: single-family homes designed by and for heterosexual couples who were both architects and collaborators, and who dedicated a particular space in their home to architectural work. My examples are a handful of modest houses built in the suburbs of Copenhagen with state-supported mortgages during the post-war period by Inger and Johannes Exner, Karen and Ebbe Clemmensen, and Rut Speyer and Eigil Hartvig Rasmussen. Taking the woman architect’s perspective as a starting point, my architectural readings reveal the wider implications of the intermingling of professional and private lives in these houses’ economic, cultural, and suburban contexts. The article, thus, contributes feminist architectural readings as well as a theoretical framework that highlights women architects’ conditions of creative work in the post-war period. In doing so, following sociologist Eva Illouz, the article takes seriously the post-war period’s institutional, spatial, architectural, cultural, and economic conditions for love, life, and work. This article builds on research carried out in the project Women in Danish Architecture 1925–1975 (www.womenindanisharchitecture.dk).","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88341209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Creating alternatives: stories about participation, collaboration and gender in architecture, the 1960s and 70s","authors":"Svava Riesto","doi":"10.1080/13602365.2023.2199310","DOIUrl":"https://doi.org/10.1080/13602365.2023.2199310","url":null,"abstract":"Today, while there is a pressing need to rethink architectural practices in the face of societal, climatic, and ecological crises, a better understanding of how architects in the past have rethought their role and contribution seem increasingly relevant. This article examines projects from the 1960s and 70s by two Danish women architects, Susanne Ussing and Anne Marie Rubin, and the people with whom they worked. These architects actively wanted to create living environments to stimulate a better society and they did so by practicing architecture differently. Starting from the significant contributions that Ussing and Rubin made for the exhibition ‘Alternative Architecture’ at the Louisiana Museum of Modern Art in 1977, I discuss what strategies they used and what alternative architecture meant for them. Ussing and Rubin’s works have only been scarcely discussed by architectural historians, yet they contributed to developing participatory approaches to architecture, shifting epistemologies in design and planning, foregrounding women’s experiences, and, in one project, addressing anti-racist agendas. Methodologically, I propose ways of working in the face of scant material in official architectural archives and ways of storying architecture as collaboration rather than as individual creation. This article builds on research carried out in the project Women in Danish Architecture 1925–1975 (www.womenindanisharchitecture.dk).","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74822160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Her buildings, our buildings","authors":"Doreen Bernath, Deljana Iossifova","doi":"10.1080/13602365.2023.2229640","DOIUrl":"https://doi.org/10.1080/13602365.2023.2229640","url":null,"abstract":"A number of articles gathered in this issue share, quite prominently, their position to address the issue of under-representation of women architects in architecture, which connect with other articles that explore strategies of reinterpretation and revision to counter the tendency of lack of recognition in architectural history and building study. Altogether they have decidedly moved away from the remedial effort to restore and account for missing figures on the pedestals; instead, they believe in the importance to reconsider approaches and frameworks, and to draw from and construct unexpected relations between situations, subjects, and spaces. To understand buildings and projects past and present, there remains a need for diversification of evidence, embracing what is nuanced, inhibited, contested, ephemeral, or dormant, as well as frameworks of analysis and reconceptualisation. This is to shift from the dominance of certain ‘facts’ to what may be a more unstable realisation of ‘truths’, the architectures that are hidden in plain sight, repressed and contingent. Beyond adjusting visibility and articulation of previously neglected protagonists and contributions, it becomes our urgent task, prompted by the endeavours demonstrated in this issue, to rethink processes in the field at large as that which is shared and contingent; architecture is as much a matter of her buildings as our buildings. The two opening contributions from Henriette Steiner and Svava Riesto, ‘taking the women’s perspectives as my starting point’ as they declare, recognise the difference between what we see as facts, namely these objects of knowledge that the still largely patriarchal field assume to produce and command, and what may be truths traced through relations in shared lives conditioned and marked by desires and obstacles. These are the ‘drawbacks’ of gendered structures, as Virginia Woolf would say, which are manifested as gaps in architectural history where women protagonists often find themselves. The two articles are closely tied in their focus on the portrayal of Danish women architects— Inger Exner, Karen Clemmensen, Rut Speyer, Susanne Ussing, and Anne Marie Rubin — in the post-war period and their work through the complexity of life relations, from love to work, families to practices, dependence and autonomy, projects for oneself, to projects for and with others. Steiner remarks, ’Images of women’s liberation — the passionate, creative, and successful woman architect who possesses a house, a career, and a studio in partnership with a man she loves—weave in and out of other, more difficult motifs where work itself can possess you, where moral judgements reify women and turn them into possessions, where conflicts destroy partnerships, and where financial hardships reveal the downside of private property ownership.’ These Doreen Bernath","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80099490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}