scholarly journals Building Biographies: Chronicling Time in Architectural Representation

2019 ◽  
Author(s):  
Priya Jain ◽  
Keyword(s):  
Architectural Representation

EAST INDIAN AND OTHER DOCKS IN LONDON: IMPERIAL ARCHITECTURE, COLONIAL TRADE AND POSTCOLONIAL MEMORY

2020 ◽  
pp. 190-205
Author(s):  
S. E. Sidorova ◽  
Keyword(s):  
20Th Century ◽  
Industrial Revolution ◽  
Historical Memory ◽  
Visual Image ◽  
East Indian ◽  
Architectural Representation ◽  
The World ◽  
The Status ◽  
Postcolonial History ◽  
The City

The article concentrates on the colonial and postcolonial history, architecture and topography of the southeastern areas of London, where on both banks of the River Thames in the 18th–20th centuries there were located the docks, which became an architectural and engineering response to the rapidly developing trade of England with territories in the Western and Eastern hemispheres of the world. Constructions for various purposes — pools for loading, unloading and repairing ships, piers, shipyards, office and warehouse premises, sites equipped with forges, carpenter’s workshops, shops, canteens, hotels — have radically changed the bank line of the Thames and appearance of the British capital, which has acquired the status of the center of a huge empire. Docks, which by the beginning of the 20th century, occupied an area of 21 hectares, were the seamy side of an imperial-colonial enterprise, a space of hard and routine work that had a specific architectural representation. It was a necessary part of the city intended for the exchange of goods, where the usual ideas about the beauty gave way to considerations of safety, functionality and economy. Not distinguished by architectural grace, chaotically built up, dirty, smoky and fetid, the area was one of the most significant symbols of England during the industrial revolution and colonial rule. The visual image of this greatness was strikingly different from the architectural samples of previous eras, forcing contemporaries to get used to the new industrial aesthetics. Having disappeared in the second half of the 20th century from the city map, they continue to retain a special place in the mental landscape of the city and the historical memory of the townspeople, which is reflected in the chain of museums located in this area that tell the history of English navigation, England’s participation in geographical discoveries, the stages of conquering the world, creating an empire and ways to acquire the wealth of the nation.

scholarly journals Drawn Interruption: Visualising the Ephemeral

2021 ◽  
Author(s):  
◽  
Jay Shields
Keyword(s):  
Traditional Media ◽  
Architectural Representation ◽  
The Creation ◽  
Notational System

<p>Architectural atmosphere is often characterised by loose descriptors which, rather than represent actual spatial qualities,depict an abstraction. Atmosphere is represented as an ephemeral quality that seems to naturally emanate from a givendesign. As a result, many refer to atmosphere as unable to be documented using traditional media. In response, thisthesis seeks to examine the architectural representation of atmosphere, and identify an effective method of codifyingand representing specific atmospheric qualities by examining the specific phenomenon of interruption, taking thecontemporary workplace as its site of investigation. Its larger aim, is the creation of a notational system that betterenables the design of atmosphere, specifically the design of atmospheres of interruption.</p>

scholarly journals Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture

2017 ◽  
Vol 14 (4) ◽  
pp. 3472
Author(s):  
Kemal Reha Kavas
Keyword(s):  
Spatial Organization ◽  
Architectural History ◽  
Vernacular Architecture ◽  
Historical Buildings ◽  
Architectural Drawings ◽  
Architectural Representation ◽  
Interdisciplinary Field ◽  
Representation Of Architecture ◽  
Historical Architecture ◽  
Environmental Representation

Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive.  While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.

scholarly journals Archiving Fragments of Time

2021 ◽  
Author(s):  
◽  
Alice Charles
Keyword(s):  
Urban Expansion ◽  
Urban Context ◽  
True Story ◽  
Architectural Representation ◽  
Multiple Voices ◽  
Critical Method ◽  
The Rich ◽  
A Site ◽  
Allegorical Interpretation ◽  
Over Time

<p><b>Beneath the urban concrete of Wellington city lies a plethora of lost stories and voices, sometimes only accessible as fragments, which should contribute to the rich polyvocal narratives of a site. Recognition of these stories, even as fragments, enables local inhabitants and a wider audience to begin to understand the significance of place.</b></p> <p>Heritage stories transform from one time period to the next, creating overlapping layers of a site’s identity evolving over time. Each layer, while potentially representing its own unique story, contributes to the meta-narrative of a place. This design-led research investigation looks at the problem that arises when important stories of a place are lost when a site has transformed over time. The true story of a site is represented by the hidden layers from previous time periods, which have often fragmented or faded over time. This thesis proposes that lost layers, fragmented stories and faded voices can be reawakened through speculative architectural representation.</p> <p>Fragments of stories can be used to stimulate the imagination. The allegorical interpretation of fragments can be used to generate dreamscapes. Within a dreamscape, the multiple voices of multiple fragments can be heard together, even when they represent stories from different times. When dreamscapes are captured as allegorical drawing fragments, these multiple voices can be heard and retained even when they have partially faded away.</p> <p>This thesis explores how an allegorical architectural project, framed within techniques found in allegorical narrative fiction, can be successfully used as a critical method to help reawaken and unveil lost voices of place and generate speculative architectural outcomes that allow these voices to be heard. This design-led research proposes to reawaken lost voices of place through mapping the field of imagination, collage and the creation of dreamscapes, and allegorical drawing fragments.</p> <p>Italo Calvino’s Invisible Cities and Alan Lightman’s Einstein’s Dreams are examples of literary approaches to the allegorical interpretation of fragments. They are used in this investigation as literary provocateurs—allegorical generators to engage the imagination to reawaken lost voices as fragments and allow them to be heard in a collection—an archive of fragments. These two novels are effectively re-presenting place and time as dreamscapes. By enabling a series of fragmented stories to be heard as one, a richly polyvocal narrative is established that allows the reader to understand the significance of a place.</p> <p>Two neighbouring urban sites along the edge of Wellington Harbour have been selected for this investigation: the Taranaki Wharf Cut-out and the Kumutoto Stream Outlet. Both have unique tales to tell. The Kumutoto Stream Outlet is the site of the first culverted stream in Wellington. This entire stream has been silenced and has disappeared forever, yet it survives deep underground; this narrow outlet along the Wellington Harbour edge is the last vestigial remnant of its tale. The Taranaki Wharf Cut-out exposes the lost shoreline of Wellington before urban expansion. This shoreline has been silenced and has disappeared forever, and the cut-out provides the last visual connection to the lost landscape below. Fragments of the urban concrete have been removed from both these sites to reveal the lost remnants of the sites tales they once concealed. These sites are engaged as allegorical portals that invite a viewer below the surface of Wellington’s urban concrete to explore the lost layers of fragmented stories that lay hidden beneath. These sites are presented as ‘characters’ that narrate ‘stories’ of Wellington waterfront’s surrounding context and the transformation of the landscape over time.</p> <p>The original heritage conditions of a place often cannot be physically returned to their sites without disrupting the contemporary urban context. In this investigation, sites are not engaged as grounds for architectural intervention. Instead, they are provocateurs for how an allegorical architectural project can dig below the urban concrete and reawaken and unveil lost voices of a place. These voices are presented as a speculative archive of fragmented artefacts that invite viewers to witness, through these allegorical artefacts, an urban environment’s rich litany of heritage stories that may have been permanently lost or displaced. These artefacts take the form of maps, collages and drawings, and they are designed to read both as individual artefacts and together as a collection within an archive, this bound codex of work—an Archive of Fragments of Time.</p> <p>This thesis asks:How can an allegorical architectural project be successfully used as a critical method to reawaken and unveil lost voices of a place, and generate speculative architectural outcomes that allow these voices to be heard?</p>

Light Architectures. The Architectural Representation Between Holography and Reality Increased

2018 ◽  
pp. 991-999
Author(s):  
Giovanni Mongiello ◽  
Riccardo Tavolare ◽  
Cesare Verdoscia ◽  
Alessia Salomone
Keyword(s):  
Architectural Representation

Technologies of the defended home

2016 ◽  
Author(s):  
Rowland Atkinson ◽  
Sarah Blandy
Keyword(s):  
Architectural Representation ◽  
Recent Increase ◽  
Architectural Features ◽  
Primary Element ◽  
Over Time ◽  
Security Companies

Defence has always been a primary element in home design; this chapter traces the ebbs and flows of fortification over time, tracing back the contemporary alternative features of withdrawal and aggressive defence to their origins. These responses, mirroring the well-known 'flight or fight' reactions, are illustrated through reference to celebrity homes and incidents of crimes against them. Here we address the technologies and architectural features which are designed to counter the risks that assail the home as haven and the fears passed on from parents which inform our internalised expectations as adults. Diverse forms of home protection and insurance have become the central and non-negotiable demands of increasingly affluent western societies, and meeting these demands has boosted the profits of security companies. We argue that the recent increase in defensive technologies has turned homes into the architectural representation of our fears, from which we can never be truly free. We now fear to stop fearing, with the contemporary homeowner forever in a state of heightened anxiety.

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