That some architects complained about the accolades the Torre David project received indicates a lack of willingness on the part of some architects to engage in critical introspection Baan, Brillembourg and Klumpner What are the roles and responsibilities of the historian in chronicling that lack of willingness? Is it the responsibility of the architectural historian to hold architects to account for their participation in and profit from such dramatic social stratification?
Among these structures is 20 Fenchurch Street in London, which produces a concentrated reflection of sunlight sufficient to melt automobiles parked on the street nearby, and Bridgewater Place in Leeds, which produces a powerful wind tunnel at its base that has been cited as the cause of serious injuries to pedestrians and at least one death.
For the architectural historian, the very existence of such buildings begs a number of important questions. How should one characterize such blunders within the chronological, formal, ideological and material legacies of Le Corbusier and Ludwig Mies van der Rohe?
How is one to account for these lapses in architectural judgment? Rather than assigning blame, the discipline may consider whether and to what extent the monumental architecture of the Modern and Post-Modern eras has been dominated by the insistent expression of fundamentally misanthropic and biophobic impulses. This expansion would enable scholars who focus on the history, theory and criticism of urbanism s to confront and assess architecture as a form of cultural production that is at best inadvertently user-hostile and at worst lethal.
Models for such studies might include Governing by Design , a multi-author work that crosses disciplinary boundaries to include politics, economics, the homogenizing forces of globalization and the sociological and psychological impacts of formally designed sites, structures and spaces.
Over the past forty years a number of individuals and firms have undertaken pro bono, government-funded or NGO-funded initiatives to address the exigencies associated with these forces; a handful of architectural historians have addressed the products of these efforts, but few of the resulting projects have achieved canonical status in architectural history.
Moreover, the integration of all stakeholders as opposed to the interests of shareholders into the histories of conceptualization and execution also affects architectural form; historians must acknowledge these voices in the same ways they acknowledge the Medici in Renaissance Florence, Pierre and Emily Savoye in s Poissy or Khalifa bin Zayed Al Nahayan in the Dubai of the twenty-first century.
The architectural history of the twenty-first century can address the aesthetics of sustainability, the aesthetics of public interest design and the aesthetics of healthcare design by adapting methodological frameworks from the biological, medical, environmental, social and political sciences, while simultaneously lending contextual, theoretical and critical mechanisms to each of those realms.
For example, the architectural historian can bring a deep knowledge of climate-responsive features from pre-industrial architecture to inform contemporary analyses of the sustainability imperative and its effects on building morphology. Once architects and architectural historians begin to transmit and receive knowledge from across disciplinary boundaries, new solutions can begin to emerge.
Just as architects can reassert their relevance by shifting their professional and pedagogical focuses to current conditions, architectural historians can bring a sense of activist consciousness to the contextualization of the responses to those conditions.
Thus, by reclaiming territory ceded to contractors and developers, by substituting the biophilic for the biophobic, by integrating vernacular forms and forces as legitimate, quantifiable design influences, by breaking new ground in their influence on other disciplines—by all these changes, architects can weather the crisis within and offer solutions to crises in the world; architectural historians can broaden their approach to incorporate these changes into the scholarly record.
The critical distance afforded by historical hindsight allows architectural historians to categorize and classify monuments of the past. Critical consciousness allows architectural historians to identify ideologies, trends and conditions as they develop and thus to formulate a relevant analytical apparatus through which to engage architecture in its contextual milieus.
Fifty years ago, architects were radicals intent on refashioning architecture, its settings and its users; today the conditions facing architects are radical—historians will have to sort out the details by expanding their approach to move beyond skyscrapers, museum expansions and public libraries. As Baan, Brillembourg and Klumpner note,. Baan, Brillembourg and Klumpner Attending to the immediate needs of a world in crisis, architecture can emerge from its own crises of theory, practice and identity.
Rather, by assuming a predominant position in the built environment, design that focuses on those historically excluded from the benefits of good design can complement and perhaps even re-humanize architecture through a series of humanistic reforms and reassertions.
Architectural historians, then, must reassert the relevance of the humanities, just as architects must reassert their role in the designed and built environment. These reassertions, informed by transdisciplinary initiatives and catalyzed and mobilized by a shared sense of crisis, can help to clarify and distill the role of architectural history for the twenty-first century.
Albuja, S et al. Torre David: Informal Vertical Communities. Blau, E A Question of Discipline. Delbeke, M and Forty, A Keynote discussion. Association of Art Historians Annual Conference. Kallipolliti, L McGuirk, Justin ed. Meeks, C The New History of Architecture. Ostroff, T Saez, E Architettura, funzioni e ambiente.
Esperienze alpine a confronto. Atti del Convegno. Trento marzo , Accademia della Montagna del Trentino, Trento. De Rossi A. Il Novecento e il modernismo alpino , Donzelli, Roma. Dini R. Elementi per il progetto , in Gibello L. Breve storia della costruzione dei rifugi sulle Alpi , Lineadaria, Biella. Capanne e bivacchi in Valle d'Aosta: dai pionieri dell'alpinismo a oggi , Segnidartos, Biella. De Saussure H.
Gibello L. Gwiazdzinski L. Joutard P. Langer A. Lyon-Caen J. Motti G. Pareyson L. Pinelli C. Stephen L. Straw W. Terray L. Tiberghien, G. De Marchi V. The decisive contribution made by architects, engineers and technicians was registered later, especially during the twentieth century. Voir la notice dans le catalogue OpenEdition. Navigation — Plan du site. Our design team brings several ideas to the table — in the form of typically two or three preliminary schematic designs.
Schematic designs consider how you approach a building and move through it. These are far from the drawings needed to build a building. We use trace paper and pens, working fast and loose so we can explore as many potential approaches as possible. This is an exploration and learning phase — for both you and the design team. We want to feel free to be bold.
We use this time to generate ideas that are undeniably better than anything considered before the process began. This phase usually includes several meetings with you to bounce ideas around, obtain feedback and make sure all critical considerations are being addressed. Together, we dial in an overall approach to the project and agree upon a design strategy. We refer to this accomplishment as a resolved schematic design. You can select a general contractor GC at almost any point in the process.
We generally recommend starting this step just as the schematic design phase is wrapping up. There are many ways to find the right builder for your project. Regardless of how you choose a GC, you want one who has experience working with architects and has demonstrated a history of teamwork. Changes in plans are to be expected while a project is under construction.
Once we have a resolved schematic design, we begin turning its ideas into actual buildable architecture.
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