An Integral Approach to Design Strategies and Construction Systems R. M. Schindler's "Schindler Shelters"

R. M. Schindler's Schindler Shelters designs for low-cost, mass-producible housing are significant and innovative. This project illustrates Schindler's longtime interest in flexible design strategies and integrated construction systems underpinning his Space Architecture. In the Shelter project, systematic design strategies are used to achieve flexible layouts for mass-produced dwellings. The panel-post construction system is developed as a means of achieving this goal; the system uses unit components and allows for interchangeable assembly of its parts. This study reconstructs the archival material related to the project by analyzing housing layout variations to reveal the underlying logic of Schindler's scheme and by fabricating scaled models to simulate the construction process.     

ARCHITECTURE REVIEWING THEORY: Sir Henry Wotton's Dialectical Articulation of the Vitruvian Tradition.

In the introduction to his text of 1624, The Elements of Architecture Sir Henry Wotton briefly, and critically, reviews the texts of the Vitruvian theoretical tradition to date. He concludes that none of his predecessors have adequately articulated the precepts of ancient architecture. Their texts, he variously suggests, are muddled, overly concerned with rhetorical style, or limited by their attention to purely local (non-English) conditions. He proposes his Elements of Architecture as a remedy for this lamentable slate of affairs.

It would be an error to dismiss this introduction as mere rhetorical flourish, for its critical focus upon the style of Wotton's predecessors draws attention to the deliberate construction of his own text. It reveals the parallel between the architecture of Wotton's prose and that of an exemplary Vitruvian edifice: both building and text are ruled by order, clarity, symmetry, economy and decorum.

Wotton's text might be read as an eloquent argument for the proximity of theory to architecture. The analogous relation of these two realms of practice is a familiar theme within classical discourse. However, this paper argues that Wotton. for all his apparent simplicity, is making a sophisticated claim. He emphasises not only the intelligibility of theoretical discourse, but also its resistance to closure. The Aristotelian dialectic of his ‘method’ acknowledges the limits of authorship.

In Wotton's text the proximity of theory and architecture allows a reversal of the usual relationship: architecture reviews theory as much as theory reviews architecture. This paper reflects on Wotton's dialectical method. and observes the potential for architecture to review theory     

Social engineering and participation in Anglo-Swedish housing 1945–1976: Ralph Erskine's vernacular plan

This article appraises the career of architect Ralph Erskine focusing on the context for his contribution to Swedish and British social housing and planning. Erskine's formative experience during the 1930s and his subsequent transnational career are utilized to explore the mutual influences of planning ideals across national boundaries. The Garden City ideal, Functionalism and the urban village concept are considered for their long-term contribution to his work. In addition, vernacular architecture and participatory planning are explored as influences on the evolution of his community architecture vision by the 1970s. Drawing on evidence from urban developments in Britain and Sweden, the discussion demonstrates that Erskine's cultural transfer of international planning ideals essentialized aspects of British and Swedish historical culture. The article concludes with a discussion of the 1970s and Erskine's role in the redevelopment of Byker in Newcastle upon Tyne. This process was hailed as a pioneer moment in the English community architecture movement. However, this study demonstrates that Erskine should be distinguished from the grassroots activism of the community architecture movement. Rather the discussion emphasizes that his participatory planning was underpinned by a structural tension between social engineering and democratic participation that was generated and reinforced by his transnational career.     

人居理论视角下的空间与社会形式解读——以长沙太平街历史街区为例

本文从人居理论视角入手,以Space Syntax(空间句法)探讨长沙太平街历史街区的空间形式与社会组织形式的关系,检视空间句法理论对解读空间的社会形式的准确性。透过空间构成理论的分析成果与史料的对照,我们可以发现街区的范围以及空间的社会逻辑的形式,空间句法理论清晰的解读了太平街区的空间与社会形式。     

Maurice Rotival: French planning on a world-scale (Part II)

This paper analyses the life and work of the French planner Maurice Rotival through his practical and theoretical work as well as his teachings in cities and regions in Europe, Africa and the Americas. Rotival's plans and projects reflect the influence of major events and changes of the twentieth century - two world wars and the advances in technology and research they promoted, the advent of the automobile, the subsequent urban transformations and large-scale demolitions - and influenced the development of planning in the twentieth century. Through five major steps of Rotival's international career, this article analyses the development of Rotival's pragmatic organic planning doctrine and his regional approach from his experience and training in France at the eve of the First World War, to his subsequent regional and urban planning work in Caracas, New Haven, Europe, Reims and other French cities until the 1980s. By considering Rotival's career as a part of economic globalization at a time when the colonial context was dismantled, the present article highlights the planner's role in societal transformation in collaboration with the e´lite and demonstrates the growing international exchange of planning ideas in the twentieth century.     

Maurice Rotival: French planning on a world-scale (Part I)

This paper analyses the life and work of the French planner Maurice Rotival through his practical and theoretical work as well as his teachings in cities and regions in Europe, Africa and the Americas. Rotival's plans and projects reflect the influence of major events and changes of the twentieth century - two world wars and the advances in technology and research they promoted, the advent of the automobile, the subsequent urban transformations and large-scale demolitions - and influenced the development of planning in the twentieth century. Through five major steps of Rotival's international career, this article analyses the development of Rotival's pragmatic organic planning doctrine and his regional approach from his experience and training in France at the eve of the First World War, to his subsequent regional and urban planning work in Caracas, New Haven, Europe, Reims and other French cities until the 1980s. By considering Rotival's career as a part of economic globalization at a time when the colonial context was dismantled, the present article highlights the planner's role in societal transformation in collaboration with the e´lite and demonstrates the growing international exchange of planning ideas in the twentieth century.     

Architecture is the pattern of human mind in space: Claude F. Bragdon and the spatial concept of architecture

‘Space’ has held a central position within the architectural discourse throughout the twentieth century and a number of twenty-first-century publications suggest interest in this notion is not to be diminished any time soon. Seen from our contemporary perspective, the association between architecture and space could therefore seem ordinary and self-evident. However, existing scholarship has dated the adoption of the term ‘space’ in architectural vocabulary—as a fundamental category of architecture—no earlier than the 1890s. This early phase has been strongly associated with the German language and nineteenth-century German aesthetic philosophy, whereas, by contrast, the adoption of the term in architectural discourse in the English language is considered to have followed several decades later. This paper discusses the largely unknown case of the American Claude Fayette Bragdon (1866–1946), an English-speaking architect who adopted the notion of ‘space’ as early as the 1890s: concurrently with his German contemporaries. Through analysis of existing scholarship, archival material and Bragdon's published writings mainly up to the appearance of his book The Beautiful Necessity in 1910, it throws light on the main sources of Bragdon's ‘spatial’ concept of architecture and demonstrates connections to transcendental aesthetics and ground-breaking advances in nineteenth-century mathematics.     

The Palmach History Museum,Tel Aviv

In 1928 the Austrian architect and engineer Franz Löwitsch (1894–1946) published the article ‘Sensation of Space and Modern Architecture’ in Imago , the psychoanalytical journal edited by Sigmund Freud. Based on Richard Semon's theories of Mneme, which Löwitsch connected to psychoanalytical theories, the prevalence of dissimilar sensations of space throughout the stages of the development of western architectural history is presupposed, and Löwitsch offered an explanation of how their symbolic meanings reflected psychological conditions of a particular time and culture.

By connecting Semon's theory with psychoanalytical deliberations that equip the inherited memory of spatial sensations with pleasurable or unpleasurable emotions, Löwitsch furthermore argued that spatial sensations produce spatial concepts, and that the dominating shapes and forms of the architecture of a time therefore reflect the dominance of a particular inherited sensation of space. The unifying psychological make-up of a populace thus leads to spatial concepts that form an architecture which reflects these concepts and contain symbols that possess ‘satisfying powers’ valued by the majority of people of that particular time and place.

But Löwitsch's theory speaks of more than a mere justification for the usefulness of psychoanalytic theory as a methodology for the humanities. Löwitsch contrasted his findings meticulously with Oswald Spengler's controversially critiqued book The Decline of the West , Karl Scheffler's The Spirit of the Gothic and Eckhart von Sydow's Primitive Art and Psychoanalysis . The discussion of these contemporaneous writings that essentially sought to find the driving forces for the development of styles helps in formulating Löwitsch's final hypothesis. Here, he proposes the emergence of an ‘energetic space’ in architecture, which is the prevalent sensation of space that he predicts to emerge in the near future. His ultimate aim was not to enter academic discourse but rather to provide a scientifically based explanation, with which the impact of space on the inhabitant can be measured, explained and utilised in architectural practice.     

传统空间意识之今用——“三唐”工程创作札记

“三唐”工程位于西安大雁塔东侧，在建筑创作中运用了我国传统的空间理论，并以现代建筑四维空间理论为参照，以景寓情，形成意境。从而使这组时差一千多年的建筑群显得和谐统一而又气韵生动。“该工程是沿着继承发扬、探索前进的现代中国建筑创作之路而进行的一次试验。本文就学习运用传统空间意识处理宾主、虚实和意境几个问题谈些体会。     

篇首语

空间．自19世纪被引入到建筑学以来在现代建筑和城市中的社会性角色越发重要。到了20世纪，空间更成为了当代建筑学和都市研究话语理论中必不可少的论题。空间句法理论始于1970年代，经过了30多年的发展，已经在理论和实践上获得了令人瞩目的成绩。空间句法理论为我们对空间概念的理解提供了一个新的视角，它引发了我们对建筑学和社会学中许多核心问题的重新思考。     

Buber on (looking at) architecture

Martin Buber (1878-1965), the eminent Jewish theologian and social philosopher, would probably prefer to be described as the founder of philosophical anthropology. He is perhaps best remembered today as author of the highly influential I and Thou (first published in 1923). This paper sets out to introduce his ideas on architecture. Buber's interest in architecture has hitherto been overlooked, probably because his only published utterance specifically on this subject dating from the final period of his life was hitherto available exclusively in Hebrew. Considerable insights into Buber's thinking about architecture can be obtained from studying this short, published text of 1957, his Foreword to Within the Space of Architecture [ BeHalalah shel Ardichalut ], the Hebrew edition of Bruno Zevi's Saper Vedere l'Architettura [ Architecture as Space: How to look at Architecture ], first published a decade earlier in Italian. For the Hebrew edition not only was the title modified but also Zevi added a special introduction as well as Buber's Foreword. Despite its brevity this Foreword enables one to deduce Buber's fundamental ideas about architecture and about our perception of it. Furthermore, their foreword also casts new light on Zevi's ideas, as enunciated in this book.     

An Interview With Bernard Tschumi

Fredric Jameson (1934-), a critical theorist and Marxist philosopher who has written numerous books and articles on critical theory, is recognized as the first thinker who brought postmodernism's critical theory into architectural discourse. In Jameson's own words, “it was the representation of architecture that sparked dynamic dialogues of postmodernism as a cultural logic.” Architecture thus plays a most significant role in the formulation of his postmodernist theory. Jameson's contribution has become one of the major areas of research for several prominent architectural theorists and architects. This paper reviews Jameson's shift in his approach from Marxist theory to postmodernism. The investigation into this shift not only sheds light on the early theorizing of architecture, but also begins to add a historical dimension to various strands of interdisciplinary thinking on architecture and its philosophical undergirdings. Following a historical introduction to Jameson's theories and criticisms of architecture, the paper then covers his life and theories; clarifies his concepts of Marxism, postmodernism, and architecture, with particular attention to his interest in historicism and the role of built forms in cultural construction; and, lastly, delivers a thorough criticism of his works that have influenced architectural disciplines.     

From Deep Structure to an Architecture in Suspense: Peter Eisenman,Structuralism, and Deconstruction

This article examines the events that led architect Peter Eisenman to abandon his earlier mode of working, exemplified by his houses of the sixties through the seventies, and to begin his “deconstruction” projects, such as the Wexner Center in Columbus, Ohio. Eisenman's early concerns centered on late-modernist understandings of form, structure, autonomy, self-sufficiency, and strict self-referentiality. Through his writings, Eisenman situated his work within related theoretical issues that were circulating in the fields of linguistics, painting, and sculpture, using them as examples, analogies, and theoretical support. These other related disciplines reached a limit in the quest for autonomy and self-sufficiency due to the limit immanent in the logic and rhetoric employed to achieve their goals. The same deconstruction occurred in other fields, eventually resulting in theories called poststructuralist. This article explores the process through which Eisenman met such an impasse in his early work and began a more self-consciously deconstruction mode of working. I also consider how Eisenman's more recent work participates in an ongoing critique within cultural theory in general of institutions and power. Finally, I suggest that we reconsider just what deconstruction and postmodernism mean in architecture.     

Christopher Wren as a Baconian

This paper views Francis Bacon's theory of knowledge as an inseparable part of Christopher Wren's architectural production, and in doing so, attempts to explain, through selective examples, how Wren's buildings may be seen in a more appreciative light. Relevant ideas in Bacon's theory of knowledge are highlighted within their historical context as a powerful reaction to the existing intellectual traditions in seventeenth century England. In particular, the paper focuses on the Baconian notion of utility being the touchstone of credible knowledge in his search for power through knowing. His ideas became a powerhouse in the development of seventeenth century science in England, and generated a profound influence on, among others, John Wilkins and Wren's father, also Christopher Wren. Both men played an important role in the upbringing of Wren and in shaping his intellect. The works and writings of Wren and his close associate Robert Hooke are examined in this framework with an emphasis on architecture. This establishes an approach that is different from the conventional preoccupations with analyses of forms, and it provides an opportunity to give some of Wren's writings and buildings a fresh reading. Two salient themes in Wren's works emerge from this exercise. The first is an unprecedented architectural pragmatism that may be seen as fundamental to Baconian thinking; the second is a strong sense of formal freedom in architecture that seems to stem from the empiricist distrust of any notion of beauty. Although far from exhaustive, it is hoped that this examination will highlight the importance of focusing on ideas in trying to understand Wren's architecture. It is in this light, more than in the light of 'styles of forms', that Wren made his endlessly enlightening contributions to architecture; it is from this powerful Baconian empiricist background that Wren drew his confidence in creating a new architecture towards the end of the seventeenth century.     

路易斯·康的公共住宅设计——评费城MILLCREEK住宅区

路易斯·康（LOuisIKahn．1901-1974）这位现代主义建筑史上的哲匠，以其带有神秘的宗教色彩的建筑哲学理论以及富于情感的建筑空间闻名于世。在相当长的一段历史时期。他着力于对社会贫困人群住宅设计的研究。该文通过介绍康所设计的费城MILLCREEK住宅区，来论证康的平民建筑思想，以及这一思想对他后期建筑理论所产生的影响．     

建筑的复杂性与建筑师的多元身份

文章以莱昂·巴蒂斯塔·阿尔伯蒂作为艺术顾问、数学家和工程师、学者和人文主义者、建筑师和工程负责人的多重身份为切入点;以文艺复兴时代为转折点,环顾欧洲古代与近代;对比和并置与建造活动相关的哲学、工程、绘画与雕塑、工艺制作等领域兼有建树的建筑师,并说明建筑师的多元身份和今天建筑学定义以外的知识也许正是理解建筑的关键。     

祁英涛与正定隆兴寺

去年是祁英涛先生逝世 30 周年。距离上世纪 50 年代祁英涛先生主持隆兴寺慈氏阁落架大修工程已过去六十余年，这座他为之付出心力修缮和保护的寺庙，而今依旧吸引着来自世界各地的游人，也受到各界学者的赞赏与研究。祁英涛先生从业四十余年来，把自己毕生精力无私地奉献给了文物保护事业和中国古建筑研究工作。本文将笔墨置之于他对正定隆兴寺几座主要建筑的修复工程，研究他在古建筑修缮施工方技术和组织方面的主要贡献，以期能够对隆兴寺即将进行的新一轮的修复工作有所帮助。     

My Country and My People and Sydney Opera House: The missing link

It is known that Jørn Utzon (1918–2008), the principal architect for the Sydney Opera House project (1957–66), had a lifetime obsession for Chinese art and architecture. However, previous studies did not explore the relationship between Utzon and his venerated Chinese writer Lin Yutang (1895–1976). How Utzon represented the ideas and ideals he received from Lin Yutang׳s conceptualization of Chinese art and architecture in My Country and My People (1935) has not been systematically documented. To this end, this article examines the role of Lin Yutang׳s work in Utzon׳s architectural career generally and the architect׳s Sydney Opera House design in particular. It argues that My Country and My People nurtured young Utzon׳s own architectural philosophy, as reflected in his early manifestoes and design projects. Eventually, Lin Yutang׳s Chinese aesthetics encapsulated in calligraphy, painting and architecture helped Utzon to initiate, articulate and further communicate the design principles of his Sydney Opera House, as well as several other important architectural works before and after. Although Utzon never fully realized his Opera House due to forced resignation in 1966, the inspiration from Lin Yutang vividly remains in Utzon׳s yet to be finished masterpiece.     

言语与空间：横跨住宅论和都市论的思考机制

本文试图阐明日本建筑师筱原一男的建筑论。筱原一男不但对第二次世界大战后的日本建筑界,并对海外许多年轻建筑师有着持续的影响。自1953年发表处女作“久我山之家”后,筱原的建筑师生涯一直持续到2006年去世。作为建筑师,其独特之处在于与作品平行的充满魅力的言说。以住宅设计为中心活动的筱原在书写住宅论的同时,其根底一直存在着对都市的观察,这让他与同一代的建筑师形成了明确的差异。对于住宅这一建筑中的极小空间,与涵盖人类社会的巨大都市,筱原是在设计时如何认识两者间的关系的？本文通过筱原的言语和空间这紧密关联的双方进行详细分析,把筱原概念中的根本机制归纳为“异形的并置”与“虚构性”两个关键词。     

绘画与建筑——当建筑大师帕拉斯玛“相遇”绘画杰作

短文主人公帕拉斯玛是芬兰一位著作等身、实践及建筑活动都颇为丰富的著名建筑师。在他几乎倾其一生的思考创作中．绘画或其他艺术形式对建筑的影响都始终是其关注与探讨的话题。《相遇：尤哈尼·帕拉斯玛-建筑论文集》是大师用他的生活体验与人世“相遇”而引发的一系列有关建筑存在的思考。本文试图分析该书中帕拉斯玛在其身体现象学观念下,解读绘画中的建筑的独特方式,从而揭示他与艺术“相遇”的本质。