The New ARCH Vol3 No1 (2016) by S.ARCH

International Journal of Contemporary Architecture

The New ARCH Peer-reviewed open-access E-journal

ISSN 2198-7688

Vol. 3, No. 1 (2016) April 2016 www.The-New-ARCH.net

Editor-in-Chief Arch. Marina Stosic, GERMANY E: Editor@The-New-ARCH.net

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Cover Illustration Idis Turato: Hotel Navis (Foto Ivan Dorotic)

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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A WORD FROM THE EDITOR-IN-CHIEF We have approached the 3rd volume of the International Journal The New ARCH. In the previous six issues, besides the research part of the Journal, we have always had exciting interviews with star architects, having gained insights in their way of thinking about and creating architecture today. Thus, this issue will not be different. We are proudly presenting you the finalists of the S.ARCH 2016 AWARD for both Project and Conceptual Design. We are delighted for having such an excellent feed-back for the, in this year, introduced AWARDs. We have received a huge number of projects from studios from all over the world. This encourages us to also carry forward in 2017. Furthermore, I am strongly recommending you the second part of our editorial – the Interview with an extraordinary and inspiring architect Idis Turato form Croatia. His refreshing art of thinking, his curiosity and honesty in dealing with architecture are very unusual and a fortiori very valuable! Founding Editor & Editor–In–Chief Architect Marina Stosic

On behalf of the Journal’s team, I am wishing you pleasant reading!

___________________________________________________________________________________________________________ A Word from the Editor–in–Chief

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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EDITORIAL BOARD Editor-in-Chief Arch. Marina Stosic, GERMANY E: Editor@The-New-ARCH.net

Editorial Board Arch. Prof. Dietmar Eberle – Baumschlager Eberle, AUSTRIA; ETH Zurich, SWITZERLAND Arch. Prof. Kengo Kuma – University of Tokyo, JAPAN; Kengo Kuma &Associates JAPAN, FRANCE Arch. Rafael de La-Hoz – Rafael de La-Hoz Arquitectos, SPAIN Arch. Philippe Rahm – Philippe Rahm architects, FRANCE / Visiting Prof. at Harvard University, Cambridge, USA Arch. Luca Francesco Nicoletti – UNITED KINGDOM Arch. Jose Luis Vallejo – Ecosistema urbano, SPAIN Arch. Bostjan Vuga – Sadar+Vuga, SLOVENIA Arch. Prof. Despina KYPRIANOU SERGHIDES – Cyprus University of Technology, CYPRUS Arch. Ass. Prof. Tarek Abdelsalam – University of Modern Sciences & Arts (MSA), Cairo, EGYPT Arch. Hassan Estaji – Hakim Sabzevari University, IRAN, University of Applied Arts Vienna, AUSTRIA Arch. Mirjana Uzelac Filipendin – Atelje Krstonosic, Architect & Journalist ArchIntention, Ambijenti, SERBIA Arch. Dr. Haris Bradic – University of Sarajevo, BOSNIA AND HERZEGOVINA Arch. Nikola Novakovic – Enforma, MONTENEGRO Arch. Ass. Prof. Wah Sang WONG – University of Hong Kong, CHINA Arch. Prof. Nevnihal Erdogan – Dean of the Faculty of Architecture and Design, Kocaeli University, TURKEY Arch. Dr. Dina Ahmed Ahmed Elmiligy – Princess Norah Bint Abdulrahman University, SAUDI ARABIA Eng. Ass. Prof. Vincenzo CORRADO – Politecnico di Torino, ITALY Arch. Ass. Prof. Zsuzsanna Fulop – Faculty of Architecture, Budapest University of Technology & Economics, HUNGARY Arch. Dr. Paola Leardini – University of Auckland, NEW ZEALAND Arch. Dr. Manfredo Manfredini – University of Auckland, NEW ZEALAND Arch. Ass. Prof. Laila Amer Al Kahtani – Princess Norah Bint Abdulrahman University, SAUDI ARABIA Arch. Prof. Dusan VUKSANOVIC – University of Montenegro, MONTENEGRO

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www.s-arch.net

S.ARCH 2016 PROJECT AWARD

>>>

SHORT-LISTED PROJECTS FOR THE

The ICE Kraków Congress Centre ©HR

©Marcin Czechowicz – MURATOR HR

Malopolska Garden of Arts

100 Walls Church

*The names of Studios will be posted after the Short-List Jury selection.

Residential Building DMT

ARCA house

House cj_5-housing in urban density

House VDV

Promenada Velenje

Klan Kosova Television Station

ÂŠTettamanti

Nautilus

ÂŠStefan Mueller

St. Trinitatis Catholic parish church

S.ARCH 2016 DESIGN AWARD >>>

*The names of Studios will be posted after the Short-List Jury selection.

www.s-arch.net

©Stijn Bollaert

GATE 15 NM Villa

©Sylvia Fournier

Community Center of El Rodeo de Mora

SHORT-LISTED PROJECTS FOR THE

Slavija Square with Fountain

Hatay Governorship Building

Casablanca

Fuente Santa Hot Spring Baths

The Serpentine Project

Tinel

Waterfront Djurasevici

A self-formed LOUNGE

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Despina K. Serghides et al Monitoring Indicators of the Building Envelope for the Optimisation of the Refurbishment Processes

Aida Idrizbegović Zgonić, Jasenka Čakarić Universal Hyperlocalism

Amira Salihbegović, Amra Salihbegović Interactive Building Structures as Thermal Storage of Solar Energy

Arta Xhambazi Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture

Anna Yunitsyna Housing, Climate and Economy – The Regional Influences on the European Housing Space Standards

Nağme Ebru Karabağ Aydeniz, Sergio Taddonio Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) — Adaptive Reuse and Experience Design

Luiza-Cecilia Spiridon, Lidia Păcurar Urban Perception: A Study on how Communities’ Necessities regarding the City’s Form and Function have changed throughout Time and how this affects Urban Relationships

Ardita Byci Jakupi Patterns of Places as Means for Conceptualising — The Space and Buildings

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About the Journal

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Instructions for Authors

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Authors‘ Papers

Idis Turato – The Post Punk Creator of Dissonant Architecture

The Journal

Editorial

CONTENT

S.ARCH-2016 International Conference

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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The Post Punk Creator of Dissonant Architecture Interview with

IDIS TURATO Not so often, there is a chance to sit and talk with people who are interested in the intriguing side of the problem of the project. No matter what is the nature of that problem the solution might be slightly out of a comfort zone – esthetically or functionally. The first impression might picture the chaos and disorder, but when getting to the bottom of the concept one might actually discover the beauty of contradictions in it. Those same contradictions attracted the creator to become bold enough to jump into another architectural reality and threat the problem differently. The exact same thing is responsible and can be described as the situation distinguishing individuals from the mainstream and leads the modern practice towards new ways of its existence and development. If you are a decedent of the 60s from the 20th century, you may recall the new musical wave that totally changed the course of development in musical industry by implementing dissonant melody. Also, if you are from the 80s and you grow up with the sound of electronic music you will also be familiar with the unexpected turn of rhythm or samples within the songs. The same thing happened with the architectural scene at that time. However, in the region of Balkan that was not so widely spread trend. There were music but not punk architects. Therefore, architect Idis Turato is one of the rare examples of an architect that kept this unique spirit of creation still alive even today. Turato (born in 1965) is an architect, professor, musician and above all very interesting creative mind. He founded RandicTurato office in 1992 with architect Sasa Randic and latter in 2009 he founded the independent architectural office Turato Ltd. in Rijeka. Among his most acclaimed and awarded projects are aula of Pope John Paul II in Rijeka, project for sports hall, square and kindergarten Katarina Frankopan on Krk island, Nest and Cave house in Opatija, house Gumno on Krk island and many more. He has received numerous architectural awards including Croatian Architects Association Award (CAA) Viktor Kovacic, for the most successful architectural achievement, Vladimir Nazor Award, which is annually awarded by Croatian Ministry of Culture for the best artistic accomplishment, CAA Drago Galic, for the most successful realization in residential architecture as well as the international Piranesi Award. He was nominated eight times for the European Prize Mies van der Rohe. He received his PhD in 2012 and is teaching at the Faculty of Civil Engineering, Architecture and Geodesy in Split and at the Faculty of Architecture, University of Zagreb. This is a short story about a single voice in architecture that is so rare and inherent that the creation alone can play the perfect Source: Idis Turato (Photo Maja Bosnic) concert. ___________________________________________________________________________________________________________ The Post Punk Creator of Dissonant Architecture – Interview with Idis Turato

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Hall and Square on Krk Source: Idis Turato (Photo Jure Zivkovic)

Hall and Square on Krk Source: Idis Turato (Photo Idis Turato)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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The architecture is not just a job, it is a tradition in your family – many of your relatives and close family members were actually architects. How this tradition did influenced or maybe constrained you or your work? Turato: For me it was a bit different path because I realized latter in my life that I should be practicing architecture. It wasn’t my first choice of study but after a while I realized that I should go to Zagreb and finish the Faculty of Architecture. The family traditions helped me to demystify the architecture very early. I was a witness of my father’s work – all the tourist resorts along the Adriatic coastline in the 60s – and it helped me to understand the role of an architect in the world. That is the reason why I don’t believe in classical inspiration because I realised a long time ago that the architecture is a very long process. It is far away from the picture that is presented to young kids in the high school – as some sort of infatuation, artistic and dissolute profession. It is very opposite – it is very complex but extremely inspirational profession which can be enlivened. That was very important to me. I realized that when you are an architect you may stay an architect constantly. This profession is not like a dentist where you have certain part of the day with working hours as dentist and dedicate the rest of the day to something else. When you are an architect you may create things through the whole day – as 24/7. When I

realized that I’ve decided that this profession is much more suitable for my creative spirit then to finish something else and spend the rest of my days playing the bass. I wanted to have very meaningful relationship with the future profession. The profession that can be lived 24/7 but through various contexts – that is how I see architecture. Before you become an architect you played bass guitar. Do you still play it sometimes? Turato: I do play it but only for my soul and my friends. Yes, I was a musician before I became an architect. The experience I gained from playing in a band is quite similar as working in architectural office. There must be an order and equal relationship but then again you are always aware who can play solo in the office and who is the main rhythm or back guitar.

How does music define you? How it influences your work? Turato: Sometime, in my lectures, I showcase a strong inspirational situation that comes from music industry. Take Liam from Prodigy for example: the founder of music group which first started to sample their music with a synthesizer named “prodigy”. By inserting and combing samples of melodies, rhythms and different music styles they created new relationships and new

Hall and Square on Krk Source: Idis Turato (Photo Sandro Lendler)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Gumno House Source: Idis Turato (Photo Ivan Dorotic)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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music. Or take the musician Nick Cave: in the song “Where the Wild Roses Grow” with Kylie Minogue, he is talking about the murder being with the most beautiful women of Earth. You have so gently women voice and sour lyrics which is indeed in contradiction. Another example can be the USA’s band that used dissonant accords and notes by adapting their guitars with restricted tools so the guitar stays dissonant and produces different sounds. This is completely new relation to the instrument, theme and the final product – the song. I am doing that same thing in my architecture. I can describe it as inflicting pain to some walls of other elements and combine them in a new

special relation and composition. So, it could be said that the music explained to me how I should practice the architecture. I am a decedent of a post-punk music generation creating dissonant pictures of our reality.

In your work we can acknowledge so called duplicity of creation – known and less recognized meaning of correlation or dialogue between the existing and the built environment. Why is that so? Turato: For me, honestly, the specific situation within the urban environment always drove my attention as a

Gumno House Source: Idis Turato (Photo Igor Crnkovic)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Gumno House Source: Idis Turato (Photo Ivan Dorotic)

sort of contradictions. This can be explained by my field of interests because I am a kid of pop culture. When you look at the most beautiful cities, those cities are the most contradict places! Take a Venice for example: who on Earth would build a city on water in the middle of a lagoon?! This could be explained as a type of fear from the attack in the middle ages that created some kind of error. From this way of thinking we have a magnificent floating Mediterranean city. Another example can be New York city and the island of Manhattan: we have a typical north American urbanism with high density and too high buildings with strong geometry for that particular location. However, the secret and the beauty of New York lies in that picture of unusually high buildings. These extreme contradictions are very interesting to me. Generally speaking, I love them in a light of unexpected connections or correlations. When you have an opportunity to collies two different things, then it can be very surprising situation. When you synthesize two opposite things the result can be quite different and sometimes I do that on purpose. I look at it as a kind of laboratory – synthetize the ingredients in a correct order and with adequate measure, proportion, the so called “tools” of architecture and wait for the result that needs to have some kind of meaning. I strongly believe in some of those tools. Even if you are working on some chaotic structure it needs to have some order inside it. First, comes the scenario: Why am I even doing it? Then comes: Which are the ingredients in that context? And finally, at the end: I am working on creating something totally surprising!

Since the context is very important to you, which one is more interesting: the built or the natural?

Turato: It doesn’t matter the nature of the context. More important is the unique signature of that particular context or a kind of unique problem connected to it. Honestly, I am not making difference between the urban and the natural environment. It is hard to distinguish what is natural today because we can testify that there is nothing left from the original natural environment. Everything is adapted according to our needs. If I have to choose I would like to make something out of the city, out of the urban area. I would like to get an assignment to create something that will be part of or in the middle of infrastructure, industry or ecology.

It is very interesting that your users are extremely important to you work. Would you explain this a bit more? Turato: That is the most important thing for an architect. I always start from the problem that future user/client brings on the table. That situation makes me necessary. I always have some kind of forethought, or how would I like to realize some project but still the particular problem comes from the client. The more bizarre problem, the challenge becomes bigger. Even when none of my colleagues wants to do the particular project I am still in, as a cleaner or as a last resort. Honestly, that is the reason why I am still in the business because I don’t have fearful nature and I am open to any kind of collaboration. The problem behind the project challenges me, not the object itself. The building is an effect of scenario and/or the story behind the project.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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The main accent is on solving the unique nature of the project. Weather the problem lies within the context, or the owner, or the typology, or the finances. I adore problems!

The essence of architecture is the family home as you have declared few times – it is a place of the beginning and of the end, the place of the most beautiful moments. In your work there are many family residences of different sizes and programs. Would you live in some of your creations? Turato: No, I am living in an old apartment from 1910s. For now, I am certain that I wouldn’t be happy to live in one of my own projects. I love to live in a space which I havn’t create. I like my apartment because it gives me a sense of piece. It is very introverted which is opposite from my projects which always have a spectacular view. I wouldn’t like making my own house. It gives me much greater pleasure working on a project than living in it.

Is that because of special relationship you have with your clients? Turato: Yes, it has to do with that because I need the other side of the project. I can’t do that on my own.

Where do you find the inspiration for your projects? Turato: I am very curious person. I am always looking at things, whether they are positive or negative. I am analysing them all the time. I am looking for my own answers to the existing problem. Frankly speaking, in a matter of artistic side of inspiration – so called classical inspiration – it doesn’t exist within myself in that old fashion. I think that is some kind of myth from the late 19th century connected to the impressionism, which disappeared over time. My inspiration comes from a line of impacts on the location, an analysis and a group of elements that I intend to combine. Each and every day I am looking for new sources of influences.

Nest and Cave Source: Idis Turato (Photo Sandro Lendler)

___________________________________________________________________________________________________________ The Post Punk Creator of Dissonant Architecture – Interview with Idis Turato

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Nest and Cave Source: Idis Turato (Photo Sandro Lendler)

___________________________________________________________________________________________________________ The Post Punk Creator of Dissonant Architecture – Interview with Idis Turato

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Nest and Cave Source: Idis Turato (Photo Sandro Lendler)

You are famous for the certain style in architecture. Does this situation helping you with your future work or not? Turato: I must say that in a last decade people are more trustful towards me and that is the advantage of that certain affirmation. It is much easier to accomplish the ideas and it is much easier for the public to accept them. People can see the built structure and can rely on me to finish their projects. The bad side of this situation is that people are expecting something already seen. This puts me in a position that it might be opposite from my real picture. It could be just a segment of me and my work, or my past. It is not necessarily everything that I am and that I can do.

You are an architect, musician, professor and researcher. Which role do you prefer? Turato: I can’t separate one from another. All of these roles are important to me. I need them all but not to play big and important man but to test the theory in practice, e.g. each role gives me other point of view a sort of laboratory experiment conducted on the same project. I like to be involved in the education because I intend to intrigue young generations. I like to impel people to be

curious and to study and solve particular problems within the projects. At the moment I am working with a group of students from the Zagreb’s and Ljubljana’s faculties on the revitalization of an old hotel above the city Opatia on the Adriatic coast. This particular hotel became a generic station – a model of hotels that should be built along the shoreline of Croatia in the mid-50s. However, the building never lived its glory days and only one was built. Today this building is a ruin and it is protected by the law as a historical heritage. The question is: Why did this structure failed? Is it because of its function, or bad connection with the rest of the village, or construction, or the lack of typology itself? Nobody can be sure of the right reason why this structure failed. In addition, on the other hand it is not possible to build that kind of building today because of its characteristics (construction, energy efficiency, …). Thought the series of conversations with different actors and with the help of different analysis the answer might come up. This is how I am investigating the future and the possibilities. I believe that this is the great potential of each and every faculty. The experience from this kind of work is being transformed to my own projects. Therefore all of my roles are important and they are like connected dots that can’t be separated.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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We have to look back at our Balkan heritage and region as a place of realisation of the projects. It is not the best possible place for architects with a bold attitude and different projects but which building and/or which author from the Ex-Yugoslavian architectural history is the most interesting and/or important to you? Turato: There are maybe 3-4 architects who are crucial for me and my development but I wish to emphasize something else. The man isn’t capable of running from his origins. I don’t find this region (the Balkan) less inspirational or harder to work with. We are just living on this land that has been always called “in between” or in the middle of the East and the West – the land of the crossroads. Honestly, I find this very interesting, maybe even as a great situation. When you are living in this type of space, the result can never be perfect and continues in any sense because of the influence and the judgment you are receiving from each side. The only thing that is certain in this region is the discontinuity. My hometown was built as an extension of the harbour’s infrastructure and it could be stated that it was based on the conflict between the East and the West. This situation helped me a lot. I love that sort of differences that gives birth to unbelievable tension. Our region was always very restless and I think that is a good thing. It is not so important how we are dealing with the situation on our own terrain but I think it is much harder to become a globally recognized architect if coming from the Balkan. No matter how similar we might think and understand the profession, no matter how original we are as our European colleagues we will always suffer from the lack of freedom of practicing our work outside the region. If I have to recall some architect from our region, I must give huge recognition to Nikola Dobrovic and the famous military Headquarters in Belgrade that was heavily destroyed by bombing. The structure is still standing beautiful as the first day witnessing the greatness of its creator. Dobrovic was the magnificent architect equal to some other great architects from the Europe and the Headquarters building was maybe the best building ever built in our region from that time.

There is a sort of confusion about the green architecture and urbanism. What is the right way to do it and to deliver it? What is a sober or rational way of thinking and perusing that green goal that we gave to ourselves? Turato: I have a problem with today’s green architecture! I don’t believe that what we are doing right now and what we are learning today is the only vision of sustainability. We are starting with a location and I do not think that any architect wants to create unsustainable architecture on any location, not today

and not in the past or in the future. We are not the problem, the problem is somewhere else. I really don’t believe that this green architecture that we are applying today (e.g. putting some kind of insulation on the wall or putting some smart installation on the roof that will tell us whether it is good to stay in this space or not – some red paranoia according to some thermostat) shows all the faces of sustainability. I really believe that cities like Kotor or St. Stefan are sustainable cities. However, maybe Porto Montenegro is not so sustainable after all. Honestly, I believe that the architecture must be sustainable. That is not questionable at all! Even in the past, it has always been sustainable. Very rare the architecture becomes some sort of gest, trick or monument and of course it doesn’t have to be sustainable under all conditions. If you look at the Triumphal Arch in Paris, you will see that the building is sustainable. It serves as a marker of the important event, which is more a social sustainability. When you look at the high tower for example no matter how strange the building looks like it was still built as a sustainable structure. If you look at the three circles of sustainability (society, economy and environment) you may always agree that the building is still made as a sustainable building in the context of one of these circles. That is the reason why I said that the old Mediterranean cities are sustainable – they are built with stones, on rocky location, for local fishermen and traders. The problem comes from the standards that prescribe that these rooms must have temperatures of 22–25°C. When I was young, in the mid-70s, I slept in the same kind of the stone house where the temperature of the room was only 15°C and I covered myself with much thicker blanket. Back in the days, the houses were much less heated than today but that house was still sustainable. That thicker blanket was today’s insulation applied to the walls. Therefore, nobody can make me believe that my house wasn’t sustainable for that time. The difference comes out when we look at the “rules” of sustainability from another point of views. When someone says that we have to be able to walk inside our house dressed only in t-shirts or shorts even in the middle of a cold winter, that is the time when the problem of sustainability gets it turn. Instead of adequate clothing suddenly we have inadequate building. The standards have been changed over time and we got ourselves stuck with all existing buildings that are somehow now unsustainable – which is not always the case. My grandmother had a garden in our own backyard. We foster fruits and vegetables and my family didn’t go to a shopping centre to buy groceries – we had it in our own yard and we have been very sustainable. Today we call it urban gardening and it is very rare but back in the days

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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Hotel Navis Source: Idis Turato (Photo Ivan Dorotic)

Hotel Navis Source: Idis Turato (Photo Maja Bosnic)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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Hotel Navis Source: Idis Turato (Photo Maja Bosnic)

that was implicit to every household. Then, one day somebody said that we can’t foster plants anymore and that is the paradigm of sustainability. This is the reason why I have a “problem” with sustainability. When someone claims that only photovoltaic panels, insulation and geothermal pumps are the only type of sustainability I can’t agree with that statement. I can agree that those segments are just one part (the technical part), but those parts are not the only side of sustainability. By my opinion, I think that the term “suitability” become o sort of myth nowadays and lost its true meaning.

What do you think is the future of architecture and what is the architecture of the future? Turato: The architecture will always have a future. It means that as long as there are gravitation, Sun and

people the architecture will be inconsumable. The essence of architecture – the space itself – will always exist. I honestly believe in the certain surprise with the space that can be compared with the physical fascination – e.g. getting chills when you enter the building. New technologies can help us to better walk along the physical or virtual space but we will still deal with the basic of that space – the walls, floors or ceilings. The only difference will be the influence on these elements – some new kind of medium that will have its’ influence on structure. I believe in the future! The past doesn’t interest me at all. I consider myself as a futurist of the digital era and I am more interested in what is coming next?! The possibilities are unbelievable and I am so curious about the next level. The certain anxiety about peoples’ lives and instability is responsible for a new order where the only thing that is certain is the uncertainty. However, the architecture will remain and develop in the mirror of the coming ages.

Interview: Mirjana Uzelac Filipendin M. Arch.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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Authors’ Papers

Despina K. Serghides et al

Monitoring Indicators of the Building Envelope for the Optimisation of the Refurbishment Processes 11

Aida Idrizbegović Zgonić, Jasenka Čakarić

Universal Hyperlocalism 18

Amira Salihbegović, Amra Salihbegović

Interactive Building Structures as Thermal Storage of Solar Energy 25

Arta Xhambazi

Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture 39

Anna Yunitsyna

Housing, Climate and Economy – The Regional Influences on the European Housing Space Standards 45

Nağme Ebru Karabağ Aydeniz, Sergio Taddonio

Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) — Adaptive Reuse and Experience Design 57

Luiza-Cecilia Spiridon, Lidia Păcurar

Urban Perception: A Study on how Communities’ Necessities regarding the City’s Form and Function have changed throughout Time and how this affects Urban Relationships 65

Ardita Byci Jakupi

Patterns of Places as Means for Conceptualising — The Space and Buildings

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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DOI: 10.14621/tna.20160101

Monitoring Indicators of the Building Envelope for the Optimisation of the Refurbishment Processes Despina K. Serghides*, Stella Dimitriou, Martha C. Katafygiotou, Chryso Chatzinikola Cyprus University of Technology, Department of Environmental Science and Technology 5 Onisylou, Flat 303, Strovolos, Nicosia 2015, Cyprus; despina.serghides@cut.ac.cy

Abstract

1. Introduction

Climate change is the greatest long-term challenge facing the human race. The building sector in Europe is responsible for an estimated 40% of the total energy consumption. Therefore, the energy efficient renovation of the existing building stock is imperative for the reduction of the building energy consumption. The overall improvement of the energy performance of the building stock is one of the main targets set by the Europe 20:20:20. Currently in many European countries the information regarding the present condition of the energy performance of the national building stock is rather diffuse and most of the data are based on assumptions. Therefore, projections for the expected future energy performance of the buildings and their energy demand are hindered and inadequate. It is possible to surpass these barriers by targeted monitoring actions. The basis could be laid by the introduction of concerted Energy Performance Indicators (EPI), which will result in reliable statistics concerning the average energy refurbishment state of different building types. This paper focuses on the Monitoring Indicators of a selected pilot housing stock in Cyprus in the framework of the IEE, EU project EPISCOPE. The Monitoring Indicators of selected houses are investigated; these include a set of energy related aspects of the building envelope, such as insulation levels of walls, windows, roofs and floors, as well as their respective refurbishment rates.

The European Union considers climate change as the greatest long-term challenge facing the human race. It is therefore its priority to reduce the carbon dioxide concentrations, which are one of the main contributors to the climate change [1]. It is well established that the emissions of carbon dioxide are related to human activities and specifically to the conventional energy consumption. The building sector in Europe consumes an estimated 40% of the total energy [2, 3]. It is difficult to improve this situation without the energy efficient renovation of the existing buildings [4]. To achieve this objective and evaluate possible scenarios for intervention, it is necessary to document the existing situation in the building sector through Energy Performance Indicators (EPIs).

Keywords:

Energy performance Indicators; Monitoring indicators; Existing building stock; Building envelope

Article history:

Received: 23 October 2015 Revised: Accepted: 14 January 2015

Various studies attempt to define different sets of EPIs for the building sector. The indicators, amongst other aspects, refer to the energy performance of the envelope elements, the geometry of the construction, the environmental attributes of the building materials [5,6], the efficiency of the energy production and delivery systems, as well as the energy consumption of the buildings [7]. One of the main aspects related to the energy efficiency of a building to be considered for the energy refurbishment of existing buildings, is the energy performance of the building envelope [8]. The most influential variables of the building envelope, in terms of energy performance, are the materials, its shape and the fenestration type and orientation [9, 10]. Furthermore, it is demonstrated that although the envelope related energy demand is directly correlated with the total energy demand of the building, for mild and sunny climates, the shading devises of the fenestration and the inertia variations in the building design should be included in the energy related energy demand indicators [11]. Concerning the energy performance indicators, of the building envelope, several studies have investigated the

___________________________________________________________________________________________________________ D. K. Serghides et al: “Monitoring Indicators of the Building Envelope for the Optimisation of the Refurbishment Processes”, pp. 1–10

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possible main indicators for the modelling of the sustainable performance of the envelope. Lombera and Aprea [12] focus on the environmental performance indicators of the building materials, such as the use of minerals, the land uses, the acidification, the climate change, etc. These indicators are related to the environmental attributes and impact of the construction materials and demonstrate the correlation between the two. In another relevant study, Al Waer and Sibley [13] identified the sustainable energy performance indicators by measuring the level of sustainability in terms of environmental, social-cultural and economic impact. A more in depth research in this area was performed by Abraham Mwasha et al. [14], which resulted to a weighting of various indices in order to create one indicator by incorporating energy and resources sustainability into the buildings’ envelope sustainable performance assessment for addressing the issue of sustainable energy in residential buildings. In Cyprus, although the energy performance of the dwellings has been investigated in various studies [15, 16, 17], the energy performance of the construction materials and the envelope elements has not been studied in depth. In 2010, the overall energy performance indicator regarding the energy consumption of the housing sector was improved by 23%, from the corresponding in 2000 [18], attributed mainly to the introduction of energy regulating legislations in Cyprus, after the country’s entry in the EU in 2004. This indicator was based on the energy expenses related to space heating, Domestic Hot Water (DHW), cooking and electrical appliances; however, it is not linked to the energy performance of the envelope elements. A study containing information about the energy performance of the envelope was performed in 2014 within the framework of the EU IEE EPISCOPE project, resulting to a set of EPIs for the existing building stock of Cyprus. The results were published in a Master Thesis [19]. These refer to the energy performance of the building envelope, the energy suppliers for space heating and the energy consumption of the existing building stock and provide an initial basis for the country’s housing energy profile. The Monitoring of the energy performance of the buildings may be performed with a variety of methods including occupants’ surveys, psychical monitoring and onsite measurements. The majority of the studies use a combination of at least two methods [20, 21]. This paper is based on a set of tables, for the calculation of the EPIs for the housing stock entities in the field of thermal protection and heat supply against the background of energy saving and climate protection needs, as created by the European IEE EPISCOPE Project [22]. The study focuses on the monitoring of the energy

performance of the building envelope of a Housing Portfolio in Cyprus. This paper is a case study and aims at establishing a monitoring scheme for the EPIs of the envelope elements, for the housing stock in Cyprus.

2. Methodology The investigated building stock, for the studies, belongs to the Cyprus Land Development Corporation (CLDC). The information about the construction of the buildings and the energy performance of their envelope is derived from three sources of information; the architectural plans provided by the CLDC, a questionnaire survey based on LARES standards [23] performed through telephone and onsite observation. Initially, the building stock of the CLDC was divided in three main typologies, based on the IEE TABULA classification scheme [24]; the Single Family Houses (SFHs), the Terrace Houses (THs) and the Multi-Family Houses (MFHs) and in two chronological periods, based on their construction date and the energy regulating Directives in effect. The division of the chronological periods was determined by the Energy Performance of Buildings Directive (EPBD) 568/2007 [25], which set the minimum energy performance requirements for the building envelope elements. On the resulted typologies various energy performance studies have been carried out [15, 16, 17]. The monitoring procedure was developed in two steps. First, the details of the envelope elements, as constructed, were found and their respective U-value was calculated. For the collection of the data the architectural plans and drawings provided by the CLDC, were studied. Also, architects, engineers and technicians from the CLDC responsible for the design and the construction surveillance, were interviewed for the Corporation’s construction practices. Additionally, the Directives concerning the energy efficiency of the buildings for each period were taken into consideration. Following the collection of the construction data for each building, the study continued with the questionnaire survey and the onsite observation, in order to determine the refurbishment rates for the envelope elements and the current state of their thermal performance. The envelope elements under study are the walls, the floor, the roof and the windows. The floor was further divided into floor in contact with the ground, apartment floor/floor in contact with non-heated spaces and exposed floor (Pilotis). Besides the number of dwellings refurbished for each envelope element, the annual refurbishment rate was found, separately, for the old building stock and the complete building stock. The annual refurbishment rate

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is based on the year of the construction of each dwelling and the year of the questionnaire survey, which was carried out in 2014. For the annual Refurbishment Rate the following formula, Eq. (1), was used:

envelope elements’ performance after an energy efficiency upgrade or after the adoption of an energy regulating legislation. The applied formula, Eq. (3), was used for the calculation:

aRR = a % /( 2014 − mCy )

Dwelling(meanU − value) =

(1)

areaA*U − value( A) + areaB*U − value( B) + ...

(3)

where: where:

aRR = annual Refurbishment Rate, α% = the percentage of dwellings which had improved the element under inspection, mCy = mean Construction year of the building stock under study. For every envelope element under study its construction materials were specified and their U-value was calculated. The U-values are important because they form the basis of any energy or carbon reduction standard. Currently, in Cyprus every external building element has to comply with the thermal standards, which are expressed as a maximum U-value [25, 26, 27]. Subsequently, the U-values were divided into levels of thermal insulation. The division of the U-values in levels was based on both the initial energy performance of the elements and the Energy Performance of Building Directives (EPBD) in effect in Cyprus. The U-values are divided into 4 levels, from level 0 to level 3. Level 3, which is the highest, strictest, limit, corresponds to the NZEB standards as set by the Directive 366/2014 [26] and level 0, corresponds to the U-value of a typical uninsulated element. The two, intermediate levels, 1 and 2 are specified by the minimum requirements for the U-values as set by the Directive 466/2009 [27]. For envelope elements composed of two or more different constructions with different U-values, such as the walls, which are composed of bricks and reinforced concrete, their U-value level is considered as areaweighted. The area-weighted U-value refers to a mean U-value for the element, taking into consideration the percentage of prevalence of each area of different Uvalue. The following formula, Eq. (2), was used for the calculation of the U-value of these elements, as area weighted:

Element ( area − weighted ) = a % * Typea ' + b % * Typeb ' + ...

(2)

where: n%*Typen’ = the U-value of a specific type of construction (Typen’) multiplied by its percentage prevalence over the total element surface. (n%). Also, the concept of mean U-value was employed in order to find the percentage improvement on the

areaA*U-value(A) = the area of a specific envelope element (e.g. wall) multiplied by the U-value of this element.

3. Monitoring indicators of the pilot building stock envelope The survey sought to find the improvements realised concerning the thermal insulation of the buildings envelope elements and the current state of their thermal characteristics and specifically their U-value.

3.1. Initial construction data of the building envelope The CLDC building stock consists of 2484 dwellings housed in 606 buildings. For the monitoring, typical dwellings were chosen from each typology and construction period. The chronological periods are the following: The old building stock, built between 1981 and 2006 and the new building stock, constructed from 2007 to 2013. This division was adopted based on the first minimum energy performance requirements for the envelope elements, which were set in 2007 with the Directive 568/2007 [25]. A total of 104 dwellings were studied, 76 from the old building stock and 28 from the new, which correspond to a 4.19% of the total building stock with a 9.45% margin of error of and a 95% confidence level, as calculated with the online software of Raosoft [28]. Detailed data of the building stock are shown on Table 1. The average area of the sample houses was 94.3m2 and they comprise of 5 Single Family Houses, 56 Terrace Houses and 42 Apartments. All the dwellings under study have a reinforced concrete frame structure with brick external walls. The finishing of the external walls is usually plaster, whereas for the floor the most common practice is the use of ceramic tiles. Furthermore, it was observed that the Cyprus Land Development Corporation used double-glazed windows from 2003 onwards in the construction of the dwellings. Therefore, for the window refurbishment, as old building stock was considered the dwellings constructed between 1981 and 2003.

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Table 1: Basic data of the pilot building stock

Table 2: The CLDC dwellings envelope’s mean U-values

In Cyprus it is a usual practice to raise the Multi-Family Houses in columns, and create a free, open space in the ground floor, which is referred to as Pilotis and is used mainly as a parking space. A 50% of the CLDC MultiFamily buildings have Pilotis. The Pilotis are presented separately from the Ground Floors/Apartment Floors due to their exposure to the exterior environment and the strictest energy-related requirements applied to them.

The typical construction for the walls, the floor, the roof and the windows, as well as the corresponding U-values, for the old and the new building stock are shown on Table 2. From the Table2, it is observed that the external envelope elements of the new building stock, have improved U-values compared with those of the old building stock. The mean percentage improvement reaches 78% for the opaque elements and 39% for the

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fenestration, which is indicative of the effectiveness of the insulation and the impact of the EPB Directives on the construction practises and the improvement of the thermal performance of the buildings envelope.

3.2. Refurbishment rates of building envelope elements From the 104 dwellings surveyed, a total of 7 had refurbished their roof, by adding insulation and 19 had changed their windows, replacing the single-glazed windows with double-glazed ones. All the dwellings, which carried out refurbishments, belong to the old building stock. The refurbished buildings correspond to 13.5% of the complete building stock, for the insulation instalment on the roof and 18.27% for the windows replacement. The corresponding refurbishment percentages are higher for the old building stocks, reaching 18% and 50% for the roof insulation instalment and windows replacement, respectively. There was no indication of any refurbishment of the walls and the floor. None of the surveyed households had refurbished both their roof and windows. All the dwellings, which had their roof insulated, were constructed between 2003 and 2007 and had already double-glazed windows. It is therefore observed that the first energy related improvement of the households is the improvement of their fenestration, with the replacement of the singleglazed windows with double-glazed ones. All the refurbishments were realised between 2004 and 2011. These dates demonstrate the association between the energy refurbishments and the Government grant scheme from the Special Fund for installation of thermal insulation in buildings, in the period 2005-2011 [29]. The annual refurbishment rate for the roof insulation instalment is 0.41%/a, for the complete building stock

and the corresponding for the windows replacement is 1.14%/a. The old building stocks present a 0.45% annual refurbishment rate for the roof insulation improvement and 2.27% for the window replacement. In the refurbished dwellings, the average thickness of the installed insulation on the roof is found to be 4cm and the average U-value of the improved windows is 3.2W/m2K. These values result from the common construction practices and the average values of the double –glazed windows with aluminium frame, which comply with the Directive 466/2009 [27] and the «Guide for Building insulation» published by the Ministry of Energy [30].

3.3. Current state of buildings envelope thermal insulation The external walls of the buildings under study are composed of 80% brickwork and 20% reinforced concrete. The insulation levels are considered per element. An insulation of a higher level (e.g. Level 2) for the windows compared with a lower level (e.g. Level 1) for the roof insulation, is higher as insulation level/per element, but at the same time corresponds to higher U-values, therefore being worse in terms of absolute thermal performance. As it would be expected, the element with the highest insulation level/per element is the Windows. This is due to the larger initial number of double-glazed windows and the fact that the Windows is the element with the highest refurbishment rate amongst the old building stock. The Ground Floors (in contact with the ground), Apartment Floors (floors in contact with not heated space) and the exterior Walls have the lowest level of insulation, partly due to the lack of any minimum energy related requirements for the ground floors and to a great extend due to the non-compliance from the

Table 3: Refurbishment trends

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Table 4: Building insulation – Current state

CLDC with the Directives regarding the floors in contact with not heated space and the non-load bearing Walls. The detailed division into levels is presented in Table 4.

4. Future projection of the energy refurbishments Based on the EPIs extracted from the survey, a projection of the future development of the pilot building stock in terms of the energy performance of its envelope elements was made. The expected improvement of the performance of the envelope is measured in mean U-value percentage improvement. The comparison of the mean U-value in 2020 is made with the value of 2005, which corresponds to the old building stock. The comparison is made in order to find out if the current rates (percentage of refurbished dwellings /year) and depth (percentage improvement of mean U-value/refurbishment) of refurbishments meet the targets set by the Government of Cyprus for 2020 [31] (Figure 1).

4.1. Case study results The Energy Performance Indicators of the Tables 3 & 4 were used as a base for a projection of the future refurbishment rates of the building envelope elements of the CLDC building stock. It is assumed that the number of dwellings comprising the old building stock has remained the same. From the survey it is concluded that only the windows improved their U-value significantly, with more than 30% increase in the number of refurbished dwellings from 2005 to 2020. On the contrary, the roof refurbishment, with its low refurbishment rate, results to less than 7% increase in refurbished roofs from 2005 to 2020In order to find the overall improvement rate in terms of U-values, the notion of average buildings and average envelope areas was used. The impact of the windows and roof refurbishment upon the mean U-value is calculated as percentage improvement, as well as the percentage improvement of the new building stock U-value, compared with that of the old building stock. The results can be seen in Graph 2, for the average buildings of the three main building typologies; the Single Family House, the Terrace House and the Multi-Family House. The new

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Figure 1. Future projection of current energy refurbishments rates for the CLDC old building stock

Figure 2. Percentage improvement from the old building stock mean U-value (%)

buildings’ mean U-value is significantly lower than that of the old buildings, ranging from 45% for the Single Family Houses to 54% for the Multi-Family Houses. The roof insulation refurbishment has an impact on the mean U-value improvement of 17% in the Multi-Family Houses up to 23% in the Terrace Houses and the windows refurbishment only reduces the mean U-value by 7% in the Single Family Houses and 8% in the Terrace and the Multi-Family Houses. By combining the refurbishment rate with the refurbishment impact on the mean U-value of the dwellings it is concluded that the overall mean U-value improvement from 2005 to 2020 is expected to be

around 4% for the old building stock. Even when the new buildings are taken into consideration and a new construction rate of 2% [32] is considered from 2014 onwards, the overall improvement of mean U-value of the pilot buildings won’t exceed the 17%. The results are indicative of the inadequate depth and rate of refurbishment of the old building stock in Cyprus. From the survey and the future projections it is observed that the old dwellings will contribute to the improvement of the overall mean U-value only by 23% by 2020, although they will compose more than 70% of the total number of built dwellings (Figure 2).

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5. Conclusions The results of this paper constitute the first attempt to document the energy-related refurbishments in Cyprus, focussing on the elements of the building envelope. The data include information regarding the building stock refurbishment rates, the insulation levels per envelope element and the building stock chronological period of construction. The U-values documented and used are in line with the National Directives of Building Energy Performance and the local construction practises, including specific architectural features, such as the extensive use of Pilotis. For the study both a questionnaire survey and onsite investigation were used as data collection methods, along with the analysis of the architectural drawings. The findings of the study were partly expectable, since the technical characteristics of the envelope, after 2007, were determined by the inforce Directives. Nonetheless, the percentage improvement of the mean U-value is presented for the first time. When comparing the external envelope elements of the new building stock with those of the old building stock, it is observed that a U-value improvement of 78% for the opaque elements and 39% for the glazed elements is implemented. The breakthrough of the investigation lies in finding the energy refurbishments’ trend and set a projection for the future of the stock in terms of energy performance. According to the survey results the only building envelope elements that are thermally upgraded are the windows and the roofs of the old building stock. For houses constructed from 1981 to 2003 the improvements refer to the replacement of the singleglazed windows with double glazed ones and for those constructed from 1981 to 2006 the instalment of 4cm of insulation on uninsulated roof. The results show that when the roof or the windows of the old building stock are thermally refurbished their U-values reach the thermal standards of the new building stock, as documented in the study. The annual refurbishment rate of the windows is more than 5 times higher compared with the energy refurbishment of the roof. This difference between the two annual refurbishment rates is significantly lower in the complete building stock due to the smaller number of dwellings having initially single glazed windows and hence the smaller impact of this refurbishment over the total number of dwellings under study. Furthermore, from the survey it is observed that the initial refurbishment carried out by the dwellings of the Cyprus Land Development Corporation is the replacement of the windows. This tendency might be

attributed to the aesthetics associated with the fenestration of a dwelling, as well as the perception of the inhabitants that most of the energy is lost through the windows. If the current annual refurbishment rate is to be projected in the future, all the single-glazed windows of the old building stock of the Cyprus Land Development Corporation will be replaced with double- glazed ones in 24 years and the roofs of the corresponding old building stock will be insulated in 202 years. These refurbishment practices correspond to low percentage improvement of the mean U-value and insufficient overall improvement of mean U-value for the old building stock, which is only 4%, from 2005 to 2020. From the records of the current thermal insulation levels of the different envelope elements, it can be deduced that the recent European Directives referring to the minimum energy requirements of the building envelope have contributed significantly in the upgrading of the insulation levels of the building elements. Nevertheless, the energy performance of the building envelope will not improve significantly, if the low refurbishment rates and limited energy refurbishment practices of the old building stock do not change towards a more impactful direction. Since most of the documented refurbishments in the survey were conducted during the period of the first grand scheme of the Ministry of Energy, it seems that an effective way of promoting the energy refurbishment of the building envelope would be the adoption of governmental grant schemes for subsidies related to the building energy improvements. For future studies and investigations on the subject, it is intended to relate the energy performance and the effectiveness of the energy refurbishment of the envelope elements with the energy performance of the dwelling as a whole entity and more specifically with its energy consumption, on a national level. Also, the environmental performance indicators, as resulted in previous studies will be associated with the performance of the envelope elements, thus resulting to an overall indicator of envelope sustainability performance of the dwellings in Cyprus.

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school building stock in Cyprus: Energy simulations and upgrade scenarios of a typical school.” Energy and Buildings, Published Online, Volume 72, Pages 8–16. [3] M. Santamouris et al., Energy consumption and the potential for energy conservation in school buildings in Hellas, Energy 19 (6) (1994) 653–660. [4] C. A. Balaras, State of energy efficient building in Hellas, in: The European Directory of Energy Efficient Building, James & James, London, 1993. [5] A. Dimoudi, C. Tompa, Energy and environmental indicators related to construction of office buildings, Resources, Conservation and Recycling 53 (2008) 86–95. [6] D. K. Serghides, M. C. Katafygiotou, "The role of materials in the energy efficient retrofitting of traditional buildings", Pg 728-735, Book title: “Materials and processes for energy: communicating current research and technological developments”, Formatex Research Center, ISBN (13): 978-84-939843-7-3, August 2013. [7] Pedro Goncalves, Adélio Rodrigues Gaspar, Manuel Gameiro da Silva, Energy and exergy-based indicators for the energy performance assessment of a hotel building, Energy and Buildings 52 (2012) 181–188. [8] Serghides, Despina K., Chrissa G. Georgakis. "The building envelope of Mediterranean houses: Optimization of mass and insulation." Journal of Building Physics 36.1 (2012): 83-98. [9] G. K. Oral, Z. Yilmaz, The limit U values for building envelope related to building form in temperate and cold climatic zones, Building and Environment 37 (2002) 1173–1180. [10] G. K. Oral, Z. Yilmaz, Building form for cold climatic zones related to building envelope from heating energy conservation point of view, Energy and Buildings 35 (2003) 383–388. [11] Vasco Granadeiroa et al., Envelope-related energy demand: A design indicator of energy performance for residential buildings in early design stages, Energy and Buildings 61 (2013) 215–223. [12] J. T. Lombera, S. J. Aprea, A system approach to the environmental analysis of industrial buildings, Building and Environment 45 (3) (2010) 673– 683.Sdfshs. [13] H. Al Waer, M. Sibley, Sustainable development for regional shopping centres in the UK: measuring the level of sustainability and application of a sustainability assessment model/SCRSC, in: International Conference on Urbanism and

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[25] Directive Κ.Δ.Π. 568/2007 Website of the Ministry of Energy, Commerce, Industry and Tourism, http://www.mcit.gov.cy/mcit/mcit.nsf/0/FBFBEE8 5D45A6CD5C22575D30034F1A1/$file/KDP568_20 07%20%20peri%20Apaithseon%20Elaxistis%20En ergeiakis%20Apodosis%20Diatagma.pdf [26] Directive Κ.Δ.Π.366/2014, Website of the Ministry of Energy, Commerce, Industry and Tourism, http://www.mcit.gov.cy/mcit/mcit.nsf/All/DF8E18 7B6AF21A89C22575AD002C6160/$file/KDP366_2 014_peri%20Rytmisis%20Energeiakis%20Apodosis %20Ktirion(Apaitiseis%20kai%20texnika%20xarakt iristika%20pou%20prepei%20na%20pliroi%20to% 20KSMKE)Diatagma2014%20.pdf [27] Directive Κ.Δ.Π.446/2009, Website of the Ministry of Energy, Commerce, Industry and Tourism, http://www.mcit.gov.cy/mcit/mcit.nsf/All/DF8E18 7B6AF21A89C22575AD002C6160/$file/KDP446_2 009%20peri%20Rythmisis%20Energeiakis%20Apo dosis%20Ktirion(Apaitiseis%20Elaxistis%20Energei akis%20Apodosis%20Ktiriou)%20Diatagma.pdf [28] Raosoft Online Software, http://www.raosoft.com/samplesize.html [29] Grant scheme for saving energy and encourage the use of renewable energy, Energy Authority

webpage, SOURCES, http://www.mcit.gov.cy/mcit/mcit.nsf/All/E209B4 E7DC6E87FBC2256FC500414376/$file/%CE%A3% CE%A7%CE%95%CE%94%CE%99%CE%9F_%CE%A 7%CE%9F%CE%A1%CE%97%CE%93%CE%99%CE% A9%CE%9D_%CE%93%CE%99%CE%91_%CE%91% CE%A0%CE%95_%CE%9A%CE%91%CE%99_%CE% 95%CE%9E%CE%95.pdf?OpenElement [30] “Guide for Building insulation” published by the Ministry of Energy, Website of the Ministry of Energy, Commerce, Industry and Tourism, http://www.mcit.gov.cy/mcit/mcit.nsf/0/E074577 C58AD9EFCC22575B60047BEA8/$file/ODIGOS%20 THERMOMONOSIS%20KTIRIWN%202H%20EKDOS I_%20PINAKAS%20DIORTHOSEWN.pdf [31] Europe 2020 official webpage, http://ec.europa.eu/europe2020/pdf/themes/16_ energy_and_ghg.pdf [32] Cyprus Statistical Service 2015, Construction and Housing, http://www.mof.gov.cy/mof/cystat/statistics.nsf/ All/F173D0C9F27D08F7C225770C0038F90F/$file/ CONSTRUCTION-1995_2014-EL190315.xls?OpenElement

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DOI: 10.14621/tna.20160102

Universal Hyperlocalism Aida Idrizbegović Zgonić*, Jasenka Čakarić University of Sarajevo, Faculty of Architecture Patriotske lige 30, 71000 Sarajevo, Bosnia and Herzegovina; aidaiz@af.unsa.ba

Abstract

1. Introduction

Architecture in historic urban context, no longer burdened by nostalgic concepts or aggressive/ignorant contrasts, has become an innovative platform where contemporary architectural practice thrives upon. Contemporary hyperlocalism uses local narratives and processes (or in some instances forms, patterns, materials), as well as universal architectural and human ethics to generate new values in a given context. It is also not a conditioned response to globalism, but rather a medium through which conflicts of local – global, specific-universal are resolved. Cultural sensitivity is an integral part of this discourse, since it is the embodiment of the local urban conditions and lifestyle. Historical urban areas have always been a subject of slow and gradual transformation, only in the past few decades this process was interrupted. The historical areas were either left aside and the new city parts were built, leaving the city cores without vital functions or population. The other extreme was brutally imposed “modernization”. Urban and architectural design paradigm has shifted to constant transformation of places and buildings (as opposed to creating new), and that this recycling is a complex, multilayered process that starts with a specific space, and by augmenting, enhancing and innovating delivers a singular space that inherits the universal and hyper-local virtues.

Under pressure of globalization and increasing density of built space, architects are faced with a challenge they might not be prepared for - architecture has become more about transformations of the existing structure and fabric, a permanent modification and mutation of existing space in order to accommodate new structures and functions. To some architects this seems incomprehensive; almost a betrayal of ideals of architecture that have long been in place – to create new, iconic structures [1]. The innovative iconic structures have always been integral part in progress of building and civilization; recently we are overwhelmed with “show off” iconic, yet similar structures everywhere.

Keywords:

Universal hyper-localism; Historic urban context; Urban transformation

Article history:

Received: 14 November 2015 Revised: 13 January 2016 Accepted: 29 January 2016

Architecture in historic urban context has long been burdened by polarizing terms: historic context is associated with conservative, resistance to change and modernization is seen as a universal neutralizer of local identity. The issue arrived with the Modernist movement that had followed the ideal of universal architectural language that can save the world. This is referred mostly to bare functionalistic modernism (as mannerism) that promoted reduction of details, elements of identification without the sophistication and skills of masters of modernism. Today, even though the design and construction possibilities are better than ever, the result is getting less diverse. Most of these new buildings are solid architecture work, but have a tendency to uniformity, calculated simplicity and reduction. According to Paul Ricoeur: "The phenomenon of universalization, while being an advancement of mankind, at the same time constitutes a sort of subtle destruction...“ [2]. This is ever so visible when a new building is erected in a mixed or historic context, in most cases it tends to override basic human emotions and needs such as sense of belonging, individuality, local cultural condition, sense of past and diversity. The Modernist movement and contemporary architecture provide some of the

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most important values of architecture today: idealism, universal value and design integrity. Current negative trends have arisen more from the unethical use of financial means and space and lack of critical reasoning and awareness. In order to mitigate the negative trends a new approach strives to create a system of dialogue, mediation between the inherited and new. Transformation of urban tissues is not a new process, it has been ongoing since the creations of first cities, but it has been gradual, well adjusted to local cultural and bioclimatic conditions. The acceleration of the process has been immense in the past 20 years. The paper will explore dualistic nature of logical and ideological space, and the notions of globalism, context and means of their resolution through the universal hyper localism approach. With no strings attached to a particular purist style or suffering from nostalgia, can architects/urban designers find found a meaningful relationship between the new building and its context?

2. Logical vs. ideological space Urban and architectural space (cities) has been shaped through two principles of urban and architectural development: − Logical space principle − Ideological space principle Both logical and ideological spaces were then formulated by urban processes and forms [3]. In general the overriding principle has been the „logical space“ in the sense that cities evolved due to a desirable geographical position, accessibility, trade routes, natural resources and were built in concordance to the physical layout of space. In some instances the logical distribution of urban tissue was replaced by a strong and overriding idea what a space should look like. One of the best examples of the two principles, actually created consequentially on the same space is the historical city of Baghdad, Iraq (Figure 1). The city is a classical example of two opposing aspects when it comes to genesis of urban form. The round shape was the early Baghdad (between 762-766 AD) created under the influence of early Islamic civilization by an abstract idea of creating a perfect city, with concentric fortification and the mosque in the centre (of universe). Through later periods the round city was abandoned and the current city of Baghdad formed under ottoman and European influences (18th and 19th century) is

Figure 1. Baghdad on the river Tigris − Two principles of space development: ideological and logical

formed in a more logical manner, longitudinal shape along the river, using it as its best asset. Why this example matters today? Throughout history ideological spaces were used to express grandeur of kings or religion, but it was still limited to an exclusive group of people. Today, the ideological (conceptual) space prevails through abstract urban/architectural concepts1, generalization and globalization and more than ever through means of capitalist ideology with disregard to the spatial logic or specificities of a place.

3. The Contestualism vs. Globalisation 3.1. Context In order to provide insight into the „clash“ between Contextualism and Globalism it is necessary to have an overview of the issues that define both terms in the realm of urbanism and architecture. Architectural and urban context is determined by an almost infinite number of variables, that combined provide the specific circumstances of the context. These variables can be roughly divided into three groups: − Environmental (natural) features, such as: space morphology, bioclimatic conditions, natural resources; − Man made (built) features: urban matrix, materials, typology, silhouettes scale, volumes, infrastructure; − Meta-physical variables: intangible features, history, culture, lifestyle, genius loci, node points, ideology etc.

1 adhering to the logic of space and recent rise in starchitects Throughout history there have been cities and spaces formed and spectacle of architecture has contributed in generation of by an idea, such as Palmanova Italy, but since the Modernist a conflict between the existing and the new. and CIAM movement the architecture is struggling with ___________________________________________________________________________________________________________

A. Idrizbegović Zgonić, J. Čakarić: “Universal Hyperlocalism”, pp. 11–17

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

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In architecture, contextualism has often been equalized with nostalgic regionalism, but current tendencies are broadening this definition that it is the use of uniqueness and specificities of a certain space that provide a platform for creation of contemporary concept. Previously the contextual theories have more or less dealt with terms like Contrast and Blending in: Principle of “Contrast” can, in many instances, be essentially the of ignorance towards the existing urban tissue and surroundings. In that sense method of “contrast” in historic urban layout is highly sensitive, and can produce conflicting, confusing outcome or it can be a bold statement bordering on provocation one with substance and refined intellectual coexistence with the existing fabric. Principle of “Blending-in” when the new building superficially resembles, reflects its neighbours by repetition of some elements of style. Even though these buildings create visual continuity the “blend in or nostalgic concepts” seem to lack the strength and credibility of their arguments, and fall into traps of indistinction. At the same time this principle allows “creation” of history and can be questionable especially in places that do not have a historical continuity composed of several layers of built matter. Both principles (contrast and blend in) lack an essential ingredient – relational attitude towards the place or building. This relationship is achievable through use of contextual strategy expressed in two basic principles: either one will establish a dialogue with a building or one will create tension between them, but in both cases it means engaging with all of the complexity of boundaries and extracting the essence and turning it into a meaningful visual and functional resolution. It is also possible to create a provocation through means of resistance and response to the situation as will be elaborated in the paper.

3.2. Globalism − It is essential to emphasize that not all aspects of globalization are negative, overall the positive aspects prevail: the world has never been as informed educated, wealthy, connected or accessible. The negative impacts are present and it is our task to find appropriate ways to address them. In his book Variations on a Theme Park, Michael Sorkin [4] has defined three

trends considered to be the future pitfalls of architecture: − A-geography (placelessness) where urban and architectural forms repeat in the same manner in different locations worldwide (shopping malls, airports, chain restaurants and retailers etc.). − Permanent creation of architectural spectacle and simulation of situations. − Increased control and surveillance and influence on people’s lives (this was written in time before Facebook and similar apps). To this one might add the acceleration of time, information and the general overwhelming feeling of condensed space/world. In urban and architectural design this is reflected through several factors with negative impacts: − Hyper globalization in architecture is manifested through repetitions of same visual solutions– branding, that overwhelms the streetscapes as pedestrians or billboards on highways that lead to desensitization, creating sameness. − Reality has become media aesthetic augmented reality in which people are perfected and standardized and architecture is shown through virtual 3D imaging without any reference to the context – every building can be built everywhere. − Formation of a global architectural elite that without a doubt produced some of the world’s most exciting architecture, even rebelled against the mainstream but have become the antonyms producing abstract forms, concepts – ideological space. − Radical gentrification of cities where populations and local architecture is replaced by new shiny skyscrapers (China, UEA). − And maybe the worst of all (due to the deception) is justification of abstract ideological space with green architecture and eco-friendly cover. Besides all of the above mentioned, one has to recognize that architecture has progressed through grand and iconic structures (Eiffel Tower, The Museum in Bilbao, Library in Seattle) through which these iconic structures create a strong point of reference, an identification of space which is in essence the task of architecture – to create a specific place. A legitimate concern can be raised in ethical deliberation of contextualism as is done by Tom Spector , in his book The Ethical Architect, 2001

___________________________________________________________________________________________________________ A. Idrizbegović Zgonić, J. Čakarić: “Universal Hyperlocalism”, pp. 11–17

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 1 (2016)

ISSN 2198-7688

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Figure 2. Globalisation, in some cases, is undermining perception of distinctiveness, as shown on the examples of cities of East and West (Abu Dhabi, Dubai, Chicago, Seattle), offering almost same visual identity

[5]2 in which he explores the imposition of context (although mainly in sense of regionalism) upon contemporary architectural practice. We can conclude that preservation of urban identity and continuity should co exist with visions of the future development, that regionalism is not always the answer to globalism but quality, uniqueness, social utility and specific conditions must be included.

4. Universal hyper-localism 4.1. Universal values Contextualism with the universal hyper-local approach, is based upon the theories and practices of critical

regionalism, but broadens this perspective, by redefining universal and local attributes used. Universality of architectural expression that has spread with the impact of globalism is a powerful architectural tool and among other things since it is also part of the world we live in today. Universal values are not only to be associated with architectural, but are also the common values of humanity, social inclusion and a need to believe in idealist/utopian improvement of life and living conditions. It emphasizes the dualistic nature of architecture (in historic context), that must at the same time respond and resist its surroundings. In architecture where we hear many simplified phrases such as form follows function, function follows form, in contextual

„... By the measure of regionalism, Chicago––the birthplace temptation to admit that skyscrapers can become regionally of the skyscraper––would arguably be the only city deserving appropriate in Shanghai under certain conditions, then of sleek, exciting, tall buildings. This narrow attitude can be theories of regionalism fall apart altogether. Either one takes avoided, but then the concept of regionalism loses all capacity a theoretical stand against allowing modernistic skyscrapers in to support normative distinctions. If modern skyscrapers are certain locations no matter what, or admits that this theory is considered regionally appropriate in cities with vibrant not ultimately about location, but about satisfying certain skylines such as New York and Hong Kong, why can’t they conditions: social utility, perhaps, or ecological become regionally appropriate in Shanghai? If we follow the concerns“(Spector, 2001). ___________________________________________________________________________________________________________ A. Idrizbegović Zgonić, J. Čakarić: “Universal Hyperlocalism”, pp. 11–17

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architecture form follows the flow of space (combining physical space, nodal points and movements). An excellent example of this approach is Inca Public Market place in Mallorca (Figure 3 and Figure 4) where the typical market square has become a series of useful and intimate spaces, accommodated to the Mediterranean lifestyle and climatic conditions (small square, awnings, closed market and parking space).

4.2. Hyper-local values Use of local archetypes, forms, materials is a part of the architectural practice of designing in historic context. Using familiar forms in new ways, as well as knowledge (sensibility) about local culture and lifestyle conditions is something design in context strives for. In order to always evolve one must always explore the singularity, the peculiarity, the processes behind the local urban and architectural form, as well as specific circumstances – thus the “hyper” in the title. Phenomenological approach is also a part of this exploration process; it wants to discover the causal essence of all things. According to Norberg-Schulz [6], a phenomenon is interlinked with form, as physical manifestation, and their form is the meaning.

That does not mean that forms create phenomena, but it is represented by their intermediate relationship, order or context in which they appear (Figure 5). In this regard we can say that every individual (architect, urban designer, designer) has a different perception of space that is their reaction to the material surroundings, circumstances. The perception is also conditioned by previous experience, knowledge, cultural values. As a conclusion one can state that even the material space has alternate realities, since all human beings treat the physical surroundings according to the individual qualities and traits [7]. Hyper localism allows architects to introduce an aspect of avant-garde localism, currently mostly designed by architect Francois Roche. It involves an unusual multisensory response to local conditions, creating what seems a contradiction – response to local condition and provocation at the same time. The Project “He shot me down” (Figure 6 and Figure 7) clearly responds to local conditions, visual not disturbing the green context the object is in, but also making a statement, recognizing the absurdity of demilitarized zone and thus forming the object as if a molten metal would react if a bullet was shot through. At the same time this acts as a visual and political provocation through hyper augmentation of reality.

Figure 3 and 4: Public Marketplace, Inca Mallorca (Charmaine Lay and Charles Muro, 2011) An outstanding example of capturing the flow of space, by creating a complementary contrast, enhancing and creating urban conditions suitable for the location/region

Figure 5: Meaning of the phenomena is the context in which they occur ___________________________________________________________________________________________________________ A. Idrizbegović Zgonić, J. Čakarić: “Universal Hyperlocalism”, pp. 11–17

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Figure 6 and Figure 7: He shot me down, project on the border of North and South Korea (Francois Roche, 2006) – Contradiction – response to local conditions and provocation at the same time

Architecture in context in the sense of Universal hyper localism can function through means of dialogue with its surrounding, through complementary contrast or through provocation, always oscillating on the fine line between response and resistance (rebellion).

5. Conclusion Architecture today finds itself repeating known forms and solutions, or making spectacle of illusions of innovation and progress. Many have tried to define architecture, but in regard to the discussions made through this paper, architecture can be defined as a generator of identity of space. In this regard, architects must find ways to evolve the existing space, uncover hidden layers of meaning and not be afraid to oscillate between certainty and ambiguity of their design solutions. According to Kevin Lynch [9] “our urban environment should not only be organized, but also poetic and symbolic ...elements of mystery, labyrinth and surprise”. However, the phenomena of context and urban transformation must be perceived within a frame of historical, cultural and spatial circumstances. Urban design and architecture have lost a part of its integrity through constant acceleration of time, events, connectivity. Cities have become a kind of temporary collages of structures and identities. This does not have to be a negative circumstance, panta rhei, but must be grasped and understood by architects and planners. Space, singularity, meaning and character of a place can be preserved through transformation or development with following conditions: a) improve the general urban conditions for inhabitants and visitors, b) have a rational attitude to bioclimatic, morphological conditions, c) produce a high quality architectural composition in respect to the existing matrix, proportion,volume, urban continuity, d) accent the singular and positive aspects of space, enhance or create identification, e) design functional and rational space and f) generate innovation

(need not be on a grand scale) by using the universal and local processes. As we have seen, with the phenomenological approach, it is not only about the typologies or forms themselves, but more about how and way (the process) the structures are interconnected – as the immanent essence of matter. This implies that the presence of phenomenon that distinguishes underlying conceptualizations of urban spaces, are not just a collection of physical facts, but are interlinked with distinct symbolic, spiritual and perceptive level. The process of inclusion of phenomena is not only in theoretical or ideological plain but also in practical aesthetical, perceptive semiotic level of design and its implementation [8]. Logical and ideological spaces are inherently parts of urban and architectural history each with its own role and contributions. As in all other cases a balance needs to be established, since logical space (spatial logic) has currently been taken aback with conceptual space. The universal hyper – localism is an approach that gives an ethical and theoretical reference frame for architectural practice.

References [1] Baudillard, Jean, Nouvel, Jean: Singular objects, Architecture and Philosophy, University of Minnesota press, Minneapolis, 2005. [2] Frampton, Kenneth, Perspektive kritičkog regionalizma, Perović, Miloš, Antologija arhitekture XX veka, AMB Grafika, Novi Sad, 2009, pp. 630–647. [3] Kostof, Spiro, The City Shaped: Urban Patterns And Meanings Through History, Bulfinch Press, Boston, 1991. [4] Sorkin, Michael, Variations on a Theme Park, Farrar, Straus and Giroux, New York, 1992.

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[5] Spector, Tom, The Ethical Architect: The Dilemma Of Contemporary Practice, Princeton Architectural Press, New York, 2001.

[7] Mandić, Rajka, Prostori imaginacije, Arhitektonski fakultet, Sarajevo, 2002.

[6] Norberg-Schulz, Christian, Intencije u arhitekturi, Naklada Jesenski i Turk, Zagreb, 2009.

[9] Čakarić, Jasenka: Semantika transformacija urbovodnih konteksta, Mas Media doo, Sarajevo, 2012.

[8] Lynch, Kevin, Image of a City, MIT Press, Cambridge, Massachusets, 1960.

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DOI: 10.14621/tna.20160103

Interactive Building Structures as Thermal Storage of Solar Energy Amira Salihbegović*, Amra Salihbegović Faculty of Architecture, University of Sarajevo Patritoske Lige 30, 71000, Sarajevo, Bosnia and Herzegovina; amiras@af.unsa.ba

Abstract

1. Introduction

Due to the external factors and constant changes as well as the demands of the interior, transparent envelope structures have always been in the focus of research and thus have constantly been tested and subject to various innovations. Therefore, thermal storage of solar energy in building envelopes by means of phase-change (PCM) materials has been implemented in architectural solutions even more. These materials are substances with latent heat storage, which in the process of melting or solidifying, change their state of matter and release large amounts of energy. These materials are integrated when installing glazing systems, whereas the melting temperature stays within the range by which this process is used for regulating the temperature of the interior thus ensuring the necessary thermal comfort. Apart from contradictory demands building envelopes are exposed to, when it comes to materialisation (or dematerialisation) of envelope structures, as a result of new trends in shaping and maintaining sustainable development of physical structures, needs arise for new improvements and innovative materials. This paper discusses advantages of interactive and integrated structures with phase-change materials when compared to conventional methods of materialisation, the principles based on which they function and their characteristics in terms of energy storage and rational energy consumption.

Ensuring optimal conditions for the interior aligned with the natural environment and the increasing ecology and energy-efficiency demands are the challenges we have been facing at present. The holistic approach to this problem has resulted in numerous innovative solutions on materialising the envelope structure. This has been especially prevalent when materialising transparent envelope structures. Due to contradictory demands, they represent the most dynamic surfaces, the surfaces introducing, ''changing'' and regulating the flows of energy (e.g. solar energy, heat, sound) and other (inside vs. outside space) interactive demands (water vapour channels, air flow, visual demands etc.) [1].

Keywords:

Interactive structures; Integrated glazing systems storing solar energy; Innovative technologies; Phase-change materials

Article history:

Received: 27 October 2015 Revised: 22 November 2015 Accepted: 01 February 2016

Dematerialising the envelope structure, the so-called ''skeletionisation'' of massive outer walls reached its peak in the Renaissance and Baroque architecture. Striving for light-filled spaces and allowing architecture and nature to permeate each other put an end to mysticism and was seen as a reflection of the richness of the society and the time of the Renaissance, as well as of the grandeur and glamour of the Baroque era. Light became the key component for defining spatial borders. As new materials were being introduced (e.g. concrete, steel, glass), the needs of the society for new solutions, new constructive dimensions and new aesthetic expressions brought an expansion of transparent structures to architecture and this trend has remained popular until present. For this reason, glass is the essential ingredient in contemporary architecture. The problems with ''the surplus'' arising after the dematerialisation on the one hand, and the dire consequences of energy-ecology crisis on the other, contributed to the development of all-encompassing and permanent research and innovations to materialise transparent surfaces both when designing them and when offering technological solutions.

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Figure 1. Interior: Cordoba, Spain, 785-987 (web)

Figure 2. Crystal Palace, Joseph Paxton, 1851 (web)

Figure 3. A lattice window (mušebak) from the Ottoman period, Sarajevo, Bosnia-Herzegovina

Figure 4. Description of the mur neutralisant by Le Corbusier [2]

Figure 5. Double layers (web)

2. The course of traditional construction and innovative technologies

cooling and heating, the acoustics losses, and with the air-conditioned spaces, came the era of the so-called ''sick building syndrome'' (Figure 1 and Figure 2).

What had been for centuries considered an advantage of massive walls has become the major disadvantage of transparent architecture. The comfort of the structure and its climate were at risk, there was too much light and heat, there were losses in energy when it came to both

Numerous architectural solutions were being sought for the arising problems, such as the sun-protection systems (e.g. blinds, shades etc.), and later, numerous advanced glass-production solutions, thermopane windows and aluminium profiles, thermal bridging,

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structural and post-structural glass façades etc. Today, we can use transparent envelope structures with a high level of heat, sound and sun protection, low-e multilayer glass systems filled with air or argon gas, or systems from which air has been completely evacuated (i.e. vacuum insulated glass). What is more, to improve the mechanical features of glass (e.g. brittleness) tempered and enamelled glass were also used. In this way, it was possible to ensure protection from a strike, breakage or fire. The concept of materialising the ''double façade'' occurred in the last decades of the 20th century. Its roots can be traced back to the principles of traditional masonry and ideas of numerous architects such as Le Corbusier, also known as mur neutralisant and respiration exacte (the first third of the 20th century). The double membrane with the in-between space that allows the air to circulate naturally is the value ascribed to opening spaces in traditional architecture, which is often aided by mechanical means in contemporary solutions (Figures 3–5).

manner, several functional components have been integrated [3].

3. Process of storing solar energy A traditional method of storing energy was conducted by means of constructing facilities made of solid materials (by means of monolithic architecture or construction). A stable room temperature would be ensured by means of accumulating room temperature during the day, which would then be emitted in late evening hours when the heating was low or turned off. However, the final outcomes found in standard construction materials (wood, stone, brick or concrete), have little significance (Table 1, Graph 1). The thermal storage tolerance is very low. The thermal flux will be transferred within the object in fewer than four hours [6]. This will cause over-heating, the thermal comfort will be disturbed and it will be necessary to activate airconditioners.

Apart from ''intelligent'' transparent structures with semi-transparent photovoltaic solar modules (thermochromic, photochromic, electrochromic, liquid crystal glass) whose function is energy management founded on solar energy photothermal conversion of chromic materials or using electrochemical reactions, the transparent envelope structures are now seen as surfaces that may contribute to thermal gains [1].

Table 1: Specific heat capacity of some materials. Data based on DIN EN 12524, temperature 20 °C, atmospheric pressure 1 bar

Owing to transparent latent thermal storage capacities (PCM), it is possible to store and emit heat inside a space, which results in stable room temperature. By means of these innovative designs, another function of the transparent structures has been fulfilled. Apart from improving the protection of the structure, the transparent structures act as a medium for energy conversion and storage (heating up and cooling). In this

(a)

Material

Density kg/m3

Specific heat capacity Cp, J/(kgK)

Steel

7800

460

Aluminium

2700

880

Concrete

2500

960

Stone

2600–2800

920

Full brick

1800

900

Water

1000

4190

(b) Graph 1. (a) Increased storage capacity through melting enthalpy [5] (b) Perceptible thermal storage capacity (kJ/L°C) for 1 litre, [5]

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The processes of storing and accumulating heat may be conducted in other ways as well. The simplest way is to heat up a certain material stored in a solid or liquid state, which will cause a change in temperature. It is also possible to use latent heat by melting solid materials in the process of changing their state of matter and by means of chemical reactions that allow heat to be released or increased as a result of reversibility.

3.1. Heating up a solid or liquid material Thermal storage by means of heating up a certain material is founded on the principle that the material stored in a container and having a certain mass and thermal capacity accumulates a certain amount of heat having been exposed to heat which is emitted when the temperature of its surrounding is lower. The amount of the heat stored up by a certain material is expressed as follows: Q = m Cp,v ΔT

(1)

where: Q = the amount of heat (J) m = mass (kg)

the interior temperature is lower as the accumulated energy is then emitted and the interior heated up. Based on the state of matter transformations and the phase-change types, there are three kinds of latent heat released:

−

In the process of vaporisation i.e. condensation (the transformation of matter from liquid to gas and vice versa);

−

In the process of melting or solidification (the transformation of matter from solid to liquid and vice versa);

−

In the process of crystallization and recrystallization (the transformation of the amorphous to the crystalline and vice versa).

Inorganic salts are phase-change materials with relatively high melting points (e.g. combination of sodium nitrate and potassium nitrate (KNO3, NaNO3), sodium sulphate decahydrate (the so-called Glauber's salt (Na2SO4x10H2O). One of the most commonly used thermal storage materials is the so-called Glauber's salt. New generations of latent thermal storage containers that have proven suitable in construction are produced in the form of granules or water dispersions, e.g.:

−

Inorganic salts hydrates (especially potassiumchloride-hexahydrate (CaCl2x6H2O) used for thermal storage in the process of materialising transparent envelope structures Cp, J/kgK;

−

Organic phase-change materials, the most renowned of which are paraffin wax and various compounds of alkanes (saturated hydrocarbons).

Cp,v = specific heat capacity (J/kgK) ΔT = difference in temperature (K) The specific heat capacity (Cp – J/kgK) is an important specific feature that is given together with other characteristics of the material. It is defined as the ratio of the heat needed to raise the temperature of a mass (1 kg) of a certain material by 1K while keeping the volume and pressure constant (Table 1) [7]. Apart from heat storage containers containing liquid or solid materials, the so-called Trombe wall as well as rooftop water pools or panels are also used.

3.2. Thermal storage by means of phase– change materials (PCM) Latent heat storage containers with phase-change materials in the process of changing the matter of state of a certain chemical substance allow for heat to be absorbed or released [8]. The surplus heat is stored when the outside temperature reaches the PCM melting point, which allows for the “cooling” and maintaining optimal thermal conditions inside the structure. For the materialisation of the façade envelope, one can use the PCM materials whose phase transformation ranges from 21°C-27°C, i.e. the temperature necessary for thermal comfort at the interior [9]. The process is reversible if

In these materials, the heat accumulation process produces endothermic reactions which dissolve the substance and thus the material is transformed from solid to liquid. The process is reversible, and in the procedure of cooling the surroundings, crystallization occurs and the absorbed energy is released.

4. Thermodynamic glazing systems with PCM 4.1. Glazing systems with inorganic salts hydrates PCM Regardless of the fact that thermal storage capacity when using standard materials is not significant, such an outcome is not found in light or transparent envelope structures. However, far better capacities for thermal storage are achieved in the process of state of matter transformations (Graph 1) when using multilayered glazing systems with integrated phase-change materials (inorganic salts hydrates, Cp – 432 J/kgK) [9].

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Graph 2. Temperature oscillations with and without PCM glazing Components (with PCM glazing components reduce necessary cooling power) [6]

Graph 3: PCM-integrated (potassium-chloride-hexahydrate) glazing systems [6]

Principle: In summer, when the angle of incidence is greater than 40°, the reflective layer integrated in the first package of the thermopane reflects the sun rays. Measurements: 23-27°C on the surface for 14-30°C of the surroundings. Solar transmittance (g) stays within the range of 6-9%, the PCM components are used as a medium for accumulating solar energy while not allowing the interior to overheat. U = 0.48 W/m2K; In winter, when the angle of incidence is lower than 35°, the reflective layer integrated in the first package of the thermopane does not reflect the sun rays. Measurements: 23-35°C on the surface for -8 to 4°C of the surroundings. Solar transmittance (g) stays within the range of 33-35% which allows for significant solar heat gains accumulated via PCM and emitted towards the interior. U = 0.48 W/m2K.

PCM façade with salt hydrate in Dmat-Ems, Architect: Dietrich Schwarz, Zurich, 2004

School, Fribourg, Switzerland Architect: Butikofer de Oliveira Vernay Sarl, 2010

Figure 6. PCM glazing principles and referential structures [10]

By applying phase-change materials in architecture and by integrating them in glazing systems, the oscillations of the outside temperature are neutralised through the process of PCM state of matter transformations. Melting hinders or prevents the temperature from rising above the melting point (18°C–28°C), whereas crystallization prevents the temperature from dropping. During this process, the temperature of the matter remains unchanged (Graph 2 and Graph 3).

By maintaining constant temperature of the interior (thermal comfort), the energy needed to heat or cool a structure is reduced and, at the same time, the harmful gas emissions affecting the natural surroundings. Glazing systems with phase-change materials (potassium – chloride – hexahydrate (CaCl2 * 6H2O) hermetically stored in transparent polycarbonate containers and resistant molten glass will reach U = 1.2 W/m2K and U = 0.48 W/m2K. The melting temperature

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remains within 26–28°C. Latent thermal storage containers introduce balance to daily and annual oscillations in temperature, let through the visible part of the spectrum and accumulate the infrared spectrum (Figure 6). In the process, the translucent model becomes a multifunctional transparent structure that may be implemented when materialising structures of various purposes since, apart from allowing the visible part of the spectrum to go through, high thermal protection, as well as overheat protection is ensured as heat is simultaneously being transformed and stored (Figure 6). The thermal capacity of a PCM (a substance of potassium-chloride-hexahydrate) transparent module is an equivalent of a 25 cm-thick concrete wall, which is the reason why annual expenses for heating and cooling may be reduced [10]. Phase-change materials made of inorganic salts hold a high specific heat capacity, and are, due to their great density, able to store large amounts of energy, their state of matter phases are clearly defined, their thermal transmittance compared to other phase-change materials is greater, they are neither flammable nor toxic and are quite affordable as they are produced without much effort.

4.2. Glazing systems with paraffin wax PCM

(Figure 7b). The modules are interactive, they interchange and adapt to the user's needs and according to weather conditions (hot-cold, day-night, an extremely cold winter day-an extremely hot summer day, open views-privacy). At the same time, extreme outside conditions are being used in an efficient way. These systems are highly sophisticated adaptable systems with modern design, aesthetic qualities and dynamic thermal characteristics and varying U values. Mobile isolation panels integrate thermal isolation, the heating and cooling system, as well as the decentralised building ventilation system releasing heat. At night, these systems enhance thermal isolation and offer safety and privacy [12]. The future of such phase-change materials depends on the fulfilment of the demands regarding the specific heat capacity, a greater thermal transmittance, a better transmittance of heat by means of radiation, as well as the intervals and stability of state of matter transformation values which should remain within the range of 21-27°C. What is more, the PCM need to be compatible with other conventional materials, have a certain stable solidity, be corrosion and fire-resistant, eco-friendly, as well as easy to integrate and, at the same time, affordable.

5. Conclusion

The adaptable concept of the “Schüco 2“ façade [11] is founded on practical, mobile and multifunctional ''envelopes'' inspired by ''onion layers''. Apart from the transparent module (the triple low-e layer), the aluminium micro-lamels, the non-transparent solar photovoltaic module, the adaptable façade also consists of the non-transparent module with a phase-changematerials-filled honeycomb structure (Figure 7). The latent heat storage containers are made of paraffin wax micro-capsules integrated in the acryl glass panels

Sustainable construction, energy-saving costs and decreasing fossil-fuels dependence are all urgent tasks that the world of today has to address. The necessary awareness and the treatment of a facility as a system of energy which exchanges its energy and matter with its surroundings are the factors that have resulted in numerous innovative solutions, designs and technologies that allow the materialisation of the envelope structure. The principle of neutralizing energy flows and the dichotomy of the interior and the exterior,

(a)

(b)

Figure 7. Residential building; Paul Sindram, Schleswig, Germany, 2010 [13] (a) Modules (b) PCM module implemented in the adaptable façade design ___________________________________________________________________________________________________________ A. Salihbegović, A. Salihbegović: “Interactive Building Structures as Thermal Storage of Solar Energy”, pp. 18–24

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as well as the possibility of keeping the interior temperature constant, has been reinforced by technological advancement, the concepts of multiple layers, and the concepts of multi-functionality and interactivity of envelope structures acting as ''thermal layers''. By implementing phase-change materials integrated into transparent envelope structures, it is possible to store and conserve heat in more efficient ways than by using conventional construction materials. By means of successfully facing the demands of thermal storage, transparent envelope structures are no longer perceived as ''weak'' panels, but act as massive yet transparent (translucent) walls. As such, they act as specifically structured multilayered membranes interacting with light and the natural surroundings, which is how they ensure that the interior feels comfortable, naturally lit and ventilated. In this way, the solar energy is controlled or turned into electric energy, used for cooling the facility or storing energy. These processes have been possible owing to constant improvement in production, technology, technological solutions and designs, as well as owing to the very processes of glazing and the components or materials integrated in the in-between spaces.

References [1]

[4]

Knaack, U., Klein, T., Bilow, M., Auer, T., Façades – Principles of Construction, Birkhäuser Verlag AG, Basel-Boston-Berlin, 2014, pp. 130–131.

[5]

Kaltenbach, F., PCM Latent Thermal-Storage Media – Heating and Cooling without Energy Consumption?, DETAIL 6 (2005), Solar Architecture, pp. 660–665, ISSN 0011-9571.

[6]

GLASSX – Glazing with Phase-change Material / GLASSX AG, http://glassx.ch/fileadmin/_migrated/content_upl oads/2013_GLASSX_en_ISO.pdf

[7]

Keindl, R., Energetika i graditeljstvo: Nove generacije toplinsko izolacijskih materijala /Energetics and Construction: A New Generation of Thermal Insulation Materials/, Professional Training of Certified Engineers & Architects, Course 10, Zagreb Polytechnic College, 2011.

[8]

Klein, T., Knaack, U., The future envelope 2: Architecture – Climate – Skin, IOS Press – Delft University Press, Amsterdam, 2010, pp. 48–49.

[9]

Kurajica, S., Fazno promjenljivi materijali /Phasechange Materials/, Tehnoeko, 4, (2007), pp. 18–21.

[10] GlassX – Thermodynamic Glazing system / GLASSX AG, http://glassxpcm.com/cms/wpcontent/themes/glassx/pdfs/GlassX-BrochureWeb.pdf

Salihbegović, A., Transparentne ogradne površine i savremeni sistemi prirodnog osvjetljenja /Transparent Envelopes and Contemporary Natural Lighting Systems/, Master’s Thesis, University of Sarajevo, Faculty of Architecture, Sarajevo, Bosnia and Herzegovina, 2004.

[11] Hindrichs, Dirk U., Heusler, W., Façades – Building Envelopes for the 21st Centry, Birkhäuser Verlag AG, Basel-Boston-Berlin, 2010, pp. 15–20.

[2]

Ramírez-Balas, C., Suárez, R. , Sendra ,J. J. – Future technologies in Le Corbusier’s environmental conditioning systems, PLEA2013 – 29th Conference, Sustainable Architecture for a Renewable Future, Munich, Germany, 2013.

[12] Salihbegović, A., Adaptibilne ogradne strukture objekta /Adaptive Building Envelopes/, IXth international scientific congress, Non-metallic and inorganic materials, Zenica, Bosnia and Herzegovina, 2012.

[3]

GLASSXcrystal – The glass that stores, heats and cools / GLASSX AG, http://glassx.ch/fileadmin/_migrated/content_upl oads/GLASSX_AG__products_e.pdf

[13] Concept 2 – Adaptive Building Envelopes/ Schüco International, KG, http://www.youblisher.com/p/389143-SchuecoConcept-2/

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DOI: 10.14621/tna.20160104

Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture Arta Xhambazi Faculty of Civil Engineering and Architecture, University Prishtina Dardania 6/9 B4, 10000 Pristina, Kosovo; arta.xhambazi@uni-pr.edu

Abstract

1. Introduction

The paper is a result of the broader research of doctoral thesis which attempts to define relation between culture, theory and design as a prerequisite for understanding how ideologies inscribe within the architectural objects. In line with this major goal, the paper presents transformation of contemporary theory and practice as forces that shape the body of architecture through philosophy, theories and methods. Firstly the paper discusses existing conceptions of architectural theory and then relates them to the process of the designing while distinguishing contemporary strategies of architecture. An attempt is put forward clarifying some notions regarding methods and strategies of designing while distinguishing the analogical thought and the narrative as important “tools” that can be used for “transforming the masse of architectural body”. Through the analyses of the recent work of Arata Isozaki the paper presents hybrid strategy that effects the transformation of “initial ideas” that can be considered paradigmatic, theoretical and methodical. As the boarder of the three notions is not hermetically sealed, a reflectance on architectural body is suggested in order to understand and interpret the trans-formal state of architectural strategies. The paper suggests that in order to understand how architecture comes into being it is important focusing on the differences and similarities of architectural discourses, understanding how the creative mind of an architect works (methods applied) as well as paradigm indebtedness.

The research is a part of a broader research project that argues that the prerequisite for understanding the fine ways how ideologies inscribe within the architectural objects is to understand the complex relation the relation between culture, theory and practice, at the time when there are plural understandings of architecture, the variety of theories of architecture and different strategies of designing. Actually, this state is a continuum of modernity and the cultural debate on architecture that started about 60 years ago, at the time when the modern orthodoxy was criticized and questioned a lot. The questions were raised with different approaches started with “Complexity and Contradiction”, which terms still remain as topics of the day questioning architectures meaning and understanding. Different approaches appeared partly as a result of the special gift of architecture as an art and as a science. The first raising the ontological questions of aesthetics and more broadly the questions of being and meaning, and the latter in the search of the theoretical frameworks in order of explaining problems in a scientific way.

Keywords:

Architecture; Design; Contemporary; Theory; Methods; Strategies

Article history:

Received: 22 July 2015 Revised: 11 November 2015 Accepted: 14 January 2016

Still, beside the theoretical paradigms and theoretical frameworks of the cultural and scientific debates, architecture is present with its physical manifestations as architecture of iconic buildings or as architecture of the everyday life. Still, what is obvious is that “the study of architecture …. has been tackled in the way that is closer to reflection and critical discourse than to a desire to elaborate a systematic theory” [1, p2]. At the time of rapid changes of globalization the pathway of architectural transformation is designed by interdisciplinary interactions of architecture with other disciplines and changes that happen within discipline and practice. The first version of this paper presented Transformation as an overall strategy of contemporary architecture [2], focusing more on the design Process, while in this research the notions of transformation is more extended within the contemporary analyses and

___________________________________________________________________________________________________________ A. Xhambazi: “Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture”, pp. 25–38

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understandings of architectural theory and emerging strategies of contemporary architecture, as two realms that architectural body consists of. Transformation [3] as a notion defined in the dictionary refers to a “complete or major change in someone's or something's appearance, form, etc.” or “the act, process, or instance of transforming or being transformed”. In such terms the architecture of the contemporary has changed its appearance due to the advances in technology but this actually had an impact in the design process also. Actually, Transformation at the World Festival of Barcelona 2010 meant many things as Transforming culture, image and meaning, form and space, land and site, practice, etc. The word strategy is frequently used in architectural circles also. As defined by dictionary the word strategy [4] means “a careful plan or method for achieving a particular goal usually over a long period of time” or “the skill of making or carrying out plans to achieve a goal”. As many researchers have realized, architectural design, as other fields of design, lacks a rigorous theoretical basis. Complexity and the richness of the design problems have extended the search to the present day, but there is no agreement on the demonstrated effectiveness of any given method. This is why, the notion “strategy” within architectural circles is used as defined by Roozenburg and Eekels (1991) “as a broad outline of the way in which people aim to achieve a particular goal, without laying down the method of working in any detail” [5, p.124] or as used by Moneo as “mechanisms, procedures, paradigms and formal devices that recur in the work of the architects – the tools with which that they give shape to their constructions” [1, p.2]. This means that strategy is shaped by a set of beliefs, values, attitudes and motivation. These ideas can be seen as a set of guiding principles which are likely to grow and change as a designer develops. Arata Isozaki is an architect whose work made increasing use of eclectic architectural quotation both from Western and Eastern Sources. As he writes “the architecture that is now deemed legendary is in fact a text which allows multivalent interpretations, and that the style of buildings consists of interpretation, selection and quotation from various early texts...” [6, p.128]. The statement reveals Arata Isozaki’s own manner of design for contemporary society which he calls maniera. His maneira, his methodological preference allows him to create the same equidistance for two types of architecture from two different places (spatiality) and times (temporality). In line with the major goal of doctoral thesis (that aims at showing the understanding of the relation between culture, theory and practice is the prerequisite for understanding how ideologies carve within the

architectural objects) the aim of this research is not to question Isozaki’s theory and work, but rather to show that the strategy (maniera) is shaped through philosophy, theories and methods, that enable the initial thought, ideas, concepts to transform in time and space. Having in mind that the changing variables in architecture are emplaced within the realm of knowledge – discipline and within the realms of practice of architecture, the first part of the research will question the Contemporary understanding of theory of architecture and the relation it has with practice. Within the second part the research will elaborate the discourse on methodologies and will reflect on the emerging strategies of contemporary architecture as the result of transformation. It will introduce some concepts about the principles that guide the designers and distinguish the analogical method as based on generic qualities of creative thinking. Thirdly, in order to understand the transformable state of architecture (as discipline and practice) Arata Isozaki’s maniera will be elaborated on the case of his the three recent projects. His work has been chosen because of his long period of professional activity and because of the diversity of ideologies, and multiple portrayals and meanings that his work transmits.

2. Reviewing the contemporary understandings of theory of architecture Within the Greek usage, the word theory originally involved the idea of a spectator contemplation of the event. This stance as the spectator still affects the idea of the theory viewing or constructing matters as from outside or beyond a discipline ore set of practices [7] and then the term theory is contrasted with the Greek praxis, which has to do with activity. This creates a contrast between the speculative quality of theoria – in which we stand apart from the object and praxis – in which we are engaged actively with the object [8, p.110]. Sometimes theory is understood as synonymous of philosophy in the sense that theories are made in order to explain the world around us and theories develop out of the need to make sense out of life [9] or as Kate Nesbit puts it if physical questions are solved tectonically, conceptual or intellectual questions are problematized in the manner of philosophy by which she means theoretically [10]. Nowadays almost every discipline has its own definitions for theory, which definitions fit particularly within the discipline. The question of the “theory of Architecture” was not the exception as the late 20th century as Bill Hillier notes, posed a number of questions for theory of Architecture that were questions of about architecture itself [11, p.39]. The question as “does Architecture really need theories?” or “what are they alike?” were

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questions that a number of architectural thinkers were dealing about, and this part of the paper will try to comprehensively analyse the contemporary position.

2.1. The relation of theory and practice Within the contrast of theory/completion vs. praxis/action [8, p. 110], implicitly we understand that theory is something that precedes praxis, in the sense that theory informs practice. This means that if we have theory we know how to actively engage in practise. In the other hand through practice we gain new insides for following theories. So, things become more complex when we understand that theory and praxis are not in sequent relation but instead they are in cyclical relation. Paul Alan Johnson while elaborating of the issue between Architecture and Design mentions that only few writers that presented comprehensive view of the field of Architectural Theory mentioned the difficulties they might have with the concept of theory governing. This because they believed it does, or because they adopted a softer view of theory than Stanley Fish in Doing What Comes Naturally in (1989) and his proposal of theory as politicizing “theory talk”. For Johnson, beneath almost any writing there is a quest for some construct of the world that will guide and be reflected in architecture and there “is a belief that socially, politically, and culturally, architecture makes, has made, or will make a difference. Once formulated, the Grand Theory will align architects with inexorable universal forces and make them fit to govern their newly founded world by design…. the Grand Theory is of course misguided.”[7, pp. xvii-xviiii]. Theory as merely Design-Talk, becomes a theory not apart from practice but theory as “the talk” of practice. It is something that practicing architects consult if they wish to perform “correctly”, while the terms correctness meaning to perform independently of their “preconceptions, biases, or personal preferences”. The dichotomy between theory and practice is not insignificant since it has been a belief for a long time that architecture has two realms practice and discipline that are accompanying: application through solution defines practice and theory as a guide defines disciplines. The relation between both of them is ill understood nowadays as it ever was. As Johnson states discipline is seen as “hidden client” to practice – its conscience and prescience, saying that: “every principle of architecture inhabits discipline is unexceptionable, but it is dramatic step saying that theory as set of principles of architecture guides and informs practice or that it has practical consequences, without firstly justifying separation and then demonstrating how any interaction works.”

2.2. Categorisation and existing conceptions of architectural theory The contemporary strategy adopts the notions of negotiation and mediation related to Architectural Theory. This strategy alludes that it is the process of negotiation a primary task, as architectural theory deals with relation between discourse and practice, and how it negotiates or manages the irrational and rational, it inhabits the realm that Hays calls “mediation”. For Johnson, both negotiation and mediation rely on talk, and continuing transaction is a process; therefore theory is a discursive process. He asserts that it is misunderstanding considering theory as something tangible, and as a result is misleading to declare certain notions as the core of architecture without which it ceases to exist or have vitality, value or meaning. He mentions Bruno Zevi’s “space”, Siegfried Giedion’s “space/time”, Reyner Banham’s “technic” and Louis Sullivan’s “functionalism” an all its variants, as frames of reference within which several generations of architects have struggled to think, write and design. He distinguishes two types of theories. The first type are the theories that Influence because they inform about methods or provide short hand cannons that aid implementation. These theories are described as frequently uncritical, mostly affirmative, often populist, usually entrepreneurial, and beg questions about methods, the state of architecture and progress. The other ones are theories that generate ideas as the basis of comprehension if not application and these theories some consider “true” theories because they are mostly critical, radical, etc, Still, because attitudes may be individualistic, incapable of generalization or because there is no common agreement what theory is Johnsons states that neither approach is not satisfying deeply in conceptual level. These two types mentioned by Johnson [7] are obviously inspired by Jon Lang (1987) who by incorporating behavioural sciences into architecture prompted two stances. One deals with the world as it is, and the other points out the world as it might be. The first stance are Positive theories (descriptive) – statements and assentation for describing reality and capable of extension of prediction to future reality. Due to these theories is that to enable people to derive a large number of descriptive statements from a single explanatory statement and this framework creates the base for normative. Normative theory – involves prescriptions for actions through standards and norms, manifestos, design principles and philosophies steaming from an ideological position of what should prevail in the world. Normative theories are built within the frames of positive ones.

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Table 1: The palette of categorization of architectural theory [7] and approaches in designing

So, depending on how we understand the worlds there are multiple pathways to project theories from any view points as Johnson analyses shows. The viewpoints offered by epistemology, philosophy, sociology, psychiatry or psychology and combining with various “architectural approaches the palette of notions becomes more complex” as shown in Table 1, starting with nine ways of constructing architectural theory, to the four normative positions of Peter Rowe. The various normative positions and the different ways of constructing theory are accepted nowadays. Architectural Theory understood as a “design talk” for Johnson (1994) is actually what Linda Groat and David Wang (2013) describe as Polemical Theories of Design – theories that are related to design activity but that tend to take a polemical stance that set normative guidelines of what to do. Furthermore they categorize theory within three clusters that are not hermetically sealed and they are: Explanatory (beyond positive and postpositive) theory, Normative Theory and Design Polemical theory (that divides what Lang referred to deontological normative theory). Finally, the three anthologies published in last twenty years defined theory of architecture as a discourse [10] and a “practice of mediation” [12]. They presented a vast number of writings, different theoretical stances structured through multiple thematic debates according the primary paradigms that shaped architectural theory as phenomenology, aesthetics, linguistic theory (semiotics, structuralism, poststructuralism and deconstruction), Marxism and feminism. In this context Kate Nesbit (1996) defines theory as a discourse “that describes the practice and production of architecture and identifies challenges to it” [10, p.16]. For her theory offers alternative solutions based on

observations of the current state of the discipline, or offers new thought paradigms for approaching the issues. It has speculative, anticipatory and catalytic nature, operating at different levels of abstraction, evaluating architectural profession, its intentions and its cultural relevance at large. As she states it deals with architecture’s aspirations as much as it’s accomplishments. Nesbit characterizes theory as prescriptive (which offers new or revived solutions for specific problem, by establishing new norms for practice), prospective theory (which differs in that the standards state what is to be avoided in design), affirmative theory and critical theory that evaluates the build world and its relationship to the society it serves. Even though Nesbit, at mid-90s distinguishes three themes of critical theory (that were feminism and the problem of the body, the aesthetics of contemporary sublime and environmental ethic), she notes that a survey on architectural theory finds a multiplicity of issues, with a lack of dominance of single issue and a paradigm. Instead, Michael Hays (1998) feels that in mid of this pluralism one particular strain of architectural theory did tend to dominate others, which he describes as “the coupling of Marxian critical theory and poststructuralism with readings of architectural modernism”. [12, p. xiv n.1]. He sees contemporary architectural Theory as illuminating the preconceptions, socio-historical aspects, authorities and values within which architecture is embedded. First and foremost for him, architecture theory is a practice of mediation. In its strongest form mediation is the production of relationships between formal analyses of a work of architecture and its social ground or context (however nonsynchronous these sometimes may be), but in such a way as to show the work of architecture as having

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some autonomous force with which it could also be seen as negating, distorting, repressing, compensating for, and even producing, as well as reproducing, that context.” [12]. He states that “from Marxism and semiotics to psychoanalysis and rhizomatics, architecture theory has freely and contentiously set about opening up architecture to what is thinkable and sayable in other codes”. For him while any theory, that talks about architecture only—that does not relate architecture to the larger social, material field—is practically useless, at the same time any theory that does not articulate the concrete specificity and semiautonomy of architecture’s codes and operations misses a major medium of social practice. A. Krista Sykes (2010) defines theory as a code or framework for architectural thought that existed for centuries, but then asserts that Nesbit and Hays relate to the specific moment that began in the 1960s and looked for the reconstitution of architectural discipline through the mediatory concepts that came from other fields as philosophy, linguistics, psychology that connected architecture with other realms but also attempted for architectures unique territory. As such architectural theory overlaps many conflicting tendencies (as semiotic, structuralism and phenomenology) and as she states “which in turn have given rise to more historical and deconstructivist camps”. At mid-2009, in regard of Architectural theory, Sykes finds most helpful a coupling of Hays’s assertion of dominance with Nesbitt’s definition of critical theory [13]. So, although during the period spanning the mid-1960 and mid-1990, there did exist a prevailing discourse that sought to reformulate the discipline, as Sykes notes at the end of the 2009 a transition happened to what a critical architectural theory was called. The late 90s presented a more pro practice movement oriented, which actually is not total denial of theory, but a focus within of the realities of architecture and building. An interest has been shifting to the possible intersections of architecture with pragmatism and “the person most responsible person for this strategy was Rem Koolhass” and his office OMA [14]. While referring to architecture as “diagram of everything” and creating his think tank “AMO”, we can think that this pragmatic thinking in Koolhass view was not an attack to critical theory, but more a redefinition of theory in post-critical fashion. As Harry Francis Mallgrave and David Goodman say “it is a turn toward speculating about the world- as- found rather than speculating about architecture through the coded systems of philosophy, linguistics, or social sciences”.

2.3. From critical theory to the diagrammatic writing In her anthology Krista Sykes declares that for thirty years 1960 through 1990s, in all it different manifestations theory of architecture led the way and since then “architecture itself has changed, in part due to various transformations in technology, means of productions and fabrication, and the realities of cultural and political landscape” that become a reason why architectural theory has shifted from the leading role. As Michael Hays asserts the ideal project of 70s and 80s (although departed from the world of ordinary objects and individuals around it) exercised critical vocation in a mode reserved for writing alone while favouring autonomy of architecture which depended on linguistics and its discursive formulation. The new paradigm is tied to digital technologies and programs that coordinate the multiple parameters into smooth frictional flows. If the 70s and 80s saw architecture algebraic, the new paradigm is topological – a conditions of the field rather than object, continuity rather than closure, of blur rather than calibration [13, p. 475]. What is important to note is that whatever transformations we will achieve in the form of our buildings, they will not be secure until it has been accompanied by a whole collective re-education which as Hays asserts can develop through writings that proceed reading habits, thought process, and practices. These transformations will be safe only when a new consciousness will be constructed capable for matching new situations. This new writing for Hays is much more imperative which he calls the diagramming. The diagram in architecture is understood as a “spatialisation of a selective abstraction and/or reduction of a concept or phenomenon” [15, p.18]. To write diagrammatically, means to make visible the connections of architecture to other practices and modes of thought, scanning for its preconditions and operative assumptions and scanning for its power centres and its movement. Diagrammatic writing emphasises connection, choice and change within a specific moment of time.

3. The design process and contemporary strategies As mentioned before, despite the theory that was concerned with architecture related to culture, it’s socio political context, there has been also an attempt to focus within the design process, methods and methodologies. It is important to note that that are different understandings about Theory of Architecture and Theory of Design, and there is a blurred boundary between the notions also. For example, Fill Hearn while asserting that a theory of architecture is everybody’s

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business [16] says that “[a] theory of architecture resides in any notion of what a building ought to be like. The form a building takes presupposes a theory of design… And the procedure followed to arrive at the design presupposes a theory of design method”. From here we understand that architectural theory consists by theories of design and theories of design methods. In the other hand for others as Leif E. Östman [17] design theory is a universal term for the reflections on matters shared among different design fields as he was apt to think that it could be substituted with design philosophy or the science of the artificial as Simon elaborate 1969. Here the interesting distinguishing is that of Theory of architecture, as dealing with the objects, and Design theory, as dealing mainly with design processes, which is actually the understanding of this research also.

3.1. The discourse on methodologies Regarding the design process, the 60s and 70s were the years of the design methodology movement and were characterised by a tendency to look for common features in the design process or at least to classify design strategies. The start (1962) and the end (1984) of this the period was marked by the first and the last British conference on design methods. After this the debate on design methodology took something of a back seat. Despite the many architectural studies on ideas

about architecture, design strategies and typology as a design method, there is no “correct method” of designing as there in not one route through the process. Some attempts of systematization of design methods are given according different authors in table 2. As we can see, in parallelism of the wide palette of categorization of architectural theory presented at table1, depending on the view of the design process there are different ways of categorization of design methods also as presented at Table 2. What becomes evident is that designers have a set of beliefs, values, attitudes and their own motivation which ideas can be seen as a set of guiding principles. As the principles are likely to grow and change as a designer develops, sometimes they may be defended considerably and become highly personal territory as guided through the principles of morality, decomposition, integration, the future, content, client, user, practical, radical, formal, symbolic etc. [5]. For example the linguistic theories had an obvious impact in Frank Ghery’s architecture guided by set of beliefs and critical attitude toward the principles of modern architectural compositions, but eventually the principles of decomposition evolved to highly personal territory defined as a own strategy. Or ecological issues involved within academic research of Kenneth Yeang, eventually over the years of practice evolved in the guiding principles.

Table 2: Classification of design methods

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So, if we are in a field of different definitions and interpretation, then why do we need methodological reflection on design methods and theories? The answer might be that this will contribute to the proficiency of designers within three main moments of design process that according to Richard Foqué are a structuring moment, a creative moment and communicative moment [19, p.54]. It is his believe that design methods should have the effect on “deepening one’s understanding (process analysis and problem analysis), stimulating participation (information and communication) and …on the design environment (design and building)” [5, p.124]. As mentioned before, there is no reason to argue on “correct method” of designing, but is worth of considering one of the ambitious programmes of design methods specifically for use in architecture, Geoffrey Broadbent methods (1973) which have many generic qualities. In reality Broadbent’s method probably does not hold together as a total method but relies upon four distinct ways of generating design form which he called, “pragmatic”, “iconic”’, “analogical” and “canonic” methods. Even thought, there is no evidence that designers exactly work like this, the methods are worth of study as additions to the tactics for controlling design thought [20, p.203]. Pragmatic design is simply the use of available materials methods of construction, generally without innovation, as if selecting from a catalogue. Iconic design is even more conservative in that it effectively calls for the designer to copy existing solutions. Canonic design relies on the use of rules such as planning grids, proportioning systems, orders etc. The distinguished method in terms of this research could be considered the Analogical Design. There are clear examples of significant use of analogical thought as for example the use of organic forms in architecture offers ways of generating beautiful and also efficient structures, as the analogies may be used to give integrity to ways of constructing parts of design solutions. This method results from the designer using analogies with other fields or contexts to create a new way of structuring the problem. This is based on generic techniques for creative thinking and it’s intellectually realized due to a cognitive process that transfers information or meaning from a particular subject (the source) to another particular subject (the target). “An analogical Architecture” as put by Kate Nesbitt was also an explication of Aldo Rossi’s design method [10, pp.345-356], which relies on the “logical-formal operation” of analogy defined by Carl Young as follows: “logical” thought is what is expressed in words directed to the outside world in the form of discourse. “Analogical” thought is sensed yet unreal, imagined yet

silent; it is not a discourse but rather mediation on the themes of the past, an interior monologue. Although “analogical thoughts” may silently shape the formal qualities of the buildings, what becomes evident for the contemporary design strategies are the rhetorical intents? The paper will not discuss how the theories and manifestos are written, but rather use the narrative to describe concepts that might be considered new for the discipline of architecture but still transmitted as a continuum of its history. For example, the computational paradigm that brought the new situation in architecture, advocates the possibility that by using computational methods the architect would become a master builder again. Arata Isozaki finds foundation in Gaudi’s “analog optimization” of form for “legitimating” computationally designed structure.

3.2. Emerging strategies of contemporary architecture In regard of computation and after some crises that architectural theory has went through, multiple overlapping things emerged. Technological advances have presented architecture with a plethora of opportunities and challenges, implicating architectural aspects of design as a process, fabrication and representation. So it was not only the theory of critical architecture that went through the transformation, but the architectural practice also. Computer Aided Design has evolved due to the digital technologies and has been manifested with formal qualities of the buildings. While some use technologies to render forms buildable by guiding material fabrication and construction (The Guggenheim Museum in Bilbao) the others as Charles Jencks puts it in the new paradigms in architecture “are conceived in the belly of the computer” (as Yokohama Terminal). The digital modelling software in architectural design provided a departure from Euclidian Geometry and made present continuous curves and surfaces of contemporary architecture. As architectural conceptions move from Cartesian dimensions of space, other dimensions of space and other formal conceptions space begin to open new possibilities. This was made possible by computation or computing, a term used to denote the act of mathematical calculation or a computation. [21] Complexity of architectural forms are generated by several concepts such as topological space (topological architecture), isomorphic surfaces (isomorphic architecture), motion kinematics and dynamics (animate architecture), keyshape animation (metamorphic architecture), parametric design (parametric architecture), and genetic algorithms (evolutionary architecture) as briefly described below [22].

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One of the first examples of Topological approaches in Architecture was presented in Greg Lynn’s essay (1993) on “architectural curvilinearity” that moved away from the then dominant deconstructivist “logic of conflict and contradiction” to develop a “more fluid logic of connectivity,” manifested by continuous, highly curvilinear surfaces. In topological space geometry is presented by parametric functions. In Parametric Design, it is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters, different objects or configurations can be easily created. They are extremely useful for modelling the geometry of complex buildings form. Composite assemblages constructed by mutually inflecting parametric objects with internal forces of mass and attraction, create Isomorphic surfaces sometimes refereed as blobs. Greg Lynn was one of the first architects to utilize animation software not as a medium of representation, but of form generation. By Lynn Animate Design “is defined by the co-presence of motion and force at the moment of formal conception.” Force, as an initial condition, becomes “the cause of both motion and particular inflections of a form.” and “while motion implies movement and action, animation implies evolution of a form and its shaping forces.” [22.p.3] Metamorphic architecture includes several techniques such as key shape and animation path. With the key shape animation the models are deformed by bounding box, a spline curve etc., while changes in the geometry are recorded as key frames (key shapes) and path animation which deforms an object while moving a selected path. In deformations of the modelling space, object is shaped conform to the changes in geometry of the modelling space. Evolutionary Architecture applies generative concepts of biological growth and form. Architectural concepts can be expressed as set of generative rules, and their evolution and development can be digitally encoded, but also the emergent forms can often be unexpected. The key concept by this approach is that Genetic Algorithm, where the task of the architect is to define common source of form, “the genetic coding” for a large family of similar objects, in which variety is achieved through different processes of reproduction. Environmental domain is another reality of architecture that “concerns the environment and the part that architecture can play in arresting, and perhaps even correcting, the ecological damage inflicted by modern society”. [13, p. 22] This turn to more pragmatic concerns was not only a response to the abstractions to a poststructural theory but was a kind of professional response to a number of social and cultural issues. So, the 21st century is witnessing reappearance of environmental concerns and the demand of consuming

the efficient energy, since this issue never completely disappeared since entering into mainstream in the 60s. Many governments, particularly In Europe and America, initiated a series of codes that little by little altered the practice of design. The first it was “Earth Summit” in 1992, the Conference on Environment and Development produced a far reaching document known as Agenda 21. A number of other summits followed as Kyoto Summit 1997, the Johannesburg Summit of 2002, and the Bali Conference of 2007. Also there was an expending network of national and local building codes that are directed to the green architecture and planning starting with Energy Performance of Buildings Directive (EPBD) in 2003 that led to Green Building Program. The efforts were developed in many other countries as in England (Bream), Australia (Green Star), Japan(CASBEE) and United States (LEED). These codes obviously have been affective in raising questions about building’s environmental impact [14]. Environmental Ethics as Kate Nesbit states became an political agenda represented by the “green architecture movement” as a theory that aims at developing a less antagonistic relationship with nature by resisting sprawl through high density development, through the use of non-polluting and recycling materials [10, p.62]. One of the architects, that intensively articulates ecological issues has been William McDonough. The “Hanover Principles” in 1992, “Declaration of Interdependences” in 1996 argue that the ethical implication of architectural work includes acknowledging the right of future generations and other species to a healthy environment. Like McDonough, Ken Yeang advocates the ideas of sustainability since 1970. He also argues for the symbiotic relationship between the natural and build environment, which is not necessarily through the novel technology, but instead through the passive or “bioclimatic means”. So, the way architects engage within the environmental concerns vary greatly. In one hand we have architects that employ advanced technologies in order to produce environmentally responsible buildings (as Norman Foster, Richard Rogers) while in the other hand other rely on combinations of local materials, geographical and regional solutions that create green buildings.

3.3. Transformable state of architectural design process Contemporary architectural design is using digital media not as a representational tool for visualization but also as a generative tool for the derivation of form and its transformation. The prediction of the relationship between the design and representation are replaced with computationally- generated complexities. As Kolarević states “the plan no longer “generates” the

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design and sections attain a purely analytical role. Grids, repetitions and symmetries lose their past raison d’être, as infinite variability becomes as feasible as modularity” [23, p.13]. This statement represents a radical departure in the design process, because instead of modelling an external form, an internal generative logic is articulated by the chosen generative computational method. Within an automatic fashion, a range of possibilities is produced, from which than the designer could choose the desired formal proposition for further development. Also, it is worth mentioning that the discourse of the digital era turns around architectural process and its representation not due to a final product but reveals the whole procedure from its conceptualization to production. Next chapter will elaborate three projects of Arata Isozaki showing how the design strategy (maniera) is shaped through philosophy, theories and methods that enable the initial thought, ideas, concepts to transform in time and space. It will attempt to clarify how does analogical thought and narrative “transform the mass of architectural body”.

4. Diagramming the recent work of Arata Isozaki The concept of Transformations at the World Festival of Barcelona meant many things as Transforming culture, image and meaning, form and space, land and site,

practice, etc. There, at November 2010 as a keynote speaker Arata Isozaki presented his search for the real essence of architecture [24]. His work extends in time and space, from the concepts of Modern Language of Architecture, through the linguistic theories of Postmodernism, to the paradigm of the computational design of the 21st century [25]. Cases that follow present the work as hybrid of architectural theories. The work may be understood as his own strategy of making architecture, presenting his maniera of transformation of architectural paradigm from structuralist to computational, transformation of a theory of architecture that is readable as a text to a very contextual building and transformation of an artistic method to the architectural composition.

4.1. From the change of techniques to the transformation of paradigms The 2002 was the first time that Isozaki’s worked with algorithms and it was for the project of a “Florence Railway station”. The whole structure was 500 m long, where 100 m spines were supported with two points on the ground. According Isozaki, it was not his own design but a computer generated design from where the form “grows and comes up”. As he admitted, since he never saw that kind of structure, it was normal asking if it was

Figure 1. The digital vs analogue way at looking at the structure. a – Second prize design for Florence Railway station; b – Design for Qatar Convention Center; c – The upside down model of Colonia Guell [26] (Diagram and drawings by A. Xhambazi) ___________________________________________________________________________________________________________ A. Xhambazi: “Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture”, pp. 25–38

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Figure 2. Generation of spatial configuration of Caixa Forum Entrance in Barcelona, using Barcelona Pavilion floor plan and Gaudi’s upside-down technique (Diagram by A. Xhambazi)

“beautiful form or not?” Even though at the time the answer was negative, the aesthetic questions of architecture where left aside and the form was accepted since it was designed by computer and used ultimately as optimised form. The design idea for the “Qatar Convention Centre” in 2003, revived the concept of “Florence Railway Station” (Figure 1b). This time the structure was 150m long and 35 m wide, supported on two grounding points. The form itself was optimized using concrete for the structure and steel for the box cover, probably because of the aesthetic question mentioned before. For Isozaki, the picture of the model of Antonio Gaudi for the small chapel at Colonia Guell is the most important theoretical idea more than 100 years old that jumped in the 21st century. As Gaudi studied on finding the structure of the chapel, he searched for the most optimal (rational) form from a “model of upside – down” (Figure 1c [26]) at the time when no mathematical model could do so. (Figure 1) .As Isozaki states the importance of the “upside – down model” (Figure 1c

[26]) is based on that it could be considered the analogue way of looking for a structure, while contemporary architecture uses digital systems and calculation techniques. If we compare these two models with the distance of “100 years”, presented in figure 1 it could be argued that they use different technique, different methodology but actually coming to the same space in essence. Despite, the analogy of “analogue and digital” computation that Isozaki offers while referring to a tactic or a method of design process, having in mind the his belief that the building should be readable as the text (that come from structuralist thought and set of beliefs), embracement of the computational driven processes means a paradigm shift in Isozaki’s work.

4.2. Transformation of theory Despite Isozaki’s theory that the maniera is supposed to be anti-contextualist and to generate the discord with the settings, still his strategy allows transformation of

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the doctrine or a theory. His project for the entrance of the “Modern Art Museum – Caixa Forum” in Barcelona finished in 2002, coexists with the textile factory designed by Puig I Cadafalx in 1910 and stands “invisible” in front of Barcelona Pavilion. The concept was generated by using the floor plan of Barcelona Pavilion designed by Mies Van der Rohe. By using the mirroring technique of Antonio Gaudi, a reflection of the floor plan of Barcelona Pavilion rendered the space for the entering of the Modern Art Museum in Barcelona. (Figure 2) This strategy, or Isozaki’s maniera used the floor plan of Mies Pavilion and Gaudi’s method of upside-down model in order to create the “invisible” but still powerful underground spatial configuration in the given context. The theory that supposed to be an anti-contextualist, in the case of the entrance of the “Modern Art Museum – Caixa Forum” in Barcelona becomes contextual more than ever.

4.3. From the transformation of techniques to the use of different languages For the project “Himalaya’s art centre” 2004 in Shanghai, Isozaki by using architectural composition found a way of transforming Kanji (Chinese letter) to the Architectural Project (Figure 3). Kanji are the Logographic Traditional Chinese Characters created from “finding” cracks on the bone from where the letters are developed. This makes Isozaki calling Kanji “letters that have algorithms”. The diagram in Figure 3 shows the transformation of “Kanji” on the “Cathay” cover book of Ezra Pound [24]

(major figure in early modernist movement in poetry) by using the method of Calligraphy artist Xu Bing [28]. The interesting thing about “Cathay” is that it wasn’t exact translation of Chinese poems nor it was original poetry. In the other hand Xu Bing organizes letters into the structure that resemble Chinese characters, creating forms that look that have a meaning. Coupling these forces with poetics of creation of Chinese letters, Isozaki transforms further toward articulation of “Himalaya’s art centre”. The letters of Ezra Pound were changed a little and broken in the lower part using the artist’s calligraphy method (Figure 4 on the left). The building has a hybrid program consisting of the Conventional Hall and Museum, Hotel, Design Centre and Shopping Mall. This Contemporary Building has an area of 150 000 square meters and 100 meters of high. The design constitutes are many huge big screens, contemporary lighting, computationally generated architectural form and Chinese letters. The analyses in Figure 4 presents the concept generation, spatial configuration of building that divides and merges the hybrid program into the parts and the whole, and the architecture of Himalaya’s art centre in Shanghai that communicates the meaning of the eastern and the western world. The Building presents a state of mediation between architectural theories. The upper part communicates the platonic Cubes of the Western World using the abstraction of modern language, and the down part using “algorithms” generates computational forms and “Chinese letters” communicating literally the meaning of the eastern.

Figure 3. Transformation of Chinese Letters to the architectural Composition of Himalaya’s art centre (Diagram by A. Xhambazi) ___________________________________________________________________________________________________________ A. Xhambazi: “Transformation of Theory and Practice: Shaping Strategies of Contemporary Architecture”, pp. 25–38

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Figure 4. Concept generation, hybrid program and meaning of Himalaya’s art centre in Shanghai (Diagram by A. Xhambazi)

What becomes evident is that Isozaki’s technique transformation, results in a search for different sources for creating a complicated architectural program, considering that one single language is not enough for a single building advocating a hybrid of languages in architectural compositions.

5. Conclusion The reflection on understandings of architectural theory makes visible that architecture is a cultural reaction to a situation in a moment of time rather that a stationary thing. Even the relation between the theory and practise as two realms of Architecture is ill understood as it ever was they both present forces that actually transform and shape architecture. In a moment in time the power centre for the further movement is in theory, and sometimes in practice. As for Bernard Tcshumi [29], concept and context are part of definition of Architecture and theory is a practice of concepts, while practice is a theory of context. The diagrammatic thinking and writing is an attempt to make visible the connections of architecture to other practices and modes of thought, scanning for its preconditions and operative assumptions by emphasising connections, choice and change within a specific moment of time. At the mid of 2015 we can distinguish two pathways in contemporary architecture. Computer aided design that evolved due to the digital technologies and has been manifested with formal qualities of the buildings. In one hand technologies are used to render forms buildable by guiding material fabrication and construction; the

others to literally produce forms by the computer. The another paradigm considers environment an here also in one hand we have strategies that employ advanced technologies in order to produce environmentally responsible buildings while in the other hand other rely on combinations of local materials, geographical and regional solutions that create green buildings. Even there is no reason to argue on “correct method” of designing (since there is not one route through the process) this doesn’t mean that strategic or methodological reflection is unnecessary. The understanding of design methods can actually affect the way designers’ structure, create and communicate, and might help toward finding “the subtle ways in which ideology inscribes itself in the very forms of architecture”. The research presented transformation of theory and practice as forces that shaped strategies of contemporary. In the study cases presented the diagram was used to present the transformation of methods, theories and paradigms as forces that form new situations. The strategies discussed in the case studies reflect a hybrid way of composing different sources and bringing them in a new manner, which results in use of different methods, narrative of paradigms and mediation of theories. All these concepts adapt to the new contexts and in these new situations the ambiguity of physical appearance and interpretation still manifest the discursiveness of architecture. The multiple portrayal of architecture becomes even more intriguing when we consider that it allows even intervening of two different philosophical stances as phenomenology and poststructuralism as it’s the case of

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Ignasi de Solà-Morales [30] while constructing the contemporary panorama of architecture. Therefore, in order to understand how architecture comes into being it is important to research on the differences and similarities of architectural discourses, understanding how the creative mind of an architect works (methods that are used) and the paradigm indebtedness. This is a promising pathway toward reaching the ability to reflect on architectural body (as composed of theory and praxis) as a prerequisite to understand and interpret the trans-formal state of architectural strategies.

References [1] Moneo, Rafael, Theoretical Anxiety and Design Strategies: in the Work of Eight Contemporary Architects, The MIT Press, Cambridge, Massachusetts and London, England, 2004. [2] Xhambazi, Arta, “Transformation as a Strategy of Contemporary Architecture”, in Architecture and Environment: Proceedings of the 2nd International Conference with Exhibition, Budva, Montenegro, 2015, ISBN 978-3-9816624-5-0. [3]

Merriam – Webster Online Dictionary, Transformation, accessed on August 2015, http://www.merriamwebster.com/dictionary/transformation

[4]

Merriam – Webster Online Dictionary, Strategy, accessed on August, 2015, http://www.merriamwebster.com/dictionary/strategy

[5]

[6]

van der Voord, T. J., & van Wegen, H. B., Architecture In Use: An Introduction to the Programming, Design and Evaluation of Buildings, Architectural Press, Burlington, Massachusetts, 2005. Isozaki, Arata, The Island Nation Aesthetic 1996 in Theories and Manifestoes of Contemporary Architecture (2nd edition), (Eds. Jencks, Ch. and Kropf, K.), Wiley-Academy, Chichester, England, pp. 128-130, 2006.

[7]

Johnson, Paul-Alan, The Theory of Architecture: Concepts, Themes and Practices, John Wiley and Sons, New York, 1994.

[8]

Groat, Linda and David Wang, Architectural Research Methods, John Wiley & Sons, New York, NY, 2013.

[9]

Smith, Korydon, ed. Introducing Architectural Theory: Debating a Discipline, Routledge, New York, NY, 2012.

[10] Nesbitt, Kate, Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory

1965-95, Princeton Architectural Press, New York, NY, 1996. [11] Hillier, Bill, Space is the Machine: A Configurational Theory of Architecture, Space Syntax, London, UK, 2007. [12] Hays, K. Michael, ed., Architecture Theory since 1968, The MIT Press, Cambridge, Massachusetts and London, England, 1998. [13] Sykes, A. Krista, ed., Constructing a New Agenda: Architectural Theory 1993-2009, Princeton Architectural Press, New York, 2010. [14] Harry Francis Mallgrave and David Goodman, Introduction to Architectural Theory: 1968 to the present, Wiley – Blackwell, Malden, Massachusetts and Oxford, England, 2011. [15] Garcia, Mark, ed., The diagrams of Architecture, John Wiley &Sons, West Sussex, United Kingdom, 2010. [16] Hearn, Fill, Ideas That Shaped Buildings, The MIT Press, Cambridge, Massachusetts and London, England, 2003. [17] Östman, Leif E., “A Pragmatist Theory of Design: The Impact of the Pragmatist Philosophy of John Dewey on Architecture and Design”, PhD Dissertation, School of Architecture Royal Institute of Technology, Stockholm, 2005. [18] Jormakka, Kari, Basics Desing Methods. Birkhäuser, Basel, Boston, Berlin, 2008. [19] Foqué, Richard, Building Knowledge in Architecture, University Press Antwerp, Antwerp, Belgium, 2010. [20] Lawson, Bryan, How Designers Think: The Design Process Demystified (4th ed.), Architectural Press, Burlington, Massachusetts, (first published in 1980), 2005. [21] Terzidis, Kostas, Expressive Form: A conceptual approach to computational design, Spon Press, New York, NY, 2003. [22] Kolarević, Branko, “ Digital Morphogenesis and Computational Architectures”, in Proceedings of the 4th Confernece of Congreso Iberoamericano de Grafica Digital, SIGRADI 2000 – Constructing the Digital Space, Rio de Janeiro (Brazil), pp. 98-103, 2003, acceses on August 2015, http://cumincades.scix.net/data/works/att/fbc9.c ontent.pdf [23] Kolarević, Branko, Architecture in the digital age: design and manufacturing, Spon Press, New York, NY and London, England, 2003.

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[24] Isozaki, Arata, Transformation, Keynote presentation at the Word Architecture Festival, Barcelona, Spain, 2010. [25] Sources of works, accessed on March 2015, http://www.isozaki.co.jp/ [26] Old photography of Colonia Guell Model, accessed on April 2015, http://www.gaudidesigner.com/uk/colonia-guellold-photograph-of-the-model-for-the-guellcolonias-study-realised-by-edouardgoetz_366.html [27] Pound, Ezra, Cathay, Elkin Mathews, London, 1915, accessed on April 2015,

https://archive.org/details/cathayezrapound00po unrich [28] Erickson, B., Bing, X. and Sackler , A.M, The Art of Xu Bing: Words Without Meaning, Meaning Without Words, Arthur M. Sackler Gallery, Washington DC, 2001. [29] Bernard Tschumi, “Twenty Years After (Deconstructivism): An Interview with Bernard Tschumi”, Architectural Design, 79 (1), , Theoretical Meltdown, p. 29, Jan/Feb 2009. [30] de Solà-Morales, Ignasi , Differences: Topographies of Contemporary Architecture, The MIT Press, Cambridge, Massachusetts, 1997.

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DOI: 10.14621/tna.20160105

Housing, Climate and Economy – The Regional Influences on the European Housing Space Standards Anna Yunitsyna Epoka University Rruga Tiranë-Rinas Km 12, 1039 Tirana, Albania; ayunitsyna@epoka.edu.al

Abstract

1. Introduction

The paper studies the dwelling space patterns which are used as basic sources the housing standards and regulations. Research concentrates on the housing architecture of Europe. There are examined the dwelling standards of 31 European countries and 7 regions. The selected countries are grouped consequently according to climate and economy criteria as Northern, Central and South European countries, and as High Income, Upper-middle Income and Lower-middle Income countries. The study focuses on the growth of the minimal area of apartment and its connection with the climate and income. Research continues with the analysis of the minimal area of the habitable rooms. The climate and economical conditions directly influence to the overall size of the dwelling. On the level of room, there is influence to the size of the rooms, where the social activities are performed. The size of the living room, kitchen and integrate living space varies, meanwhile the double and single bedroom remains stable.

For every single society space standards may be different in size and by importance, which is given to one or several factors, such as the density of the dwelling occupation, cultural regulations, sanitary and health standards, economical and technological efficiency, sustainability and climatic conditions. Amos Rappoport stated, that in general on the level of the whole society the house form is not a result of an individualistic desire of a person, but it is a product of the common goals and values [1]. The averaged and socially approved house becomes the formalized mechanism of a social control of the lifestyle of the individual. The dwelling process is very conservative, and basic physiological living needs are not changing, or changing slowly.

Keywords:

European housing; Dwelling standard; Climate, Economy, Regional influence

Article history:

Received: 20 October 2015 Revised: 04 December 2015 Accepted: 14 January 2016

According to Crowdhury, space standards can be expressed in a certain units and forms of measurements, such as sizes of a dwelling and a single room, room proportions and minimal width, relation of the size of dwelling and the number of habitable rooms to the number of inhabitants [2]. The level of comfort of dwelling or its overcrowding are measured consequently by lack or exceed of the extra space. The norms are different in each region and express the level of national wealth. Despite that the standards are the direct product of representation of basic human needs, in different cultures people may require different levels of privacy, different arrangements of rooms, insulation, heating and ventilation conditions. The main method of the research is the analysis and evaluation of the set of legislation documents regulating the process of project and construction of dwelling in Europe. The paper deals with the general information on the housing design methods, which is established as a set of rules and guidelines on the level of the government of each country. Research aims to find the general trends of the minimal space standards in Europe and to identify the influence of the climate and economical conditions to the dwelling space.

___________________________________________________________________________________________________________ A. Yunitsyna: “Housing, Climate and Economy – The Regional Influences on the European Housing Space Standards”, pp. 39–44

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2. Dwelling space and the living activities There are several theoretical pre-assumptions regarding to the minimal size of the room. For the monofunctional place the attempt to define it was done in 1950 by Le Corbusier. He proposed a living unit with dimensions 2.26x2.26x2.26m, which hold only one function – bed, table, kitchen etc. Those containers could be attached to each other in order to create infinite number of layouts [3]. According to B. Leupen minimal dimensions for the social space in house are 4x4 m [4]. Bernard Leupen proposes 6 basic activities: working, sleeping, eating, cooking, bathing and getting together. Each of these functions requires a specific space and also has different importance for the human life. In the “Timeless Way of Building” Christopher Alexander explains, that the quality of the place depends on the pattern of events that can happen there [5]. In house the room is an agent of the living pattern. The quality of building depends on the usual everyday activities, and the more events can happen, the more livable the place becomes.

Figure 1. Classification of the economies of selected European countries according to the World Bank’s Annual World Development Report, 2012

For the present research there are selected 4 basic living actions – Cooking, Getting Together, Dining and Sleeping. The analysis of the dwelling standards proceeds towards the study on the minimal size of the apartment and continues with the analysis of the habitable spaces – rooms.

3. Selection of documents Research aims to study the dwelling space patterns using as basic sources of information the housing standards and regulations. The building codes define the minimal standard of dwelling, which guaranties the minimal level of comfort and composition of habitable spaces in dwelling. Research is based on the housing standards of 31 European countries and regions. For each document it is extracted the general information, such as region, the minimal size of the apartment according to the number of inhabitants, the minimal size of the kitchen, double and single bedroom, living room and integrated living space. By the type of economy the selected countries are grouped according to the World Bank’s Annual World Development Report, 2012 [6]. The classification is based on the gross national income (GNI) per capita (Figure 1). Within the selected countries there are three income groups: - High-income economies – Austria, Belgium, Croatia, Czech Republic, Denmark, Finland,

Figure 2. Classification of the climate of selected European countries according to the World Climate Maps Annual Average Temperature, 2007

France, Germany, Great Britain, Ireland, Italy, Netherlands, Norway, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden, Switzerland - Upper-middle-income economies - Belorussia, Bulgaria, Bosnia and Herzegovina, Macedonia, Russia, Serbia - Lower-middle-income economies – Moldova, Ukraine By the type of climate countries are grouped according to the World Climate Maps Annual Average Temperature, 2007 [7]. The classification is based on the

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annual average temperature prevailing on the territory (Figure 2). Within the selected countries there are three climate groups: - Northern Europe – Denmark, Finland, Norway, Russia, Sweden - Central Europe – Austria, Belgium, Belorussia, Czech Republic, Germany, Great Britain, Ireland, Moldova, Netherlands, Poland, Slovakia, Switzerland, Ukraine -

South Europe – Bulgaria, Bosnia and Herzegovina, Croatia, France, Italy, Macedonia, Portugal, Serbia, Slovenia, Spain

4. Minimal size of dwelling in European regions On this level dwelling is analyzed as a single unit without any particular accentuation to its spaces and functions. The method is based on the consequent comparison of the growth of the dwelling size with the increase of the number of inhabitants. It is assumed, that the number of the habitable rooms is equal to the number of inhabitants. The variety of dwellings is ranged from 1room till 6-room apartments. The comparison between different climatic groups shows the consequent influence of the climate to the size of dwelling (Figure 3). The average minimal size of

Figure 3. Average dwelling size (sq.m) for the different climatic conditions

Figure 4. Average dwelling size (sq.m) for the different income groups ___________________________________________________________________________________________________________ A. Yunitsyna: “Housing, Climate and Economy – The Regional Influences on the European Housing Space Standards”, pp. 39–44

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dwelling is significantly bigger in North European countries. The area of 1-room apartment is almost the same in all cases, but with the increase of the number of rooms the difference in total area of apartments is growing. The difference in size represents the influence of the climatic factors to dwelling and proves the preassumption given by A. Rappoport, that the climatical scale is a useful concept for defining the need in dwelling (Rapoport, 1969). The extreme cold climatic conditions mean, that people would stay more time indoors, therefore they may need more space in comparison with dwelling build in more soft conditions. The average difference in size between the apartments of Northern and Central Europe is 5-8 sq.m, between ones in Central and South Europe – 0.5-3.7 sq.m. The average minimal size of dwelling defined by housing standards is significantly bigger in European countries with high income and the difference reaches 6.5-10 sq.m (Figure 4). The difference between two groups with upper and low-middle income is smaller – 0.7-4 sq.m. The area of 1-room apartment is bigger in the group with high income, which means, that the initial dwelling conditions of the smallest apartment in this group are better.

Bedrooms are evaluated according to the number of users – for one (single and minor bedroom) (Figure 7) or for two (double and major bedroom) inhabitants (Figure 8). As functional space double bedroom is mentioned in 30 housing standards, and single – in 32.

Figure 5. Comparison between the minimal area of the kitchen space for one inhabitant for the different income groups and for the different climatic conditions with the average European size, sq.m

5. Minimal size of the habitable room in in European regions This part aims to define the minimal area of the rooms, which are typical for every standard – kitchen, living room, single and double bedroom and “aggregate living space” – the combination of living room, dining and kitchen. Size of the kitchen as separate space is defined in 15 standards. The data is presented for the one-inhabitant kitchen (Figure 5). The kitchen area is significantly bigger in Northern Europe, which corresponds with hypothesis of A. Rappoport about the extra space, which is needed for the dwelling in sever climatic conditions. In the second group of analysis the size of the kitchen is growing with the decrease of income. The average area of the kitchen is 6.2 sq.m.

Figure 6. Comparison between the minimal area of the living room for one and two inhabitants for the different income groups and for the different climatic conditions with the average European size, sq.m

As functional space living room is mentioned in 26 housing standards, and in 13 it is given different minimal area of the living room for one and two inhabitants (Figure 6). That the size of the living room for one inhabitant is 1 sq.m smaller in average, than for two. The living room for two inhabitants in Northern Europe is 1.5 sq.m bigger, than in South Europe, and 2.8 sq.m – than in Central. There is no evident consequences between the size of the living room and the level of income. The average size of living room for one inhabitant is 15.4 sq.m and for two – 16.4 sq.m.

Figure 7. Comparison between the minimal area of the double bedroom for the different income groups and for the different climatic conditions with the average size in Europe, sq.m

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6. Conclusion

Figure 8. Comparison between the minimal area of the single bedroom for the different income groups and for the different climatic conditions with the average size in Europe, sq.m

Figure 9. Comparison between the minimal area of the aggregate living space for one and two inhabitants for the different income groups and for the different climatic conditions with the average size in Europe, sq.m

From the presented figures it may be derived the conclusion, that climatic and economic conditions doesn’t influence to the size of bedroom. That is connected with the fact, that bedroom as a space is projected in order to accommodate the fixed set of furniture (bed, wardrobe, chest of drawers). There is evident difference in sizes between double and single bedroom, which reaches 2-3.8 sq.m. The average size of a single bedroom is 8 sq.m and of double bedroom – 11.2 sq.m. Size of the aggregate living space is defined in 24 dwelling standards. In 16 it is given different minimal area of it for one and two inhabitants (Figure 9). The extreme climate conditions influence to the size of the integrated living space. Both the size of it in North and South Europe is bigger, than in Central. The influence of the level of income is different. The integrate living space in Northern countries is smaller. The difference in area of the space for one and two inhabitants is 1.3-2.5 sq.m. The average size of aggregate living space for one person is 19.6 sq.m and for two – 21.9 sq.m.

Within the comparative analysis of 31 state European 7 regional building codes standards there were distinguished the following regularities. On the level of dwelling among 38 European standards 15 established constraint regarding the minimal size of dwelling. The pattern of dwelling sizes is shaped by the range between the minimal 1-2 room apartments and maximal 1-6 room apartments. There is an influence of the climate conditions to the minimal size of dwelling: the area of apartments in Northern Europe is bigger, than in Central and South. There is an influence of the country income to the minimal size of dwelling: the area of apartments in countries with high income is bigger, than in countries with upper-middle and low-middle income. In 36 European building regulations there are provided minimum dimensions for the particular rooms. 26 countries defined the minimal size of the living room, within them 13 established different sizes according to the different number of inhabitants. The average size of the living room in Northern Europe is bigger, than in Central and South Europe. 30 European countries defined the minimal size of the bedroom, within them 30 established separately different sizes of the main bedroom and second bedroom. There is no significant change in size of the double and single bedroom in different climatic conditions and income groups. 15 countries defined the minimal size of the kitchen, which area is bigger in the countries of Northern Europe. In the countries of high income group the size of the kitchen is smaller. 24 countries established the standard for the multifunctional “aggregate living space” – combination of kitchen, dining and living room. The area of the aggregate living space is growing together with lowering of the country income. The aggregate living space in Central Europe is smaller, than one in Northern and South Europe.

References [1]

Rappoport, Amos. House Form and Culture. Englewood Cliffs, USA: Prentice Hall, 1969.

[2]

Chowdhury, Iftekhar Uddin. Housing and Space Standards: Human Needs and Regional Factors. Regionalism in Architecture. Singapore: Concept Media, The Aga Khan Award for Architecture, 1985.

[3]

Corbusier, Le. Modulor 2. Cambridge: Massachusetts Institute of Technology, 1955.

[4]

Leupen, Bernard. The Polyvalent Dwelling. International Conference On Adaptable Building Structures. Eindhoven: TU/e, 2006.

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[5]

Alexander, Cristopher. The Timeless Way of Building. New York: Oxford University Press, 1979.

[6]

Income Levels. (2012). Retrieved May 10, 2013, from World Bank’s Annual World Development Report, http://wdronline.worldbank.org/worldbank/a/inc omelevel

[7]

Department, U. F. (2007). Annual Average Temperature. Retrieved May 5, 2013, from World Climate Maps, http://www.climate-charts.com/World-ClimateMaps.html

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DOI: 10.14621/tna.20160106

Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) — Adaptive Reuse and Experience Design Nağme Ebru Karabağ Aydeniz, Sergio Taddonio Yaşar University, Faculty of Architecture, Department of Interior Architecture and Environmental Design Izmir, Turkey; ebru.aydeniz@yasar.edu.tr, sergio.taddonio@yasar.edu.tr

Abstract The Culinary Art Centre project, developed in collaboration with students of the Department of Interior Architecture and Environmental Design of Yaşar University in Izmir, investigates the potentials of the local underused built heritage to be considered for new creative and social programmes as strategic constituent parts of the Experience City and offers to the public audience and local authorities a programmatic action based on the re-habilitation and adaptation of the 1800's dismissed and vacant Olive Oil & Olive Oil Soap Factory located in the central and strategic district of the town of Ayvalık, to be converted into an experience-based Culinary Art Centre where local and international visitors experience the research-and-interaction-driven creative process of food art. Aim of the project was clearly defined as the transformation of an industrial heritage building – former place of production into a new place or stage ‘for the production and consumption of experience services and goods’ [1] – in this case, knowledgebased services and the whole spectrum of food production and culinary art – while approaching the design task openly in accordance with the principles, notions and concepts of the Experience Economy method, as developed and described by Pine & Gilmore within their studies and publications. Experience through Design and Design through Experience. An academic investigation and design response aimed at promoting and experiencing the adaptive reuse approach for the already-built urban environment as precious resource for sustainable urban development actions and targeting at the promotion of culinary culture and gastronomic tourism – known as food tourism, tasting tourism or culinary tourism. Tangible and intangible heritage positively conserved through adaptive reuse and experience design.

Keywords:

Industrial heritage; Adaptive reuse; Experience economy; Culinary art; Experience design

Article history:

Received: 28 July 2015 Revised: 07 December 2015 Accepted: 14 January 2016

1. Urban Regeneration and Adaptive Reuse of Heritage Industrial Buildings Over last four decades, as the regeneration process of several towns and city centers has gathered momentum in many different contexts of the world, the reuse and positive conservation of heritage buildings has played a key role as an integral component of successful heritagebased regeneration projects that had generated considerable beneficial outcomes for local economies and communities. Re-integrating heritage buildings and historic urban contexts by reusing and recycling these precious existing resources ‘as an asset, and giving them new life, has been one of the cornerstones of the economic and social revival of our towns and cities’ [2]. The English Heritage defines heritage asset as ‘any component of our historic environment. It is defined as a building, monument, site, place, area or landscape identified as having a degree of significance meriting consideration in planning decisions, because of its heritage interest’ [2]. The Nizhny Tagil Charter for the Industrial Heritage states that ‘Industrial heritage consist of the remains of industrial culture which are of historical, technological, social, architectural or scientific value. The industrial heritage is of social value as part of the record of the lives of ordinary men and women, and as such it provides an important sense of identity. Continuing to adapt and use industrial buildings avoids wasting energy and contributes to sustainable development. Industrial heritage can have an important role in the economic regeneration of decayed or declining areas’ [3]. ‘Concepts such as industrial culture, sense of identity, sustainable urban development and economic regeneration have been clearly highlighted and considered as essential factors and goals of regeneration and revitalization strategies that have driven relevant heritage-led urban regeneration schemes’ [4].

___________________________________________________________________________________________________________ N. E. Karabağ Aydeniz, S. Taddonio: “Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) – Adaptive Reuse …”, pp. 45–56

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Old buildings offer a stable framework as the basis for durability, while on the other hand they provide an open stage for new elements. Moreover, ‘in addition to their physical and material properties they also represent strong social and cultural values as the concept of intangible heritage is deeply connected with memory and identity of a place and its people’ [5]. Commonly considered as a landmark with regard to the development of architectural conservation theories, the Venice Charter states that the conservation of monuments is always facilitated by making use of these precious resources for socially useful purposes, by ensuring that the reuse does not considerably interfere with the original lay-out and decoration of the building. Only indispensable modifications required by the new functional programme can be implemented within this operational framework. [6] This approach have been restated in many national and international platforms up to now and discussed by many theorists. Today, the reuse of historic buildings is recognised as an essential part of modern conservation [7]. The (positive) reuse of historical buildings other than archaeological sites, monumental religious building and tombs, is a requirement of urban development according to the theory of modern restoration [8]. On the other hand, the development of commercial functions increasingly threatens the historical texture of cities, with the consequential effect of demanding consistent interventional applications to enable existing buildings and structures to meet the requirements of the new building programme, while losing their authenticity. Brooker and Stone elaborated three distinct categories of building reuse in relation with the degree of integration between the host building and new elements: intervention, insertion and installation. When the original building establishes a clear relationship with the new design and the two become one, the identified category is intervention. When the host building and the remodeling are intensely related and yet accommodates new elements and both of them remains strongly unchanged, then the category identified is insertion. If the old and the new exist together without compromising or touching each other, then the category is installation [9]. The reuse and transformative methods should be designated according to the analytical outcomes obtained through the assessment of the existing structure and in relation with the new building programme conceived for the adaptive reuse process.

2. Experience economy and experience design. The experience city The notion of Experience Economy was firstly launched by business economist B. Joseph Pine II and James H. Gilmore in 1999 and since then it had been intensively

discussed while gaining a prime role among urban planners and developers due to its relevant contribution in terms of staging new discourses upon urban development of XXI century’s cities with regard to the urgent issue of competing on the global market. Among several fundamental concepts of the Experience Economy’s notion, Pine & Gilmore emphasize the one of staging experiences by stating that ‘experiences are not the final economic offering’ [10]. In this sense, the customization of an experience - the way of designing an experience for single individuals, users or guests - turns to generate a transformation. ‘A transformation is the revisiting of a recurring theme, experienced through distinct and yet unified events’ [10]. Therefore, the concept of transformation becomes crucial in designing experiences. And to activate transformation, the concept of place plays a pivotal role and the way experiences are bound to places that are considered not only as the container or the stage ‘for the production and consumption of experience services and goods’ [1]. In discussing the role of places in the experience economy, O’Dell suggests the notion of ‘experiencescape’ [11] meant as places where experiences are being staged and consumed. But places themselves are object of consumption by ‘people enjoying the atmosphere, the sociability and even the identity that can be created by being present’ [1]. In 2005, Gyimóthy re-works the concept of experiencescape by suggesting the notion of ‘nostalgiascapes‘ [9] as places representing historic identity and lifestyle. ‘The power of experiencescapes in producing feelings of identity is sometimes very strong. Special buildings connected to experiences may even help redefine the whole identity of cities’ [1]. The concept of identity turns to be crucial in re-working and re-designing experienscapes and nostalgiascapes while promoting urban development in full accordance with notions and concepts of the experience economy. ‘The city is increasingly seen as a social space in which cultural activities and events can develop’. [1] Culture becomes an essential factor and fundamental approach in re-designing our cities. ‘Particularly important in urban interventions is to make strategic use of cultural resources. Cultural planning, in the strategic sense, has been recorded since the mid-1970s in big cities. Its rationale has been to create attractive locations for individual and collective consumption. The important characteristic of an experience city is its attractive atmosphere, which comes from place-bound activities, events and services, attractive places and diverse social spaces, which make visitors and residents feel inspired, involved and connected to the place’ [1]. History, culture and legacy are essential factors in planning the experience city.

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Figure 1. General View of Ayvalık [20]

In relation with the above mentioned concepts of transformation and place, a question comes quite automatically: what if we extend the concept of transformation - merely linked to the experience of any ‘guest’ within a profit-oriented programme - by including the context or container of the staged experience? In other words, does the concept of transformation match the purpose of designing engaging and compelling experiences from a wider point of view by creating a double effect when applied not only to the programme but also to the venue or physical stage of the programme itself? In this sense, experience design and adaptive reuse of historical buildings may double the transformative effect of a regenerative process of functioning a valuable historical structure - a transformation by itself, perceived by users as the rewriting of a precious story - to accommodate a challenging and engaging experience-based programme. ‘Being in the historic building and environment is getting a more privileged status nowadays’ [12]. Transformation through experience design and transformation by the mean of interventional design. Inevitable steps toward the Experience City.

3. The Culinary Art Centre project. An adaptive reuse proposal for an old oil and olive oil soap factory in Ayvalik 3.1. Ayvalik Although Ayvalık’s history dates back to ancient times (Figure 1), it was referred for the first time with the naval

battle in 1770 as an Ottoman achieve. Since 1789, it became an important metropolitan centre, emerging as an autonomous region inhabited by non-Muslims and as a district of the Ottoman Empire from 1840 onward. Within the last quarter of 19th century, the industrial production of olive oil started alongside traditional workshop and house production. Since then, industrial buildings erected specifically for the production of olive oil - an afterwards, for olive oil soap as complementary production - emerged as the most distinctive typology of structure along with the residential type in the city. These massive industrial buildings located alongside the sea became dominant and remarkable structures in the urban texture [13]. But as a result of the development of production technology in time, factories, workshops and warehouses moved out of the city and a consistent number of industrial buildings lost gradually their original function followed by the consequential initiation of the degradation process. Today, these structures stand as an evidence of industrial development in Ayvalık memory. The Nizhny Tagil Charter for the Industrial Heritage states that industrial heritage consists of the remains of industrial culture, which are of historical, technological, social, architectural or scientific value [3]. The artistic value of these structures is recognized as ‘relative artistic value’ as suggested by Alois Riegl today. Reyner Banham's ‘aesthetic factory’ concept also refers to the artistic value of industrial monument [14].

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3.2. Ayvalik cuisine. Intangible culture heritage Ayvalık’s favored geography, climate and history is noticeably reflected to its gastronomic culture. The atmospheric temperature range variations arising from north western and north eastern winter storms here affects the quality of olive and olive oil positively. On the other hand, the role of the sociological mosaic of the town contributed to the enrichment of the local cuisine culture. In fact, the population of Ayvalık consists of immigrants from Aegean Islands, mainly Crete and Lesbos, and Bosnia. These cultures intertwined in time and generated a unique culinary tradition [15]. The Mediterranean Diet Pyramid, elaborated by the World Health Organization, is based largely on Crete’s gastronomic traditions where simplicity and purity are essential elements, consisting of natural ingredients such as grains, herbs, fruits, vegetables and meat [16]. In addition, UNESCO recognises Mediterranean Diet’s pattern as an Intangible Cultural Heritage. This concept refers to the practices, representations, expressions, knowledge and skills transferred by communities from generation to generation. Traditional cuisine is one of

the matters covered by this concept that is also known as ‘living heritage’ [17]. The cuisine and the gastronomic culture in Ayvalık is conspicuously based on the nutritional principles of the Mediterranean Diet. But, this culinary culture is threatened by increasing globalisation. It has to be protected from the threat of food globalisation and carefully transferred to the future generations.

3.3. The old olive oil factory The Old Olive Oil Factory complex, originally constructed as a flour factory by a Greek producer, is located in the city centre of Ayvalık. It consists of four blocks built in different periods. (Figure 2) The four-storey building located in the middle was built first in 1800’s as a flour factory. This building was purchased in 1913 by a Turkish producer migrated from Lesbos Island. Two-storey and single-storey buildings on both sides were constructed in 1960’s. The building complex has been used for olive oil and olive oil soap production as a whole until 2010. Due to the relocation of the production process, this building lost its original interior equipment together

Figure 2. The Old Olive Oil Factory Complex in Ayvalık (Author’s photo archive) ___________________________________________________________________________________________________________ N. E. Karabağ Aydeniz, S. Taddonio: “Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) – Adaptive Reuse …”, pp. 45–56

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with its function [18]. The complex was definitively abandoned in 2010 and since then it has been waiting for a reuse proposal.

3.4. The Culinary Art Centre project. Tangible and intangible heritage positively conserved through experience design Cultures of communities vary in accordance with physical and non-physical factors such as geography, climatic conditions along with spiritual beliefs. One of the characteristic qualities of societies that unequivocally distinguish them is the culinary culture. Considering the importance of dining in human life, the impact of the food on a culture can be obviously acknowledged. The preparation of meals is as important as the consumption and both impact the formation of traditions and physical environment. The act of eating is crucial in the recognition of a specific culture and gastronomic tourism increases its percentage in relation with the general tourism’s figures every year. Having considered the aforementioned aspects, the identification of the scenario for the Design Studio’s project task appeared to be quite automatic, that is framing the educational purpose of the project challenge by linking - in a chain-like sequence - the urgent regenerative programme of Ayvalık’s industrial heritage (olive oil factories) through positive conservation actions (urban scale), with the appropriate interventional design methods (architectural scale) or better adaptive reuse strategies aiming at converting those valuable historical traces of the past into vibrant spaces or places for new compelling programmes, by

establishing a fundamental connection with the Experience Economy principles (and transformation through experience as the major) in order to identify the aim of the project in terms of programmatic decisions and experience-oriented spatial formulations. A Culinary Art Centre. ‘Every experience has a theme. Discovering a suitable theme is central to experience design. Five principles are paramount in developing such a theme. First, an engaging theme must alter guest’s sense of reality. Creating a reality other than the everyday. Second, the richest venues possess themes that fully alter one’s sense of reality by affecting the experience of space, matter, and time. Third, engaging themes integrate space, matter, and time into a cohesive, realistic whole. Fourth, creating multiple spaces within a place strengthens themes. Finally, a theme should fit the character of the enterprise staging the experience ‘[10]. While dealing with the design process, students have been considering those essential guidelines and applied both interventional design principles and experience-based concepts, to accommodate within a former olive oil factory a compelling set of staged experiences. The aim of this project, developed and finalised in collaboration with undergraduate students of an Interior Design Studio course, is to generate an experiential journey to promote Ayvalık’s cuisine. (Figures 3 and 4) Several sequential ‘sections’ drive visitors through the local gastronomy culture and the art of creating food-works. Guests are guided within the Earth Market, the Liqueur Section, the Culinary Art Library, the Glazed Kitchen Lab, the Edu-Kitchen for

Figure 3: The scheme of the experiential journey consist of several sequential ‘sections’. Render – Section perspective [21] ___________________________________________________________________________________________________________ N. E. Karabağ Aydeniz, S. Taddonio: “Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) – Adaptive Reuse …”, pp. 45–56

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Figure 4. The scheme of the experiential journey consist of several sequential ‘sections’. Render – Section perspective [21]

cooking classes, the All-Senses Tasting Area and each of these spaces promotes different visitor’s interactions in full accordance with the Experience Economy principles indicated by Pine and Gilmore. According to Pine & Gilmore’s theory, an experience may attract visitors’ attention in several different dimensions. Major dimensions are indicated in the main axis of the figure. (Figure 5) The horizontal axis is related to the participation and contribution of the visitors to the experience actively or passively. The vertical dimension of experience describes the kind of connection, or environmental relationship that unites visitors with the event or performance; guests may be absorbed – from a distance - or immersed by becoming physically (or virtually) a part of the experience itself. The intersection of these two dimensions reveal four areas of experience: entertainment, education, escaping, aesthetic. Producing uncommon experiences often intertwines these areas. While the experience economy improves, search for a new and different experiences increase [10]. In detail, the project proposal identifies three access points to the Culinary Art Centre. The original entrance to the first original factory block is protected and two more entrances are arranged in order to maximise the accessibility to the ground level of the complex, where the Earth Market is located. While moving through the

Figure 5. Experience realms [22]

market-like space setting - where local agricultural products are daily supplied, displayed and sold - by the mean of a central gallery space, visitors are visually connected with the very upper floor where the AllSenses Tasting Area is located. (Figures 6 and 7) This visual connection generates curiosity and this curiosity drives guests to undertake the journey upward.

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Since all foods are accompanied by wine or infusions in the Mediterranean diet [19], the project allocates a Liqueur Section (Figure 7) in the first floor of the complex. Liqueurs and mainly wine play a fundamental role in Ayvalık’s cuisine. Visitors have a chance to taste and eventually purchase locally produced beverages.

related with the local and regional gastronomic culture and the unique intersection of culinary ‘schools’ and traditions that characterise Ayvalik’s cuisine. At the same time, a visual connection with the All-Senses Tasting Area is provided by the mean of a large gallery space that divides only physically these two sections.

The Culinary Art Library (Figure 8) is the following ‘station’ of this sequential journey, a place or better an archive where visitors receive all necessary information

The Glazed Kitchen Lab (Figure 9) becomes the main stage of Food-Art, and as such is located in close proximity with an aerial passage that simply ‘touches’

Figure 6. Section perspective [23]

Figure 7. Earth Market and the gallery space [23] ___________________________________________________________________________________________________________ N. E. Karabağ Aydeniz, S. Taddonio: “Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) – Adaptive Reuse …”, pp. 45–56

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Figure 8. Liqueur section [23]

Figure 9. The Culinary Art Library [23]

the food production space while offering a large perception of chef’s food-works. In the Edu-Kitchen (Figure 11) for cooking classes, guests are encouraged to actively experience the preparation and cooking process of the food. Pine & Gilmore state that education is a serious business, which can also be enjoyable. Unlike the entertainment experience, education requires the active participation of individuals. Of course, this does not mean education will not generate fun. The term of edutainment was put forward to explain the experience of combining entertainment and education. The All-Senses Tasting Area (Figure 12) is the final ‘station’ of this engaging journey, a place that is visible and perceivable from several different internal perspectives but accessible only through the sequential

stations organised as a ‘route’ within the newly designed building settings. Visitors, guests, chefs taste here the outcomes of cooking training sessions while socialising and sharing experiences and various cultural backgrounds as well. Communal meals are very important in social happenings and festive events in the Mediterranean Diet. Therefore, the All-Senses Tasting Area promotes social interaction through experiencebased activities. Beside this compelling experiential journey, the building programme includes a Restaurant located at the ground floor that is directly linked to the Earth Market (Figure 13) and a Panoramic Restaurant located at the very upper floor. At the ground floor, guests are surrounded by the basic ‘ingredients’ of their own meal as raw ‘products’ from the Earth Market and as ‘live installation’ in the greenhouse.

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The Panoramic Restaurant represents the very upper section of the building program. Windows here frame impressive vistas over the Ayvalik’s coastline.

4. Conclusion When positively conserved, re-functioned and properly operated as new stages of compelling programmes, heritage buildings continue their existence and the Experience Economy principles elaborated by Pine & Gilmore provide new visions and opportunities in this sense. The conversion of an old olive and olive oil soap factory into a Culinary Art Centre, developed and finalised in collaboration with undergraduate students of an Interior Design Studio course - openly based on the principles of Pine & Gilmore - generates scientific, cultural, social, economic benefits at once. Firstly, an industrial heritage building will extend its life span through the adaptation of its valuable structure and architectural features to host a new strategic building programme. In addition, the sustainability of Ayvalık’s cuisine traditions, based on the Mediterranean Diet recognised as ‘intangible cultural heritage’ by UNESCO, will be secured through recording-and-promotionalbased actions.

With regard to the authenticity of the old building and its original function, which is one of the adaptation principles, the proposed intervention appears highly respectful due to the usage of an old olive oil factory as a culinary art centre where olive oil still represents one of the main ingredients of food-works. Several scientific researches prove that people who had adopted the coastal Mediterranean Diet are healthier and with a longer life expectancy when compared with other not having adopted similar nutritional regimen. Therefore, promoting Mediterranean nutritional principles and encouraging people to discover and experience first-hand the qualities of the Mediterranean diet generates positive effects in terms of public health. The transformation of an old building will initiate the transformation of community by altering and adjusting their eating habits and social benefits will be enabled. Pine & Gilmore refer that human being are always looking for new and exciting experiences constantly in order to learn, grow, thrive, become perfect and these experiences transform people's lives [10]. Old buildings, carefully re-designed in line with the principles of the experience economy model, enable the transformation of historical built environments into upto-date attractive urban centres, while ensuring social and economical development.

Figure 10. Glazed Kitchen Lab [23] ___________________________________________________________________________________________________________ N. E. Karabağ Aydeniz, S. Taddonio: “Positive Conservation of an Old Olive Oil Factory in Ayvalik (Turkey) – Adaptive Reuse …”, pp. 45–56

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Figure 11. Edu-Kitchen [23]

Figure 12. All-Senses Tasting Area [23]

http://international.icomos.org/18thapril/2006/ni zhny-tagil-charter-e.pdf

References [1] Lorentzen, A. (2009) Cities in the Experience Economy. European Planning Studies, 17:6, 829845, Routledge, DOI: 10.1080/09654310902793986

[4]

Taddonio, S., Aydeniz, N.E., Odaman Kaya, H. (2014) Adaptive Reuse of the Industrial Heritage and the Refunctioning Process for Sustainable Residential Purpose: Re-Thinking Existing Structures for the Development of Sustainable Communities (Co-Housing), in Environment and Design 2014. International Congress, 11-12 December 2014, Bahçeşehir University, İstanbul. İstanbul: Bahçeşehir University Press, 299-310.

[5]

Mengusoglu, N., & Boyacioglu, E. (2013) Reuse of Industrial Built Heritage for Residential Purposes in

[2] English Heritage (2013) Heritage Works, The use of historic buildings in regeneration. London: English Heritage. [3] The International Committee for the Conservation of the Industrial Heritage (TICCIH) XII International Congress. (2003) The Nizhny Tagil Charter for the Industrial Heritage [Data file]. Retrieved from,

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Figure 13. Earth Market Restaurant [23]

Manchester. METU Journal of the Faculty od Architecture. 30 (1), 117-138, http://jfa.arch.metu.edu.tr/archive/02585316/2013/cilt30/sayi_1/117-138

[12] Petermans, A. & VAN Cleempoel, K., Retail Design and the Experience Economy: Where Are We (Going)?, in Journal of Design Principles and Practises, 3, (2009), pp. 171-182.

[6] ICOMOS, The Venice Charter, International Charter for the Conservation and Restoration of Monuments and Sites, article 5, Venice, Italy, 1964, http://www.icomos.org/charters/venice_e.pdf

[13] Terzi, E., The 19th Century Olive Oil Industry in Ayvalık And its Impact on the Settlement Pattern, Master Thesis, Middle East Technical University, Ankara, Turkey, 2007.

[7] Cramer, Johannes & Breitling, Stefan, Architecture in Existing Fabric, Birkhauser, Berlin, Germany, 2007. [8] Kuban, D., Tarihi Çevre Korumanın Mimarlık Boyutu: Kuram ve Uygulama, YEM Yayınları, İstanbul, Turkey, 2000, pp. 118. [9]

Brooker, G. & Stone, S., Rereading, Re-readings: Interior Architecture and the Design Principles of Remodelling Existing Buildings, Riba Enterprises, London, UK, 2004, pp.79-141.

[10] Pine II, B. J. & Gilmore, J. H. (2011) The Experience Economy, Boston, Massachussets: Harvard Business Review Press. [11] O’Dell, T. (2005) Experiencescapes: Blurring borders and testing connections, in T. O’Dell & P. Billing (Eds) Experiencescapes. Tourism, Culture and Economy, pp. 11-33 (Koge: Copenhagen Business School Press).

[14] Cengizkan, M., Endüstri Arkeolojisinde Mimarlığın Yeri: Sanayinin Terkettiği Alanlarda Yeniden Mimari, Mimarlık, 308, (2002), pp. 40-41. [15] Atilla, N., Adabeyi: Dünden Bugüne Adım Ayvalık (Adabeyi: Step by step Ayvalık today from yesterday), Öztüre A.Ş. Kültür Yayını-4, İzmir, Turkey, 2005. pp. 94-95. [16] Health Facts, http://www.uhs.wisc.edu/health-topics/healthylifestyle/documents/Mediterranean.pdf [17] UNESCO Intangible Cultural Heritage, http://www.unesco.org/culture/ich/index.php?lg =en&pg=00006 [18] This information was obtained from the oral interview with Salih Madra who is one of the former owners of the Factory (March 5, 2014).

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[19] UNESCO Intangible Cultural Heritage, http://www.unesco.org/archives/multimedia/ind ex.php?s=flvplayer&pg=33&vl=Eng&vo=2&id=168 0 [20] Selme Zeytin ve Zeytinyağı, http://www.selme.com.tr/eski-ayvalikfotograflari-s1007.html [21] Cengiz, K. & Atas, A., Interior Design Studio; ReFunctioning Old Olive Oil Factory in Ayvalık (project), Yasar University Faculty of Architecture,

Interior Architecture and Environmental Design Department, Izmir, Turkey, 2014. [22] Pine II, B. J. & Gilmore, J. H. (2011) The Experience Economy, Boston, Massachussets: Harvard Business Review Press. [23] Cengiz, K. & Atas, A., Interior Design Studio; ReFunctioning Old Olive Oil Factory in Ayvalık (project), Yasar University Faculty of Architecture, Interior Architecture and Environmental Design Department, Izmir, Turkey, 2014.

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DOI: 10.14621/tna.20160107

Urban Perception: A Study on how Communities’ Necessities regarding the City’s Form and Function have changed throughout Time and how this affects Urban Relationships Luiza-Cecilia Spiridon*, Lidia Păcurar Faculty of Architecture and Urbanism of Timişoara Oradea, str. Piteştilor nr. 33, 410258 jud. Bihor, Romania; luizaspiridon@yahoo.com

Abstract

1. Introduction

The aim of this paper is to study the evolution of the concept of community and the way it relates to the urban landscape throughout time in order to identify possible urbanistic responses to the contemporary social context. Since communities manifest themselves as social phenomena whereas spaces are intrinsic physical manifestations, correlation between these two concepts can only take place in those stages of the social evolution where the settlement, and more precisely the city, is seen as a necessary physical support, indispensable to the formation, development and administration of the community – communal identity is built through memory and belonging to a specific place and environment. Recent studies have shown that the concept of community has become much more volatile in nowadays society; rather than physical human aggregations, communities are seen as social networks where identity can be achieved through participatory acts. The importance of physical space manifestations therefore diminishes and consequently, the need arises for contemporary cities to adapt into more active and dynamic supports in order to stay relevant in the new context. Urbanism must follow new guidelines that allow and encourage communal participation. It is important to note, however, that, while participatory urbanism may appeal to the collective aspect of a community, urban perception is an individual experience. As social networks tend to shift towards a virtual experience, cities should enhance positive physical stimuli through sensorial urbanism in order to become the chosen place of both personal and collective manifestation.

“In order to see a city, it is not enough to keep your eyes open. First you have to release yourself of everything that obstructs you from seeing it – all the inherited images and preconceived ideas” – Italo Calvino, Invisible Cities [1].

Keywords:

Urban perception; Social network; Participatory urbanism; Sensorial urbanism

Article history:

Received: 21 July 2015 Revised: 31 October 2015 Accepted: 14 January 2016

With the increasing growth of the urban population and city sale, urban perception has become a recurring theme in architectural studies. However, although the points of view are quite varied on how the perceiving phenomenon occurs within the context of a city, most studies tend to concentrate more on the individual’s experience. The city, however, although built on an architectural skeleton, it is first and foremost complied by humans; therefore, the collective and more acutely the community, are by extension the true determinants of the urban stimuli through the influence they have manifested throughout time on the form, function and overall image of the urban environment.

2. The fight between stability and mobility in defining the necessary physical support for community development During the XXth century, modern architecture - the International Style in particular - manages to have a great impact on the opinion regarding local culture, its architectural manifestation and historic development. In present time, a new perspective begins to take shape, by analysing the relationship between stability and mobility: in contrast to mobility, well appreciated by the contemporary society, theoreticians like Koichi Nagashima [2] consider stability to be the conditioning factor of the progress within human civilisation by relating to the idea of place. To exemplify, comparing the positions of the farmer and the hunter, one might say that the cultivator is the one bringing a continuous contribution to the process of creation and to the evolution of the civilisation.

___________________________________________________________________________________________________________ L-C. Spiridon, L. Pacurar: “Urban Perception: A Study on How Communities’ Necessities Regarding the City’s Form and …”, pp. 57–64

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By the above logic, we may assert that the first relevant moment in the history of the civilisation is the settling of the nomadic people in a certain area, to ensure food through agriculture. These small settlements began to grow with time, evolving into cities which have discovered, beside the necessity of material certainty, the importance of development and progress, but also of information creation and control. At the same time, interaction – mobility - determines the quality of said information: an independent settlement aiming to develop by itself and rely only on its own capacities, on the long term, actually ends up by becoming stagnant and atrophic. This is where the role of the hunter - the nomads - interferes. They stray around the sedentary civilizations, which they “rob” when needed, but without creating or being able to create new (superior) civilizations. The part of the hunter and the nomad thus had become to consume, and not to create; their role’s importance in the evolution of civilization, however, does not diminish since the nomads have represented that external energy mandatory in stimulating the blend between the different cultures they have met. They were intermediates between these different civilisations and functioned as catalysers for their progress.

3. Urbs and civitas and the danger of thinking the city in terms of models regarding the individual and the community From the original settlements, fast-forwarding in time, we encounter another key moment in the chronology of human-city interaction: the Industrial Revolution. An interesting phenomenon occurred at the time, that nowadays’ psychologist could catalogue as an early mass-manifested escapism symptom - as a response to the urban mutations brought upon by the industrialization, a sudden increase in utopian city models was to be observed. The proposed urban solutions were quite varied but, according to Francoise Choay [3], two ideological directions have had a decisive role in the architectural and urbanistic solutions that were to come –the progressive and the culturalist. The progressive model of the utopian city starts from the generic individual’s poor situation during the Industrial Revolution - derived from matters such as population growth, expanding cities, infrastructure transformations, etc. However, despite the stipulations meant to release everyday life from the faults and constraints of the great industrial city, the progressive model’s various manifestations are presented as restrictive and repressive; constraint occurs through the stiffness of a predetermined spatial framework. With every urban aspect being heavily regularized and geometrized, there is no place for individual expression.

On the other hand, the historical context onto which the culturalist supporters base their model is the disappearance of the urban organic unity under the pressure of the industrialization. The starting point is no longer the individual, but the state of the community and the city. Inside them, rather than an interchangeable unit as within the progressive model, the individual is regarded as an irreplaceable element of the community due to his specificity and originality. Related to tradition and developed as a craft, art is seen as a mean of asserting culture and overcoming the industrial-induced urban deformities through collective measures such as public art, made for and by the people. Thus, instead of progress, the ideological keystone to this model is culture – material needs fall to a secondary place in favour of spiritual aspirations, therefore anticipating a less rigorously determined urban planning [3]. The downfall of these ideologies came from treating the cities of the future in terms of models, as reproducible objects, and not as developing and constantly changing processes; hence, by being ripped of any kind of concrete temporality, the model-city became utopia. Whether it was the constraining and repressing nature of their organizational structure or their lack of relation to contemporary socio-economic realities, instead of improving the quality of urban life, these models have actually accentuated what Francoise Choay calls “the dissociation between urbs and civitas” [4].

4. Overgrown cities and crowding: The necessity to expand the notion of community The dissociation continued with the Modern ideology regarding both architecture and urbanism rid itself of any civic relation as “form should follow function” and, as Nan Ellin points out in “Fear and City Building”, it quickly turned to form following finance [5]. Constantly increasing in scale (thus challenging the human ability to perceive and understand them and consequently leading to psychological unrest and anxiety [6]) and seemingly devoid of civic spirit, cities appear to have turned into places of crowding, anonymity and fear. As a result, several reactions have risen in response to the contemporary fearful urban atmosphere; one of them, “escapism”, manifests itself through “forms of retreat from the larger community or flights into fantasy worlds” [7]. Within the physical domain, escapism is one of the reasons for the rise in popularity of gated communities and theme parks, as people seek refuge from the everyday stress and anxiety into such heterotopic places. Furthermore, due to technological advancements in the last decades, escapism has acquired a virtual dimension as well. Consequently,

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Figure 1. Population growth in history and predictions for the future using data from the US Census Bureau and the United Nations Population Division. It can be noted that the slope begins to accentuate with the Industrial Revolution, witnesses a true boom in the second half of the XXth century and commences to slow its ascent as of the present time. The highlighted temporal interval has been chosen to overlap as much as possible the maximum time period that could be included in Google Ngram Viewer in order to correlate the data between the figures. Image source: worldmeters.info [9]

Figure 2. Occurrence of the word “community” in a corpus of books, as analysed by Google Ngram Viewer. It can be noted that, similarly to the demographic graph’s case, the slope begins to accentuate in the time of the Industrial Revolution (mid XVIIIth century) only to become even steeper in the XXth century. Although the presented search results apply to the British English literature, highly similar graphs were observed for all languages available in the program. In order to counter the possibility of inconclusive data since far fewer books were being published in the past, a low smoothing factor was used (5 on a scale from 0 to 50), resulting in more spikes and plateaus in the first analysed centuries and more accurate comparison results. Image source: books.google.com/ngrams [10] ___________________________________________________________________________________________________________ L-C. Spiridon, L. Pacurar: “Urban Perception: A Study on How Communities’ Necessities Regarding the City’s Form and …”, pp. 57–64

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social relationships have started to shift towards this new dimension, fact that raises concerns about the accentuation of human alienation in the real world. In addition, following the Industrial Revolution, there has been a demographic explosion (as seen in Figure 1). This has led to a nearly exponential growth in city scale and urban population (as far as, in 2007, the urbanites have exceeded 50% of the entire world population [8]). It is natural to assume that, since the dissociation between the above-mentioned urbs and civitas has started with the industrialization, it has only been accentuated further till the present era. Interestingly enough, it seems that the bigger the schism grows, the more people’s need for community grows. Following the occurrence of the word “community” in literature (Figure 2), an ascending curve highly similar to the demographic one can be observed. For both, the starting point of the main slope is the Industrial Revolution – correlation between the two becomes therefore reasonable. Perhaps the problem lies not with the disappearance of communities but the fact that we have searched for them in the wrong place. Communities are social phenomena whereas spaces are intrinsic physical manifestations; assuming beforehand that they are inherently bound, we run the risk of setting boundaries far too restrictive -for example neighborhood limits- on the population to be studied and therefore obtaining erronated answers as a result. “If one looks for the existence of communities only within the neighborhood boundaries, one will find only communities that exist within the neighborhood” [11]. Considering that out of 7.2 billion people alive at this point on the entire planet [9] 3.1 billion are active Internet users [12], the expression of social connections through virtual networks does not seem as an escapism symptom anymore but rather a functional necessity of our daily lives. According to Barry Wellman, this is especially true in the urban environment: “networks enable effective use to be made of the city’s size and diversity by facilitating the connection between urban individuals, communities, groups and organizations which enhances their coordinated specialized activities” [11]. In fact, far from being derogatory to the idea of community and true sociality, the virtual social behavior is actually just another expression of the true character of communities - that of being social networks. According to Wellman, there are two manners of analyzing communities [13]. The traditional approach ties communities to the spatial dimension; more precisely, communities are equaled to neighborhoods. This approach is an extension of the idealized image of the pastoral village to our era – neighborhoods should be tightly bounded, densely knit groups of broadly based ties.

The second approach uses social network analysis and, as a result, sees communities as loosely bounded, sparsely knit networks of specialized ties. This last feature turns nowadays’ city into a “network of networks” [11] as urban dwellers often become members of multiple communities. Furthermore, through technological advancement especially in virtual communication, interaction is at the same time multiplied and delocalized [4]. The loose bounds allow members to be dispersed on a vast space like a metropolis while still maintaining intense relations of kinship, friendship, aid, assistance and so on. However, from the individual’s point of view, if we take into account that the Dunbar number suggests people have a limited capacity of maintaining close ties of kinship (an average of 150 social ties) [14], the physical spatial proximity of the urban environment may seem quite bare of social relationships. Thus, the scene is set for the anxious feeling of anonymity. Since the lack of social relationships in the spatial proximity does not also mean the lack of actual people, anonymity makes an interesting antithetic pair with crowding. It was shown that the perception of crowding is based on psychological factors rather than spatial ones [15]. Studying humans in controlled environments in order to observe the crowding effect is, in practice, an impossible task. However, an analogy can be made with the study of rats placed in seemingly utopic environments. The ethologist John B. Calhoun has designed his “rat paradise” in such a manner that the only limited resource was space; this has led to a perceived crowding ( only “perceived” since the habitat could have sustained more than double the population at its peak), which in turn has caused what Calhoun called “the behavioral sink” – the rats have started to behave in erratic and dysfunctional ways, altering their natural social and survival behaviors. In four phases (strive, exploit, equilibrium- during which the population peak was achieved - and decline), the rat population has reached from prosperity to complete annihilation (Figure 3). Nevertheless, the study has shown that the more creative and innovative rats have fared well throughout the entire experiment, regardless of the state of the whole society. Calhoun himself was positive that the creative nature of humans would prevent our downfall in a similar manner. However, if we look back at the predictions for future population growth (Figure 1), it can be noted that we seem to have followed the pattern and are approaching the equilibrium phase (other studies are even more grim). Furthermore, historical events like the depopulation of Easter Island show that overly abundant habitats followed by the lack of any whatever vital resource – not just space – may cause a behavioral sink [16].

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Figure 3. Graphic for the evolution of the rat population – from Calhoun’s study

It appears that the prevention of humanity’s downfall lies in motivating people into exploring and manifesting their creativity and involvement. As ccurrent times show a critic moment of demographic changes, economic restructuring, competition upon available resources, technological diffusion and political twists, ”the long crisis”, as Evans et al. [17] call it, which contribute to the creation of necessary circumstances to activate the public awareness, the residents of cities have to become more and more interested in the possibilities and motivated to act to assure their health, happiness and economic welfare.

Without a clear urban legibility, the feeling of disorientation may appear [6] and therefore accentuate the urban fear. Nevertheless, as Norberg-Schultz argues, perception of the environment is not a continuous action and Kevin Lynch further states that true perception of cities happens in temporal patterns, through motion [6]. Still, although mobility through spaces reduces drastically the perceived scale, theorists like Francoise Choay believe a smaller, human scale is needed – an “ethological scale” [4]- that could afterwards contribute to the sense of the whole. A possibility of achieving the human scale would therefore be the entrainment of all senses available [19].

5. The effects of perception and motivation on urban relationships

Unfortunately, present tendencies in both architecture and urbanism focus mostly or completely on the visual sense. As certain mappings of urbanites’ behavior show, this leads to dissociation from the urban environment at an individual level as well (for example, the “Sensing the City” project done by Alexandra Damalan has shown that people only interact with the city in a tactile manner if compulsory [20]).

In the Larousse dictionary on psychology, in the definition of “motivation” it is mentioned that the behavior is strongly influenced by internal neuroendocrine modifications and by external excitants that act upon the brain [18]. Perception, the process of organizing and using information that is received through the senses [18], therefore, plays a major role in motivating the individual. Given the scale of many contemporary cities and even some architectural objects, perception of the whole environment is impaired. There is a wide variety of attitudes regarding urban perception amongst theorists.

Visual dominance in the urban context begins to be a loss for the value of the space as genius loci is comprised of both tangible and intangible elements [21]. It is these intangible elements that give true specificity, charm, value and even identity (for example, some places can be recognized through their soundscapes and odors [19]). By enhancing the positive stimuli the intangible

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can offer through urban interventions based on a sensorial approach, instead of a place of physical alienation, the cityscape could even have a therapeutic effect similar to that of snoezelen rooms – controlled multisensory environments with soothing effects – at a larger scale. It is important to note, however, that each person has a certain optimal perceptual rate [22]. Both under and over-stimulation may cause discomfort and it is therefore important for the individual to be able to manipulate his surrounding urban environment, at least at his small, human scale; he should be able to intervene in defining spaces, be it in a visual or sensorial manner.

6. The importance of perception in shaping the urban environment and society: The motivation through implication Creating spaces offers people a fundament, their dwellings and cities becoming biographies. In addition, people's ability to identify with the material world is a fundamental element in constructing the social dimension of space, concept which we can come across in the philosophy of Martin Heidegger [22] according to whom, to overcome the original state of alienation, individuals seek to define themselves also through the socio-spatial context. Being able to identify with a certain place is directly influenced by the level of representation of the dweller in the urban discourse, but engaging in collective processes fails when the individual is not recognized as part of the community. Since common spaces play an essential role in transforming common interests into a commonly accepted identity, the feeling of belonging to a community seems vital and would further increase the level of implication into local problems. Both public spaces and local channels of communication become means of representation for the community, which confirm the individuality of the citizens and enhances the interaction and the transmission on collective knowledge [24]. Despite what we have stated above, it may be argued that, in the social network context, the physical space as a medium for social manifestations has become obsolete. Nevertheless, looking back at Nigoshima’s analysis [2], from the civilization point of view, hunters and nomads are the “media” itself. This short insight in the history of the civilizations provides a clear mirror of the current situation, where mobility, media and the hunt for ideas might seem over-appreciated compared to stability and to the activities intimately linked to a certain place, (from contemplation or conversation, to any kind of individual or collective activities that manage to establish a certain level of interaction between

people and space) which could lead to self-fulfilling and thereby to authentic creations, including with respect to public space. The relationship between settled civilisations, based on agriculture, and the nomad mobile civilisations reflect the ratio between, on one side, collecting and propagating the information at global level, and, on the other side, creating and generating information in a specific place (including visual or even sensorial information defining public space). The collection of information alone, neglecting its generative process, does not assure progress. As we have mentioned, today however, the interchange of information can be made outside the traditional definition of mobility. Telecommunications, written press, the Internet - the technologic revolution has made information available wherever needed. Increasing the availability of these informative images or virtual realities enhances people's desire to experience the actual content of the information, to participate in those activities bond to a specific space, a place with specific characteristics. Taking into account the current situation of big cities today, which begin to be defined more and more by processes like migration, with great impact on how communities are born and then on how they develop, the necessity of reimagining these concepts emerges and moreover, becomes vital. In the context in which the ever expanding dimensions of the cities and their actual complexity are placing the success of a centralized form of government at the border of impossibility, citizens are forced to involve in improving their urban environment, which defines them and which they, in turn, learn to define. This communitarian reaction comes in response to the shortfalls of urban planning, subjected to the above mentioned context, and thus manages to provide pertinent solutions to the problems at the community scale, by using creative methods of resource exploitation. However, due to administrative and legislative considerations, community initiatives are often hampered or even impossible in the absence of connections and collaborations with other parties having interest for urban development, such as nongovernmental associations, local councils, academia or business sectors and entrepreneurship. The adjustment of the cities to a form that is able to provide flexibility, durability, participation and anticipation, as well as plenty other needs of the individual on the one hand, and of the communities on the other, requires expanding the horizon of the urban interventions and urban value so that it will no longer be used only as a „medical” tool which seeks to correct the urban pathologies, but also as an object of „preventive

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medicine”, a system designed to enhance both physical and mental health of the cities and their inhabitants. This recast of the city is possible by identifying the urban dweller as a developer, producer of urban space, shifting the decisional density of the planning system from the top-down to the bottom-up, involving as many entities able to capitalize the urban planning and the decisionmaking processes as possible. In carrying out participatory processes, much of the success lies precisely in the ability of association between these entities (organizations or groups with similar interests, councils, etc.) in a manner that they can assure a viable and sustainable logistics platform, a network of wellestablished support points, which, again acts according to the principles of the social network, defined not by memory, but by activities: participation and collaboration.

7. Conclusions It seems that one important guideline that utopian cities have left us is not to stifle the possibilities of future development through a framework too rigid or too far from the most pressing necessities of the people. At the moment, the people, neither as individual, nor as communities are properly implicated in matters of urban development, with the individual being the most neglected by current actions regarding urban participation and involvement. We believe that a holistic process of perception through participation is necessary, combining the two and thus providing a hybrid system which, through the means of community and social networks, could enhance the dimension of the humanto-space relationships, involving the individual at different at different social and urban scales. By addressing current necessities and problems in a way that is at the same time deductive (by figuring out the context of future urban and architectural development) and inductive (by thinking about the possible improvements architecture could bring to the people, their needs, their aspirations and environment), a methodology could be established as a forerunner for the future.

References [1]

Calvino, Italo, Invisible Cities (Orase Invizibile – Romanian translation by Oana Bocsa-Malin), Editura Allfa, Bucharest, Romania, 2011.

[2]

Nagashima Koichi, Glocal Approach Toward Architecture of the Future, XX UIA Beijing Congress (Union Internationale des Architectes and the Japan Institute of Architects) Beijing, Japan, 1999.

[3]

Choay, Francoise, L'Urbanisme, utopies et réalités: une anthologie (Urbanism – utopia and realities: an anthology. <fr.) Editions du Seuil, Paris, France, 1965.

[4]

Choay, Francoise, Penser la non-ville et la noncampagne de demain (Romanian translation by Kazmer Kovacs), Urbanismul, serie noua, september 2011, ISSN 1844-802X.

[5]

Ellin, Nan, Fear and City Building (2003), www.nanellin.com

[6]

Lynch, Kevin, The Image of the city, Vol. 11, MIT Press, Cambridge, Massachusetts (USA), 1960.

[7]

Ellin, Nan, Good Urbanism: Six steps to creating prosperous places, Island Press, Washington DC, USA, 2012.

[8]

Urban population growth, www.databank.worldbank.org

[9]

Population growth, www.worldmeters.info

[10]

Occurrence of specific phrases in literature, books.google.com/ngrams.

[11]

Craven, Paul and Wellman B., The Network City, sociological Inquiry, 43, (1973), No. 3-4, 57-88.

[12]

Internet users at 4th of April 2015, www.worldmeters.info

[13]

Wellman, Barry, The Network Community: An Introduction, Networks in the global village: Life in contemporary communities, (Wellman B.), Westview Press, Boulder, Colorado, USA, 1999.

[14]

Dunbar, Robin, Neocortex size as a constraint on group sizes in primates, Journal of Human Evolution 22, (1992), No. 6, 469-493.

[15]

Calhoun, Craig, Population Density and social pathology, Scientific American 206, (1962), No.3, 139-148.

[16]

“What humans can learn from mice”, analogies between the Calhoun experiment and Easter Island’s history, www.returnofkings.com/36915/what-humanscan-learn-from-the-mice-utopia-experiment

[17]

Evans A., Jones B., Steven D, Managing Global Insecurity Project, Brookings Institution, Center on International Cooperation (New York University) Confronting the Long Crisis of Globalization: Risk, Resilience and International Order, Managing Global Insecurity Project, Washington, D.C., USA, 2010.

[18]

Sillamy Norbert, Dictionnaire de la psychologie (Dictionary of psychology. <fr.), Larousse, Paris, France, 1965.

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Zaedini, Mirko, Toward a sensorial urbanism, Ambiances in action / Ambiances en acte (s) – International Congress on Ambiances, International Ambiances Network, Montreal, 2012, 19-26.

[22]

Rapaport and Kantor, Complexity and ambiguity in environmental design, Journal of the American Institute of Planners 33, (1967), No.4, 210-221.

[23]

Heidegger Martin, Poetry, Language, Thought, Harper & Row, New York, USA, 1971.

[20]

“Sensing the city” Project, sensingthecity.wordpress.com/2012/07/25/seethe-city-through-your-hand/

[24]

[21]

ICOMOS, Les Principes de la Valette pour la sauvegarde et la gestion des villes et des ensembles urbains historiques, 2011.

Hansson K., Cars G., Ekenberg L., Danielson M., The Importance of Recognition for Equal Representation in Participatory Processes: Lessons from Husby, Delft Architecture Theory Journal, Volume 7, (2013), Issue 2, The Participatory Turn in Urbanism, pp. 81, 94, ISSN 1875-1504.

[19]

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DOI: 10.14621/tna.20160108

Patterns of Places as Means for Conceptualising — The Space and Buildings Ardita Byci Jakupi University of Prishtina “M.Fejza” 23/1, Mati 1, 10000 Prishtina, Kosovo; ardita.byci@gmail.com

Abstract

1. Introduction

Different environments, different landscapes present different patterns which we see and experience. One of the challenges for architects and urban designers during the design phase is how to perceive environment and landscape as composition of several visible and invisible patterns and how they could be used accordingly. The examples that have been chosen in this research try to reflect different aspects of design indicated from the patterns of the place. The first case – University Center of Prishtina is primarily physical, the second - Dardania Neighbourhood in Gjakova is social and the third – Çabrati hill in Gjakova is psychological. The aim of this research is to explore and understand these patterns: how could place patterns be identified, what influence they may have and how could they be used during the design phase. It will try to argue the role of these patterns as elements which can be used to develop concepts sustainable concepts for sustainable places.

Recognition of patterns is very important because they help us to understand and to know better the surrounding environment. We can develop different ways and languages to describe and analyze them. Furthermore, to analyze the relation between different patterns, the processes through which is exposed a place but also the esthetic and emotional aspect. The way we perceive and understand them depends from what we want and why we want to see. During the research of the certain environments and in particular during the search of identity of the place, we should take into consideration that surrounding environment is not only the collection of the objects which are situated in the certain position. Patterns are there and with their recognition we could orientate ourselves by trying to create the sense of the place. Patterns are evident at the very wide range of scales from the molecular structure of the DNA, at the microscopic level, to spirals of galaxies in the universe [1]. Architects and urban designers see the pattern as more natural and not only as a structure or model. Patterns are of different ages and can be classified in four categories [2]: Primary – natural patterns that can be found in the existing landscape like geology, ecology, hydrology; secondary - human patterns are found in the urban and rural landscape like roads, buildings, fields; tertiary - aesthetic pattern result from the artists imagination or the aesthetic appreciation of nature (ex. art, stories and music); quaternary - archetypal patterns are tried and tested combination of the other patterns like settlements archetype, building archetype and garden archetype.

Keywords:

Pattern; Space; Place; Understanding; Concept

Article history:

Received: 27 July 2015 Revised: 14 December 2015 Accepted: 14 January 2016

According to Alexander’s categorization we can see that almost all patterns are included in certain groups and we could be able to easily categorize a particular pattern. However, prior to recognition and understanding of the patterns, we should first recognize the main elements that comprise a place.

___________________________________________________________________________________________________________ A. Byci Jakupi: “Patterns of Places as Means for Conceptualizing – The Space and Buildings”, pp. 65–72

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The first approach is recognition of two basic elements that a particular site is made of: natural environment and human-made environment. The second approach is perception of the site as e living being, as a unity of three aspects: aspect of consciousness and essence, aspect of energy and vitality and aspect of physical form (Figure 1).

2. Case study 1 – The University Center of Prishtina The University Center, although incomplete for a long period of time presents a center not only for Prishtina but for the whole Kosovo. It embeds some, or probably all the most important cultural and artistic moments with which the Kosovan society presents and marks the

importance of the achievements. There is situated the University of Prishtina, National and University Library of Kosovo, Institute of Albanology, Kosovo Art Gallery and buildings of the faculties (Figure 2). Due to the fact that the location is developed in different periods of time, the way of building and involvement of different architects, we cannot speak for the coherent development of the architectonic entireties that compose the compound of the center. The buildings of University Center – library, Rectorate and Philological faculty differ from the perspective of urban structure which makes that location to be recognized easier but also the higher ones- the Electronic Media building and Economic faculty. The National Library Building with its architectonic features and with central position presents foci in the location which orients different users of the space. The Media

Figure 1. The site- aspects and dimensions

Figure 2. University Center: a) Current state; b) Proposal; c) Top view ___________________________________________________________________________________________________________ A. Byci Jakupi: “Patterns of Places as Means for Conceptualizing – The Space and Buildings”, pp. 65–72

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Figure 3. Schematic presentation of the concept a)paths; b) paths and fields with existing buildings; c) paths, fields with existing buildings and proposed buildings; d) paths, fields with existing buildings, proposed buildings and green spaces

Figure 4. Dardania Neighborhood in Gjakova

building with its height plays the role of the landmark in location and can be experienced from all points of the location. Visual quality of the location is complemented also with the buildings of the Institute of Albanology and Gallery of Arts. The visual quality is also supported from the greenery of the roads - alleys and inside location.

Distinction of the University Center with this pattern, with the network and orthogonal placement of the buildings, in the proposal for conceptual design of the University Center in 2005 was used to determine the placement of new contents.

As per the spatial definition there are pedestrian paths together with open and green spaces which despite their disarrangement provide a special quality i.e.: the movements are sequences which provide a special quality. The movements and the clear connection between the paths and squares and also supplemented with green spaces make to be usable and very dynamic. The presence of different generations (students, children and elders) make this dynamic diverse (diversified).

Usage of this pattern means creation of the unique space which at the same time distinguishes the University Center as entirety and enables an organic connection with the surrounding areas of the location. This concept emplaces the human being in the center of the event, and through the movement and passing among buildings, places and spaces determines how successful the place is.

The paths create the orthogonal network, where each horizontal and vertical of the network tangents the certain building. This makes the location to be permeable and easy recognizable. They are displayed in two forms: as main corridors which connect the location with the surrounding parts and those secondary which are the internal connections (Figure 3).

3. Case study 2 – Dardania Neighbourhood in Gjakova Sight isn’t the only sense that shapes the identity of a place. Users are also influenced by sounds, smells and touch under hand and foot [3].

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“Dardania” Neighborhood is a settlement of 60 ha which is located in the suburb of Gjakova city. The Neighborhood is characterized with low housing and open green area (Figure 4). The part of this neighborhood is an informal settlement which takes almost the central position. Due to the fact that the settlement is developed without plan and there is no public content, the public area as the criteria of recognition of the place can hardly be identified.

Urban conceptual design for Dardania neighborhood presents the initial idea which in itself consists detailed proposals for the certain environments which were essential and very important for the residents of the neighborhood. Motivation in the “event” of the location as a generator of the concept shows one of the planning samples that how planers can also work with the invisible patterns - the concept which leads in the creation of the identifiable neighborhood.

Residents due to the lack of the places for meeting and other activities have improvised spaces which have good physical and visual access and that there “something is happening”.

4. Case study 3 – Çabrati hill in Gjakova

There are two elements which characterize the neighborhood as a place and to which the design drafted in 2004 has considered as core elements for generation of the concept: the meetings place– which presents the whole public and private life and on the other side the river Krena, which served as organic connection between “the place” and the river. Meetings place always attracted the residents of the neighborhood, as the place where can discuss, exchange information but also the place where can be played sometimes (Figure 5). But what is that which comprises this space since “When you get there, there isn’t any there there” [4]. In fact there are natural elements which give a quality to this space: the stream that passes nearby, poplars further that serve for shade and the most some trunks which serve for sitting on. These are the “comprising” elements that made the place to be usable and to be developed different neighborhood activities. There happens everything (Figure 6). This space, this meeting place during the planning stage served as the center of the neighborhood in which are planned public contents by not harming its identity. At the same time this event- this place also made the connection of two suburban lines of the location – main road and the river, in order to be done integration of the entire spaces (Figure 7).

People are connected with the place not only for the fact that they have a house there, work or spend the spare time. They are connected with the place also through the memory whether those events are from the childhood or young age, events which happened in the important places and places which present attractions for the individuals or for the bigger number of people. Failure to take these facts in consideration means to deny the identity of the residents of that place. Çabrati hill, being in the city of Gjakova, plays a huge role in the civic life. Despite the historical, cultural and symbolic importance it has a spiritual value. Çabrati hill in fact presents the western border of the city and it has an impressive view. It looks as a live green facade of the city. This hill gives to the city a characteristic dimension. It creates two areas: urban area and landscape area, relation of which can be seen as integration and separation (Figure 8). The main components which comprise the place are: open “endless” spaces”, bushes and natural fences created from different species of bushes, remains of World War II , and cafe-restaurants which are situated mainly in the segment with the view towards the city. But there are not the buildings that make the place characteristic but it is the spirit of the place. People that spent the most of their time in Çabrat hill but also those that visit it describe the sense of the place as – something whole, free, eternal, alive.

Figure 5. Meetings place a) Trunks for sitting; b) Main arterial of meeting place; c) Meeting of the residents during the night ___________________________________________________________________________________________________________ A. Byci Jakupi: “Patterns of Places as Means for Conceptualizing – The Space and Buildings”, pp. 65–72

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Figure 6. Meeting Place a) Current state (left); b) Proposal (right)

Figure 7. Schematic presentation of the concept ___________________________________________________________________________________________________________ A. Byci Jakupi: “Patterns of Places as Means for Conceptualizing – The Space and Buildings”, pp. 65–72

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Figure 8. The city of Gjakova, main components

Figure 9. Visible and invisible patterns These characteristics have an internal cohesion and besides the spiritual and cultural influence that they have, at the same time are presented as a very complex construction. “All this radiates back to us, for the spirit a place emanates affects how we feel about, hence define ourselves. This shapes how we act, even who we are” [5]. Although it may not recognized at the first, there is a

strong symbolism attached to the Çabrati hill landscape (Figure 9). But how we can visualize this pattern which cannot be seen but can only be felt? How to work with the invisible patterns? In order to discover what makes that the Cabrati hill to be experienced as - whole, free, eternal, alive, first of all should be found that what is it that works in our mind which makes to look like this – psychological patterns.

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According to the modern psychology, the psychological patterns facilitate in visualization of the space by giving to it a physical-imaginative creation. Psychological patterns are based in: perception, motivation, emotion, learning, intelligence and personality and innate patterns [2]. During the surveys, a physic, aesthetic and spiritual awareness has been used in a way to try to understand the nature of situation. Firstly, a number of the factors were taken in the consideration: geographical features, constructions, human activities, plants and views. In creation of the overall pattern are taken in consideration particularly influences on the site which are acting at a distance. Major energy alignments and intersections are made from the information that came

from the characteristic views. There are three points (positions) with three characteristic view. From one point human being gets “information from the nature” (view toward open “endless” space”), in the other point “information from the human being” (view toward city) and in the third point “combined information-from human being and nature” (view towards the faraway settlement included in the nature) (Figure 10). But all these three information are not only the images taken from the certain points of the space, but they are patterns, which become focused through experience. In order to visualize this landscape pattern is used the modern geomancy, where through geomantic and mathematical schemes is presented the energy of the landscape (Figure 11). Based on the principle of

Figure 10. Three characteristic views from the hill a) Information from the nature; b) Information from the human being; c) Combined information

Figure 11. Schematic presentation of the psychological patterns – Information and the center of gathering – energy of the place a) Geomantic scheme; b) Mathematical scheme ___________________________________________________________________________________________________________ A. Byci Jakupi: “Patterns of Places as Means for Conceptualizing – The Space and Buildings”, pp. 65–72

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multidimensionality, the modern geomancy teaches us how to perceive landscape and environments as composed of several visible and invisible elements. The spirit of the landscape of the Çabrati hill is a quality which is not formed only for the ecology and culture or from human or unhuman, it is also established from the assessment (evaluation) of the people – from the truth and imaginary. In order to preserve this quality, architects and urban planners should develop the principles which preserve and enhance the unique character, function and history of a site within its context. The creation of meaningful and memorable landscapes- landscapes that sustain physically and mentally is nearly always derived from careful analyses and expression of the spirit of place [6].

generating the sustainable concepts. Sustainable concepts mean sustainable plans/ projects. That is why architects, planners, landscape architects, urban designers must perceive the site as a living being through recognition and understanding of visible and invisible patterns in order to generate sustainable concepts. To describe the patterns we can be served with diagrams, models and drawings, illustrations and mathematical formulas but also some phrase.

References [1] Simon Bell, Landscape-Pattern, Perception and Process, E&FN Spon, London, UK, 1999.

The Çabrati hill should be a land that needs to breathe as it is, instead of imposing extensive paving.

[2] Tom Turner, City as Landscape- A post-postmodern view of design and planning, E&FN Spon, Oxford, Great Britain, 1996.

5. Conclusions

[3] Llewelyn-Davies, Urban Design Compendium, English Partnerships, London, UK, 2000.

“Architecture means listening to the breathing of living place, to its pulsations” Jean Nouvel [7] Usage of the place patterns required for design or planning depends from the nature of the proposals that should be made. When making of the place is requested, the architects and urban designers must know what kind of factors made the existing place and also to be able to interpret the visible and invisible dimensions of places and landscapes, in order to come to the understanding which leads until the holistic approach. Knowing how to recognize especially invisible dimension of the site is one of the main challenges, but the importance lays in having a full picture or ID of the site which in the proposal phase can help or serve as a facsimile in

[4] Francis Tibbalds, Making People Friendly TownsImproving the public environment in town and cities, Spon Press, London, UK, 2001. [5] Chistopher Day, Spirit & Place- Healing our environment, Healing environment, Architectural Press , Oxford, Great Britain, 2003. [6] Claudia Dinep & Kristin Schwab, Sustainable Site Design-Criteria, Process and Case Studies for Integrating Site and Region in Landscape Design, John Wiley & Sons, New jersey, Canada, 2010. [7] Jean Nouvel, “Louisiana Manifest” 2005, http://architecture.org.au/file_download/61, p.2.

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The Journal

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About the Journal

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ABOUT THE JOURNAL Aim and Scope International Journal of Contemporary Architecture “The New ARCH” publishes research articles and studies on solutions to architectural projects and urban planning. Papers that are multidisciplinary and/or address new or emerging areas of architecture are particularly encouraged. Thus, the scope includes but is not limited to the design process and case studies with performance evaluation, buildings for tomorrow, transforming cities towards the future, course of adapting architecture, challenges of buildings refurbishment, energy efficiency and savings including building technologies, design in-line with environment associated with ecological impact of materials. “The New ARCH” is committed to publishing original papers communicating both recent research findings and innovative new practice. Thus, it provides an active interface between theory, science and practice serving both researches and practising professionals. The accent is on the architectural quality demonstrating different approaches of relations between good architecture and environment, without focusing only on technical aspects of building. So, the sustainability and great design does not exclude each other in the process of creating architectural spaces. Joined, they provide contemporary pillar to architecture. Language “The New ARCH” is published in English and accepts contributions written only in English. Frequency “The New ARCH” is a thrice yearly open-access electronic journal. Contributions Two types of contributions are expected: - Original Article - must either be of a current general interest or of a great significance to readers, - Review - introducing a particular area through a concise overview of a selected topic by the author(s). Responsibility Submission of a manuscript implies that the work described has not been published previously, that it is not under consideration for publication elsewhere, that its publication is approved by all authors and that, if accepted, it will not be published elsewhere in the same form, in English or in any other language, without the written consent of the copyright holder. The author(s) should provide a statement attesting to the originality of the work submitted for publication. Exception is an abstract or part of a published lecture or academic thesis. Peer Review “The New ARCH” is a peer-review journal. All submitted manuscripts, which follow the scope of the journal, are read first by the editorial stuff and only those that meet editorial criteria are sent for formal double-blind peer review process. Both the referees (at least two independent reviewers selected by the editors) and the author(s) are kept anonymous. Authors are obliged to follow remarks and comments of reviewers, instructions for preparing manuscripts, reference list specification as well as remarks and corrections of the Editorial Board.

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INSTRUCTIONS FOR AUTHORS General Information Procedure The authors are obliged to submit papers only in English and free of typing errors. The manuscript should not exceed 14 pages (A4 format), including figures and tables. For the review process the manuscript should not exceed 14 pages and should be submitted in electronic form only as MS Word file. All titles listed in the reference list have to be in English, or translated in English with indication of the original language. Full name and affiliation have to be given for each author. Last name(s) has to be written in capital letters. The corresponding author should be indicated, with full postal and e-mail address.

margins of 20 mm from left/right and top/bottom paper’s edge, with spacing one line after. Illustrations (graphics, pictures) and tables have to be also separately prepared. The width of the Illustrations/tables has to be either 7.5 cm or 16.5 cm. Authors may submit a manuscript of maximum 14 A4 pages containing plain text (including nomenclature and references) and illustrations/tables.

Checklist 1.

Title page as a separate MS Word document (one A4 page) including: - Title - Author(s) and affiliation(s) - One author labelled as the Corresponding Author with full postal and e-mail address

Plain text (without illustrations/tables) as a separate MS Word file including all sections stated above in Manuscript Structure

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Title

Submission Declaration By submitting the manuscript the author(s) declare that the work described has not been published previously (except in the form of an abstract or as part of a published lecture or academic thesis or as an electronic preprint), that it is not under consideration for publication elsewhere, that its publication is approved by all authors, and that, if accepted, it will not be published elsewhere including electronically in the same form, in English or in any other language, without the written consent of the copyright holder.

Manuscript Structure Only English and Greek alphabet must be used in preparing the whole manuscript. There are no strict formatting requirements but all manuscripts must contain the essential elements needed to convey your manuscript and should be written according to following order: – Title – Author(s) – Affiliation(s) – Abstract – Keywords – Introduction – Body of the text with numerated sections and subsections – Conclusions – Acknowledgement – Funding source – Nomenclature – References All pages must have page numbers.

Conflict of Interest All authors are requested to disclose any actual or potential conflict of interest including any financial, personal or other relationships with other people or organizations within three years of beginning the submitted work that could inappropriately influence, or be perceived to influence, their work. Referees If you want, you can submit, with the manuscript, the names, addresses and e-mail addresses of three potential referees. Note that the editor retains the sole right to decide whether or not the suggested reviewers are used.

Copyright Transfer Agreement A properly completed and signed Copyright Transfer Agreement must be provided by author(s) for each submitted manuscript.

Manuscript Preparation General Text has to be separately prepared as Microsoft Word plain text document (without illustrations and tables) using Arial 10 font, with

Maximum 3 rows title (ALL CAPITAL LETTERS, bold, centred, with spacing one line after) has to concisely, informative, clearly, accurately and grammatically correct reflect emphasis and content of the manuscript. Abbreviations and acronyms should be avoided.

Author(s) and Affiliation(s) Author(s) Personal (First) Name(s), initial (optional) and FAMILY (LAST) NAME(S) (bold, centred, with spacing one line after) of all who have made substantial contributions. At least one author must be labelled with an asterisk (*) as the corresponding author. Affiliation(s) of author(s) must include Institution, City and Country (regular letters, centred, with spacing one line after). The full postal and e-mail address of the corresponding author should be placed on a separate line below the affiliation.

Abstract The paper must have an Abstract supplying briefly general information about the purpose and objectives of the paper, techniques, methods applied, significant results, and conclusions. Abbreviations and acronyms should be avoided. The optimal length for the abstract is one paragraph with 100 to 200 words, justified, with indent 20 mm from left and right margin, with spacing one line after. An abstract may also be presented separately from the article, so it must be able to stand alone. For this reason, References should be avoided, but if essential, then cite the author(s) and year(s).

Keywords Maximum 8 characteristic words (regular letters, with indent 20 mm from left and right margin) explaining the subject of the manuscript (for example, “of”, “and” ... have to be avoided) should be provided directly below the abstract. Be sparing with abbreviations: only abbreviations firmly established in the field may be eligible. These keywords may be used for indexing purposes.

Introduction It should place the work in the appropriate context and clearly state the purpose and objectives of the contribution.

Body of the Text Authors are obliged to use System International (SI) for Units (including Non/SI units accepted for use with the SI system) for all physical parameters and their units. Titles of sections and subsections have to be written in bold, left, numerated (decimal classification) in Arabic numbers, with spacing one line before and one line after.

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___________________________________________________________________________________________________________ Ensure that each graphics/illustration has a caption. A caption should comprise a brief title (not on the figure itself) and a description of the illustration. Keep text in the illustrations themselves to a minimum but explain all symbols and abbreviations used. Figure captions should be placed below figures, in bold, justified left; one line should be left blank below figure captions. Table captions have to be placed above tables in bold, left justified with the table; one line should be left blank above captions and below tables. Place footnotes to tables below the table body and indicate them with superscript lower-case letters. All tables and figures must be referred in the text. All equations, formulas, and expressions should be numbered in parentheses, with right alignment, in the order of appearance in the text, and must be centred with one line left above and below. Also, equations, formulas, and expressions should be referred within the text with Eq., or Formula, or Expression, with corresponding number in parentheses.

The mark of variables with dimensions in brackets used and explained only once in the text, do not include into the nomenclature.

References References should be numbered in brackets in the order of appearance in the text, e.g. [1], [3, 4], [7-11], etc. The full references should be listed at the end of the paper (left alignment, hanging indentation) in numerical order of citation in the text. For references having two authors, names of both authors should be given. For more than two authors, only name of the first author should be given, followed by latin abbreviation et al. Data in References should be given according to the Reference List Specification, given in the next section. Footnotes Footnotes should be used sparingly. Number them consecutively throughout the article. Indicate the position of footnotes in the text and present the footnotes themselves separately at the end of the article. Do not include footnotes in the Reference list.

Preparation of Graphics (Illustrations) Graphics intended to appear in black and white or grayscale should not be submitted in colour. Graphics have to be submitted also in separated files in a JPG and/or TIF format. Use of colour in manuscript graphics is encouraged when it is important for clarity of presentation. It has to be noted that the quality of the graphics published in the journal depends on the quality of the graphic images provided by authors. Do not supply graphics optimised for screen, that are too low in resolution or that are disproportionately large for the content. Digital graphics should have minimum resolution of 1200 dpi for black and white line art, 600 dpi for grayscale art and 300 dpi for colour art. For uniformity of appearance, all the graphics of the same type should share a common style and font. For scanned half-tone illustrations a resolution of 300 dpi is sufficient.

Conclusions

Reference List Specification Journals Author(s)1, Paper title, Journal title, Volume number, (Year), Issue, pp. xx-yy, DOI number2

Books Author(s)1, Book title3, Publisher, City, Country, Year

Chapters Author(s)1, Chapter title, in Book title3, (Editor(s) of the book)4, Publisher, City, Country, Year, pp. xx-yy

Proceedings, Transactions, Book of Abstracts Author(s)1, Paper title, Proceedings, Proceedings information5, Conference, City, Country, Year, Volume6, pp. xx-yy

Thesis Author(s)1, Thesis title, Thesis rank, University, City, Country, Year

Reports

Content of this section should not substantially duplicate the abstract. It could contain text summarising the main contributions of the manuscript and expression and idea for the work to be continued.

Author(s)1, Report title, Report number, Institution, City, Country, Year

Acknowledgement

Literature or Data on web Sites and Documents without Authors

May be used to acknowledge helpful discussion with colleagues, assistance providing starting material or reference samples, data and services from others who are not co-authors, or providing language help, writing assistance or proof reading the article, or financial support.

Funding Source Author has to identify who provided financial support for the conduct of the research and/or preparation of the manuscript and to briefly describe the role of the sponsor(s), if any, in study design, as well as in the collection, analysis and interpretation of data, as well as in the writing of the manuscript, and in the decision to submit the manuscript for publication. If the funding source(s) had no such involvement then this should be stated here.

Nomenclature Author should use a systematic name for each compound. The variables in nomenclature have to be written in alphabetical order and, if exist, must have dimension in brackets. The Greek symbols must be separated, and as well as subscripts and superscripts, abbreviations, and acronyms.

Author(s)1,2, Title/Data/Institution, Link

Web As a minimum, the full URL should be given and the date when the reference was last accessed. Any further information, if known (DOI, author names, dates, reference to a source publication, etc.), should also be given

Patents Owner(s)1, Title of patent, Patent number, Year __________________________________________ 1 Last name, Initial (optional), First name 2 If exist 3 Title in original language or in transliteration, the English translation in parentheses with the indication of the original language 4 Editor(s)1 (in parentheses) 5 (Name(s) of the editor(s), if exist, in parentheses), Title of the publication if it is not the same as the title of the meeting 6 Only for Transactions

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